具象绘画在绘画艺术中占据着主要的地位。具象绘画用现象学的思维方式来布局画 面，尝试用一种全新的方式来思考和感受世界，体验内在的精神力量。具象表现绘画通 过真实的事物研究其本质，寻找其中精神上的灵动性。具象表现绘画把事物的本质和精 神内涵联系起来，来表现作者内心的情感和精神的世界。 具象表现的大师有贾克梅蒂、洛佩兹、莫兰迪、纳兰霍等，通过他们的坚持和研究， 把具象表现绘画发展到了新的高度。具象绘画空间视觉表现的具体方法有组合光影的运 用、时空重组和非再现视觉形式的运用等。我用具象表现的绘画方式来完成我的系列绘 画，结合自己的生活感触和亲身经历，采用油画的方式，描绘人性善恶的主题。 论文主要分为 5 个部分，第一个部分是介绍具象表现绘画，阐述什么是具象表现绘 画以及其中的因素；第二部分阐述具象表现主义的方法，结合具象画家的作评进行分析； 第三部分是赏析具象表现的画家；第四部分是描述我对于具象表现绘画的创作实践，从 理论到实践的探索；第五部分是分析我的毕业创作。

Representational painting plays an important role in the art of painting. The theory of representational painting is an open theoretical system, thinking with the way of phenomenology, trying to observe the world and feel the power of spirit in a new way. Representational expressionism painting, the painting art as a visual real exploration, through the study real things its essence, the search for the spiritual, flexibility in the contemporary society faces collapse in a crisis, the value of figurative expressionism painting associate nature with spirit gas, so as to realize the painter the reconstruction of the meaning of life, also to the easel painting development provides a new train of thought, inspire us to study and explore the painting to more possibilities. The masters of figurative expression include Giacometti, Morandi, Naranjo, etc. Through their persistence and research, the figurative expression of painting has developed to a new level. The concrete methods of figurative painting include the use of combined light and shadow, the reorganization of space and time and the use of non-reproducible visual forms. I use figurative painting to complete my series of paintings. Combining my own life feelings and personal experience, I use oil painting to depict the theme of good and evil in human nature. The paper is divided into five parts, the first part is the introduction of representational painting, what is the representational painting and its factors; The second part elaborates the methods of representational expressionism and analyzes it with the comments of representational painters. The third part is the analysis of the concrete performance of the painter; The fourth part describes my creative practice of representational painting from theory to practice. The fifth part is the analysis of my graduation creation.