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 terribilita 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.