《聊齋誌異》原名《鬼狐傳》，可見此書最受世人矚目與讚賞者，並非世俗之人物，而是許多可親可愛、深具人性的花精鬼狐。基於此，多數學者皆指出「變形」之意義，是此書藝術創造中極為凸出且重要特色，並論述這些花精鬼狐所呈現的形象。 然而值得探究的是，蒲松齡每言其時代是「世情如鬼」之世，同時也強調「人身」原是天下所難得者。然而從其標舉狐女幻化為人身，為殉真情而言「樂死」方式轉世投胎以續情緣；以及其形貌從美變醜，仍受夫君摯愛不移等等，由此以論「人身」可能比鬼狐更為不如，然而所謂「天下所難得者」，其依據究竟要安放在那裡？倘若未能自覺去做心性的修養工夫，又未能持續保有「天真爛漫」之真性情，那麼外形之美醜與其人之善惡，又有何相干？凡此有關外形變化背後之精神意義，如果單從「變形」加以論述，是否能如實掌握生命精神轉化提昇之完整論述？ 為了回應上述問題，本文透過狐仙「形變」之深究，期能從生命本真、赤子之心及真實之價值等論述，以開顯「形變」之意義；再藉其自由超越情欲、形骸、生死等精神，以朗現生命之真實意義，進而將文化之精神價值，以及生命本真等豐富意涵彰顯出來。

The characters in Liaozhai Zhiyi are not mundane but celestial beings with human elements. Many scholars have pointed out that “transformation” is the most obvious and important artistic characteristic of the ancient Chinese legend. However, also worth studying are the questions of what are the author’s accounts about “the hardest to get in our life” and what are the relations between figuration and human nature if people cannot self-consciously cultivate as well as hold their true disposition? That is, can all spiritual meanings about “transfiguration” be criticized by “transformation”? In order to respond to the question above, in this paper, I have tried to explore widely the meanings of “transfiguration” in terms of human nature as well as true disposition, and so on. After that, I attempt to find its cultural values and true human meanings by its extramundane elements such as eroticism, figuration, life and death.