本文以臺灣畫家賴武雄的四幅人物肖像與三幅群像作品為研究對象，並透過三個研究子題（「人物的衣著與姿勢動作」的安排、「象徵人物的背景陳設」的佈局、「群像的動態與光影」的觀察）和藝術家本人撰寫兩本關於人體素描與人物畫的研究，來探究賴武雄人物肖像與群像的各種創作形式法則，以及作為一個藝術家的態度與精神。本研究也藉由克萊夫．貝爾「有意味形式」的概念，佐證賴氏畫中各種創作形式的意涵。賴武雄的藝術創作不只具有形式的描述，而且也創造出足以傳達心靈之美的內容，他以有意味的創作形式描繪真實風情與美的感受，令觀者也能產生審美的情感，進而表達人類共同的情感與喜好美事物的天性。

Using Taiwanese artist Lai's four figure portraits, three group-figure portraits, and his two studies on human sketches and portraits as research subjects, this study aimed to explore various artistic forms of figure portraits and group portrait of Lai, Wu-Hsiung and his attitude and spirit as an artist from three main aspects (Arrangement of ＂Clothe and Postures＂, arrangement of ＂Symbolic Background＂, observation of ＂Dynamics and Light in the Group Portraits＂). Moreover, this study verified the significance of the various creative forms in Lai's portraits based on Clive Bell's ＂significant form＂. Lai's art works are not only descriptive of forms but also expressive of spiritual content. Portraying genuine feeling and expressing hi feeling about beauty in significant forms, Lai encouraged his viewers to appreciate the aesthetic and invoked the common feeling of human beings and love of wonderful things.