在古老的智慧长河中，有一种独特的艺术，它以敏锐的触角捕捉着潮流的脉搏，这就是——“古希智慧：把握潮流感的艺术”。在这片浩瀚的智慧星空下，我们将一同探寻那些跨越时空的灵感火花，感受艺术与时代交相辉映的绚烂画卷。

Amid the ancient river of wisdom, there is a unique art form that, with its keen senses, captures the pulse of the trends. This is what we call "Ancient Chinese Wisdom: The Art of Grasping the Sense of Trends." Under this vast sky of wisdom, we will embark on a journey together to explore those inspirations that transcend time and space, and to feel the splendid tapestry where art and the times intertwine and reflect each other.

1. 因为明白人性的浅陋 所以只爱灵魂的共鸣

1. Because I understand the shallowness of human nature, I only love the resonance of souls.

2. 有些瞬间会支撑着我

2. Some moments support me.

3. 失眠的凌晨 不知道该说晚安还是早安

3. In the early hours of insomnia, unsure whether to say good night or good morning.

4. 身处旷野 任何方向都是前方

4. In the vast wilderness, any direction is ahead.

5. 这是一种关于艺术起源问题的最古老的理论，始于古希腊哲学家。这种学说认为:模仿是人类固有的天性和本能，艺术起源于人类对自然的模仿。在古希腊哲学家看来，所有艺术都是模仿的产物。亚里士多德认为:"艺术模仿的对象是实实在在的现实世界，艺术不仅反映事物的外观形态，而且反映事物的内在规律和本质，艺术创作靠模仿能力，而模仿能力是人从孩提时就有的天性和本能。"继古希腊哲学家之后，文艺复兴时期的达·芬奇、法国启蒙思想家狄德罗、俄国作家车尔尼雪夫斯基等人都不同程度地继承和发展了这一学说。这种理论直到19世纪末仍然具有极大的影响。

5. This is the oldest theory about the origin of art, which dates back to ancient Greek philosophers. This theory holds that: imitation is an inherent nature and instinct of humans, and art originated from the human imitation of nature. In the view of ancient Greek philosophers, all art is a product of imitation. Aristotle believed that: "The object of art is the tangible real world, art not only reflects the external form of things but also reflects their internal laws and essence, and artistic creation relies on the ability to imitate, which is a nature and instinct that humans have since childhood." Following the ancient Greek philosophers, artists such as Leonardo da Vinci during the Renaissance, the French Enlightenment thinker Denis Diderot, and the Russian writer Chernyshevsky, among others, all inherited and developed this theory to varying degrees. This theory remained highly influential until the end of the 19th century.

6. 少女的无序由天真构成

6. The disorder of the girl is composed of innocence.

7. 我说人生总有权利

7. I said that life always has the right.

8. 爱生活这件事永远来得及

8. It's never too late to love life.

9. 我说 我最近幸福的没话说

9. I said, "I've been so happy recently that I have nothing to say."

10. 游戏说强调了游戏冲动、审美自由与人性完善间的重要联系，对于我们理解艺术在审美方面的发生具有重要价值。它揭示了艺术发生的生物学和心理学方面的某些必要条件，如剩余精力是艺术活动的重要条件，艺术的娱乐性和审美性等，揭示了精神上的自由是艺术创造的核心，对我们理解艺术的本质是富于启发的。

10. The theory of play emphasizes the important connection between the instinct for play, aesthetic freedom, and the perfection of human nature, which is of great significance for our understanding of the occurrence of art in the aesthetic aspect. It reveals certain necessary conditions for the occurrence of art from biological and psychological perspectives, such as the surplus energy being an important condition for artistic activities, the entertainment and aesthetic qualities of art, and it also reveals that spiritual freedom is the core of artistic creation, which is enlightening for our understanding of the essence of art.

