本文為探討米開朗基羅藝術表現裡的未完成（non-finito）概念。論文研究方向打破最初只是因其暴烈（terribilità）性格的表現而對其作品不滿意中途放棄、徒留下未完成的可能性，轉而評論其更可能是故意表達「未完成的完成」之思想，突顯還在雛形時所呈現的粗糙鑿痕與粗獷線條的效果，並反映這些未完成作品中所呈現古希臘雕刻家菲底亞斯（Phidias）的「消去法」思想，以及表達新柏拉圖思想中「身體是靈魂的牢籠」之概念。論述中由米開朗基羅的數個著名未完成的代表性作品來分析並闡釋其中深含的「未完成」與「身體是靈魂的牢籠」之創作理念，還有作品內在生命力賦予外在形體強大動作力之悲愴性（pathos）概念的表達。運用潘諾夫斯基（Erwin Panofsky）的論點可清楚看見，新柏拉圖主義思想的「未完成」傾向與態度不只反映在米氏作品的形式與動機上，也顯耀在它們的圖像與內容上。

This paper is aimed to explore the conception of the “non-finito” in the artistic representation of Michelangelo. The research into his “non-finito” is directed to break the only possibility of the artist’s terribilità and the dissatisfaction in front of his works. But, this paper is tried to comment the probability that Michelangelo left deliberately tracks in sketches on the marble or even refused to finish the works to express the thought of the “finition infinie.” Also, his “non-finito” was used to reflect the Phidias’ idea in the “subtraction,” and to express the Neoplatonic concept that “the spiritual soul is imprisoned by the body.” In the description, the author analyzes and interprets the creative ideas of the “non-finito” and that “the spiritual soul is imprisoned by the body” through several famous masterpieces of the “non-finito” by Michelangelo. Moreover, the expression of the internal vital force of the pathos in his works also brings a great power to their external shapes. According to Erwin Panofsky, Michelangelo’s works reflect not only his attitude and Neoplatonic “non-finito” inclination in their appearance and motives, but also shine in their iconography and contents.