在中国传统哲学中,“形”与“神”是既相互区别、又互为关联的一对重要范畴,在魏六朝时,“形神”概念由哲学领域转化至美学领域,并作为品评标准广泛运用于文学艺术中,成为了文艺作品的创作关注。“形神”辩证关系的巧妙运用,既增强了作品的活力、拓展了作品的意境,也使得读者的审美空间得以延伸、审美趣味得以充实。在现代设计创作中,“形神”概念作为一个衍生课题,仍具有无穷魅力,然而与古代绘画相比,现代设计过度关注作品视觉的 In the Chinese traditional philosophy, “form ” and “god ” are a pair of important categories that are both different and mutually related. In the Wei and the Six Dynasties, the concept of “god of form” was transformed from philosophy to aesthetics Field, and widely used in literature and art as a standard of evaluation, has become the focus of the creation of literary and artistic works. The clever application of the dialectical relationship of “God of Shape” not only enhances the vitality of the work and expands the artistic conception of the work, but also enables the reader to extend the aesthetic space and enrich the aesthetic taste. In the modern design creations, the concept of “God-shaped” still has its charm as a derivative subject. However, compared with the ancient paintings, the modern design pays too much attention to the visual works