11. 不是今天拍的但今天想发

11. Not shot today, but I want to post it today.

12. 我想跟你一起散步

12. I want to take a walk with you.

13. 只要你不贪心那陪伴就是奖励

13. As long as you don't be greedy, the companionship is a reward.

14. 这种学说认为艺术起源于人类表现和交流情感的需要，情感表现是艺术最主要的功能，也是艺术发生的主要动因。持这一理论的主要有英国诗人雪莱、俄国文学家列夫·托尔斯泰等，还有欧美的一些现当代美学家。在这种学说看来，原始人所有的艺术只有一个最主要的推动力，那就是他们通过各种艺术来表达他们的情感，从而促成了艺术的发生和发展。如托尔斯泰认为:"艺术起源于一个人为了要把自己体验过的感情传达给别人，于是在自己心里重新唤起这种感情，并用某种外在的标志表达出来。"这些外在标志就是用动作、线条、色彩、声音以及言词所表达的艺术形象，通过这些艺术形象的传达，使别人也能体验到同样的感情。这样，作者所体验到的感情感染了观众或听众，这就是艺术活动。

14. This theory holds that art originated from the human need to express and communicate emotions, with emotional expression being the primary function of art and the main driving force behind its emergence. Proponents of this theory include the British poet Percy Bysshe Shelley, the Russian writer Leo Tolstoy, and some contemporary aestheticians in Europe and America. According to this theory, the only main driving force behind all primitive art is the need for humans to express their emotions through various forms of art, thereby promoting the occurrence and development of art. As Tolstoy believed: "Art originates from a person's desire to convey the emotions they have experienced to others, which leads them to rekindle these emotions within themselves and express them through some external symbols." These external symbols are the artistic images expressed through actions, lines, colors, sounds, and words, and through the conveyance of these artistic images, others can also experience the same emotions. In this way, the emotions experienced by the author infect the audience or listeners, which is the essence of artistic activity.

15. 巫术说是西方关于艺术起源的理论中最有影响、有势力的一种观点。这种理论是在直接研究原始艺术作品与原始宗教巫术活动之间的关系的基础上提出来的，最早由英国著名人类学家泰勒在他的《原始文化》一书中提出。这种观点用实用性来解释艺术的起源，认为在原始人心目中，最初的艺术有着极大的实用功利价值。按照这种理论，原始人所描绘的史前洞穴壁画中虽然有许多在我们今天看来是美丽的动物形象，但他们当时却是出于一种与审美无关的动机，即巫术的动机。如许多旧石器时代晚期的洞穴壁画和雕刻，往往是处在洞穴最黑暗和难以接近的地方，它们显然不是为了给人欣赏而制作的，而是史前人类企图以巫术为手段来保证狩猎的成功。还有些动物身上画有或刻有被长矛或棍棒刺中和打击过的痕迹，按照巫术说的观点，这是因为原始部落有一种交感巫术的存在，原始人认为任何事物的形象与实际的该事物都有一种实在的联系，如果对事物的形象施加影响，实际上也就是对这个事物施加影响，在动物身上画上伤痕也就意味着他们在实际的狩猎当中可以顺利地打到猎物。原始壁画中这些身上有被刺中或击伤痕迹的动物形象，成为支持艺术产生于巫术学说的有力证据。巫术说对于我们理解原始艺术，特别是原始美术发生的动力，以及这些艺术在当时条件下非审美的性质具有重大意义。

15. The theory of magic is one of the most influential and powerful theories in the Western understanding of the origin of art. This theory was proposed on the basis of a direct study of the relationship between primitive art works and primitive religious magical activities, and was first put forward by the famous British anthropologist Edward Taylor in his book "Primitive Culture." This perspective explains the origin of art through utility, arguing that in the minds of primitives, the earliest art had great practical utilitarian value. According to this theory, although many of the animals depicted in the prehistoric cave paintings, which we consider beautiful today, were created with motives unrelated to aesthetics, such as magical ones. Many late Paleolithic cave paintings and sculptures are often found in the darkest and most inaccessible parts of the caves, clearly not created for appreciation, but as an attempt by prehistoric humans to ensure successful hunting through magic. Some animals have traces of being pierced or struck by spears or sticks, and according to the theory of magic, this is because primitive tribes had a form of sympathetic magic. Primitives believed that there was a real connection between the image of any object and the object itself. If one affected the image of an object, it was also considered to affect the object itself. Thus, painting wounds on animals meant that they could successfully hunt the prey in reality. The images of animals with pierced or wounded marks in the primitive wall paintings serve as strong evidence supporting the theory that art originated from magic. The theory of magic is of great significance for our understanding of primitive art, especially the motivations behind the emergence of primitive fine art, as well as the non-aesthetic nature of these arts under the conditions of that time.

