「天驚地怪見落筆，巷語街談總入詩。」是當年藝術大師吳昌碩，對這位「年僅弱冠，才斗量」的潘天壽之器重與鼓勵，而親書篆書對聯相贈。潘天壽是中國近代最傑出的畫家之一，同時也是學識淵博，見識精闢的藝術理論家與教育家。他的藝術作品：注重意境、氣韻、格調的民族藝術特質，給人氣魄宏大激動振奮之感。無論山水、花鳥繪畫，篆刻、書法等作品，真誠樸拙，格調高古，獨闢蹊徑，充滿著內在精神之美；他強調中西繪畫要拉開距離，反對中國繪畫西化，應發展獨特的風格與面貌；他研究畫史、畫論、媒材、技法，不拘泥傳統，頗有新意；他熱心藝術教育，教育和行政，長達半世紀，競競業業，不離崗位。由於他對中國繪畫形式風格，具有獨特的見解與開發，並不停從事理論上的實踐與創作。在其繪畫作品中，使我們感受到一種高峰傲骨的精神氣質，透過其作品的筆墨線條、結構章法、題材形象、氣氛意境、詩文提跋等，各種畫面元素中顯現出來。本文針對其繪畫形式風格加以分析探討。試圖了解他的繪畫特色，以及如何在傳統的繪畫基礎上，開創其獨特風格，並從而探索其繪畫理論與作品之關係，並釐清我國繪畫未來發展的發方向。因此首先將其生平歷程：從家庭背景、啟蒙與求學、教學與創作做一簡介；其次就有關他的繪畫作品形式加以界定，包括中外學者對形式的定義與比較；進一步透過他的作品形式：用筆、運墨、設色、構圖、款印與意境的分析比較，瞭解其風格特色；最後作出結論，期能達到本文探討的目的。

Pan Tian-Shou was one of the most outstanding Chinese painters of the twentieth century. He was a knowledgeable art theorist and educator. All his works whether they are paintings of flowers and brids (huaniau hua), mountain and water paintings (shanshui hua), seal carvings or calligraphy are full of artistic atmosphere, charm and style; the overall impression being of great magnifience. In his theories, he emphasized that Chinese and Western traditions should maintain independence, he objected to the westernization of Chinese paintings, and thought that Chinese painting should retain its own characteristics. During his devoted art education career, lasting half a century, he studied painting theory, history, medium, and technique; he evolved original style, keeping with but not restricted by the tradition. Through his unique ideas about the forms of Chinese painting, his continuous work, and development of his art theory, we can sense a noble spiritual character in his work that is revealed in the lines, composition, motifs, artistic atmosphere, and colophons on his paintings. This thesis discusses and analyses the artist's form and style, to discover the relationship between his theory and works; to better understand the characteristics of his painting and how the artist created his unique style on the foundation of traditional painting. We also examine his views concerning the likely future development of Chinese painting. Initially there is a short introduction of the artist's educational background, early growth, his work and teaching. Next the artist's form is analyzed, include a comparison and discussion about the form from Chinese and Western scholars viewpoints. Furthermore, through the form of the artist's work, such as analysis of the use of brush, ink, colors, composition, seals, signatures, and the artistic atmosphere, conclusions are presented about his unique style and characteristics.