莫里斯·丹尼斯是19世纪末20世纪初杰出的艺术理论家兼画家，法国纳比派创始人之一。他在年轻时受塞尚、高更的影响，为纳比派撰写艺术宣言，但在20世纪初，没有继续顺应时代发展，探索抽象平面艺术，反而回归古典主义的怀抱，力求探寻传统与前卫相融合的创作风格和艺术思想，提出“新传统主义”的美学理论。这一理念的核心是“等价”观念，即艺术家通过色彩、线条、造型、构图等艺术形式语言，构建形式和人类情感之间的等价关系，呈现出的艺术作品不是“再现”自然，而是代表心灵状态的“表现”——主客观之间达到一种微妙的平衡。

另一方面，除理论研究外，丹尼斯一直没有停止创作。本文按时间和风格特征将其创作过程分为早期、成熟期、后期三个部分，其中各部分之间在时间和风格上亦相互重叠影响。在后期回归古典主义的过程中，法国诗人安德烈·纪德成为丹尼斯的挚友，指引他重识经典。

从关注纳比派开始，丹尼斯创作风格的变化和艺术理论的构想就引发我的思考——现代绘画如何在突破传统画面效果的同时，既表达现当代青年独特的精神气质，又传承经典技艺。只有当技法内化为现代人表达精神气质的手段，新旧经验融会贯通，艺术家才能真正实现对理想美的追求。

本文以1913年于巴黎出版的《Theories, 1890-1910, Du Synbolisme et de Gauguin vers un nouvel ordre classique》第三版（后文译称《理论，1890-1910 年--从符号学和哲学到新的经典秩序》简称《理论》）为研究基础，分析丹尼斯美学思想的核心，并从他不同阶段的具体创作中，分析其绘画风格的变迁，进而总结丹尼斯对我艺术观念和绘画实践产生的影响。

Maurice Denis was an outstanding art theorist and painter of the late 19th and early 20th centuries, and one of the founders of the Nabis. When he was young, he was influenced by Cézanne and Gauguin, and wrote an art manifesto for the Nabis, but at the beginning of the 20th century, he did not continue to follow the development of the times and explore abstract graphic art, but instead returned to the embrace of classicism, and strove to explore the fusion of traditional and avant-garde styles of creativity and artistic ideas, and put forward the aesthetic theory of "neo-traditionalism". The core of this idea is the concept of "equivalence", that is, the artist through colour, line, shape, composition and other forms of art language, to build the equivalence between form and human emotion, presenting works of art is not a "reproduction" of nature, but a representation of the state of mind. The art work  presented is not "reproduction" of nature, but a "representation" of the state of mind - a delicate balance between subjectivity and objectivity.

On the other hand, in addition to theoretical research, Denis has not stopped creating. According to the characteristics of time and style, this paper divides the creative process into three parts: the early stage, the mature stage, and the later stage, and the parts also overlap with each other in terms of time and style. In his later return to classicism, the French poet André Gide became Denis's close friend and guided him to rediscover the classics.

From the beginning of focusing on the Nabi School, the changes in Dennis's creative style and the conception of art theory triggered my thinking - how modern painting can break through the traditional effect of the picture while expressing the unique spiritual temperament of the youth of the present generation and inheriting the classic techniques. Only when technique is internalised as a means of expressing the spirituality of modern people, and old and new experiences are blended together, can artists truly realise their pursuit of ideal beauty.

Taking the third edition of Theories, 1890-1910, Du Synbolisme et de Gauguin vers un nouvel ordre classique, published in Paris in 1913, as a basis for research, this paper analyses the core of Denis's aesthetic thought and, from the specific creations at different stages of his work. It also analyses the changes in his painting style, thus summarising Denis's influence on my artistic concepts and painting.