16. 游戏说认为艺术起源于游戏，它是包括美术在内的艺术发生理论中较有影响的一种理论，其代表人物是德国著名美学家席勒和英国学者斯宾塞，人们也因此把游戏说称为"席勒-斯宾塞理论"。席勒在《美育书简》中，通过对游戏和审美自由之间关系的比较研究，首先提出了艺术起源于游戏的观点，认为艺术是一种以创造形式外观为目的的审美自由的游戏。"自由"是艺术活动的精髓，它不受任何功利目的的限制，人们只有在一种精神游戏中才能彻底摆脱实用和功利的束缚，从而获得真正的自由。游戏说还认为，人的审美活动和游戏一样，是一种过剩精力的使用，剩余精力是人们进行艺术这种精神游戏的动力。人是高等动物，他不需要以全部精力去从事维持和延续生命的物质活动，因此有过剩的精力，这些过剩精力体现在自由的模仿活动中就有了游戏与艺术活动。斯宾塞和席勒一样，也认为游戏是过剩精力的发泄，它虽然没有什么直接的实用价值，却有助于游戏者的器官练习，因而它具有生物学意义，有益于个体和整个民族的生存。

16. The theory of play asserts that art originated from play, which is one of the more influential theories in the theories of art origin, including the theory of aesthetic origin. The representatives of this theory are the famous German aesthetician, Schiller, and the British scholar, Spencer. Therefore, the theory of play is also known as the "Schiller-Spencer theory." Schiller, in his book "On the Aesthetic Education," first proposed the view that art originated from play through a comparative study of the relationship between play and aesthetic freedom. He believed that art is a form of aesthetic game that aims at creating a form of appearance. "Freedom" is the essence of artistic activities, which is not restricted by any utilitarian purpose. People can only completely free themselves from the bondage of utility and profit in a spiritual game, thereby gaining true freedom. The theory of play also holds that human aesthetic activities, like play, are the use of excess energy. Excess energy is the driving force for people to engage in artistic activities, such as spiritual games. As a higher animal, humans do not need to use all their energy in material activities that sustain and continue life. Therefore, they have excess energy, which is reflected in free imitative activities as games and artistic activities. Just like Schiller, Spencer also believes that play is the vent of excess energy. Although it has no direct practical value, it is beneficial for the exercise of the organs of the players, thus having biological significance and being beneficial to the survival of individuals and the whole nation.

