非具象形态是客观自然世界的一种真实存在，本篇论文主要阐述的是在非具象形态下各种偶然性的纹理样式如何在绘画中激发创作灵感，并怎样影响人们的视觉而产生创作兴趣， 在艺术创作中，艺术家以概念的最大外围不断的探寻自身和世界的相处，在笔者的具体论述中列举艺术作品佐证一部分艺术家们也同样看到非具象形态的巨大优越性。 在与具象对比中，可以反衬性的了解到非具象形态的具体含义为没有具体的形状和细分定义下的分类，进而呈现出非具象形态的多样性并与艺术创作建立起联系。通过列举非具象形态的三种性质：包括了自发的表现性，主要阐述除了语言系统外，非具象形态在以感官感受为语言传达本身的不被定义之形象在创造中起到的启发作用；重塑的可能性，主要论述与具象形态的相互转化关系得以证明被分解的具象形态能够被重新组合建立起创作的新秩序；体验的普遍性，进一步说明人的生理与视觉对新鲜创新事物的本能需求与非具象形态的自身多样化有内在的契合而使得绘画创作作品可以让人们得到丰富的情感体验，三类性质证明了非具象形态对于创作的借鉴发挥巨大的价值。 根据视觉惯性、自然构成法则和艺术错觉等理论形成笔者创作真实可操作性的有力依据，为借形创想提供基础条件。在外界条件成熟后，引发笔者对创作的一系列思考，强调内心幻想的真实性、对提取后的非具象元素进行强烈的主观干预突显创作中的自我意识和关注感受在创作中的先行地位而非主题的束缚。结合分析一类艺术家们的作品，如安赛姆·基弗和毕加索，理论家贡布里希的理论知识对笔者的论文有着潜在相通性；再通过笔者的习作介绍和实践经验的获得从而探讨非具象形态与向内探索的某中可能性。

Nonfiugurative Shape is a real existence in the objective natural world. This paper mainly explains how various accidental texture patterns in Nonfiugurative Shape inspire inspiration in painting,and how they affect people's vision and generate creative interest. In art creation, the artist constantly explores the relationship between himself and the world with the largest periphery of the concept. In the author's specific discussions to enumerates works of art to prove that some artists also see the great superiority of Nonfiugurative Shape. In contrast with figuration, we can understand the specific meaning of Nonfiugurative Shape as a classification without specific shape and subdivision definition, and then present the diversity of Nonfiugurative Shape and establish a connection with artistic creation. By enumerating the three properties of Nonfiugurative Shape: including spontaneous expressiveness, it mainly explains that in addition to language systems, Nonfiugurative Shape play an inspirational role in the creation of undefined images that use sensory perception as the language to convey themselves; The possibility of remodeling mainly discusses the mutual transformation relationship with the concrete form, which proves that the decomposed concrete form can be recombined to establish a new order of creation; the universality of experience further illustrates the human's physiology and vision to fresh and innovative things. The instinctual needs of the instinctual needs and the Nonfiugurative Shape is inherently diverse, so that painting creations can provide people with a rich emotional experience. Three types of properties prove that the Nonfiugurative Shape has great value for reference in creation. Based on the theories of visual inertia, natural constitution, and artistic illusion, the authors form a strong basis for the real operability of the author's creation, and provide basic conditions for borrowing ideas. After the external conditions matured, the author caused a series of thoughts on the creation, emphasized the authenticity of the inner fantasy, and strongly subjectively intervened the extracted Nonfiugurative elements to highlight the self-consciousness and attention of the creation in the creation. Non-theme bondage. Combined with the analysis of the works of a group of artists, such as Anselm Kiefer and Picasso, the theoretical knowledge of the theorist Gombrich has potential relevance to the author's thesis; and then through the author's work introduction and practical experience to explore Nonfiugurative Shape and some possibility of inward exploration.