17. 我喜欢的 我愿意的都能等

17. What I like and what I am willing to do, I can wait for.

18. 漂亮的眼睛应该流幸福的泪

18. Beautiful eyes should shed tears of happiness.

19.
善良和喜欢都是免费的 但不是廉价的

19. Kindness and liking are free, but not cheap.

20.
备忘录悄悄写 自己心事自己解

20. Memo silently written, one's own troubles one's own to resolve.

21. 先成为自己的山 再去找心中的海

21. First become your own mountain, then go find the sea in your heart.

22. 劳动说是关于文学起源的重要学说之一，劳动提供了文学活动的前提条件;人类的生产活动是一切其他基本活动的前提。这一方面在于人要满足基本生存需要后才能从事其他活动，另一方面在于人就是在这种生产活动中生成的。在劳动中为了需要而创造出具有丰富表意功能的语言系统，恩格斯说:"劳动是一切人类活动的第一个基本条件，而且达到这样的程度，以致我们在某种意义上不得不说:劳动创造了人本身。"其次，劳动产生了文学活动的需要。人的活动都伴随一个自觉的目的，这一目的源于某种需要而设定。再次，劳动构成了我们所描写的重要内容。最后，劳动制约了最早的文学的形式。各民族最早文学体裁是诗，必须吟唱，载歌载舞，早期的文艺是诗、乐、舞的结合体。这种早期文艺的形式同劳动过程直接相关。原始人将劳动动作和被狩猎的动物的动作衍化为舞蹈，劳动时的号子与呼喊发展为诗歌，而劳动时发出的各种声音和体现的节奏，则为原始人提供了音乐的灵感。诗、乐、舞三位一体实则是劳动过程中这几种艺术形式的萌芽因素统一在一起的反映。相对于其他学说更具体、更科学，从根本上阐释了文学的起源问题，提供了文学起源的最根本的学说。

22. The labor theory is one of the important theories concerning the origin of literature. Labor provides the prerequisite conditions for literary activities; human productive activities are the prerequisite for all other fundamental activities. This is because humans need to satisfy their basic survival needs before engaging in other activities, and it is also because humans are shaped through this productive process. In labor, a language system with rich expressive functions is created to meet needs, as Engels said: "Labor is the first fundamental condition for all human activities, to such an extent that in a certain sense we must say: labor creates man himself." Secondly, labor generates the need for literary activities. Human activities are accompanied by a conscious purpose, which is set based on certain needs. Thirdly, labor constitutes an important element in what we describe. Finally, labor制约ed the earliest forms of literature. The earliest literary genres of various nations were poetry, which had to be recited, sung, and danced. Early arts were a combination of poetry, music, and dance. This form of early arts was directly related to the labor process. Primitive people transformed labor movements and the movements of hunted animals into dance, labor songs and shouts developed into poetry, and the various sounds and rhythms emitted during labor provided primitive people with musical inspiration. The unity of poetry, music, and dance as a trinity is actually a reflection of the seed factors of these art forms unified in the labor process. Compared to other theories, it is more specific and scientific, and fundamentally explains the origin of literature, providing the most fundamental theory on the origin of literature.

23. 认为艺术起源于劳动。代表人物:毕歇尔、希尔恩、马克思德索、普列汉诺夫。正确性:首先，劳动是原始艺术最主要的表现对象。其次，史前艺术在内容与形式方面都留下了大量的劳动生产活动的印记。但是，过分注意劳动与艺术发生的直接关系，也不免有些简单化。劳动是人类社会生活最重要的组成部分，但却不是社会生活的全部。劳动以外的其他社会生活的内容，也与艺术的发生有着密切的关系。此外，艺术的生产是以人的手由于劳动而达到的高度完善为前提的，但艺术起源主要的是指社会学意义和心理学意义上的推动力，也就是说指原始人最初的创作动机究竟是什么，从这一意义上来探讨劳动与艺术的关系，还很难判定它在艺术起源方面的作用究竟如何。

23. The theory that art originated from labor. Representative figures: Bachofen, Hirt, Marx Dessoir, Plekhanov. Correctness: Firstly, labor is the primary subject matter of primitive art. Secondly, prehistoric art has left a large number of imprints of labor production activities in both content and form. However, paying too much attention to the direct relationship between labor and art can also be somewhat simplistic. Labor is the most important component of human social life, but it is not the whole of social life. The other contents of social life beyond labor also have a close relationship with the origin of art. Moreover, the production of art is based on the high degree of perfection achieved by human hands through labor, but the origin of art mainly refers to the driving forces in sociological and psychological meanings, that is, to say, what was the initial creative motivation of primitive people. In this sense, it is still difficult to determine the role of labor in the origin of art.

24.
我们都擅长捕捉幸福的瞬间

24. We are all good at capturing moments of happiness.

25.
钟表可以回到起点 但再也不是昨天

25. A clock can return to the starting point, but it is no longer yesterday.

26. 懂知足 于是幸福很轻松

26. Understand contentment, and happiness becomes easy.

27. 公开不一定是最爱 隐藏不一定是不爱

27. Not being open doesn't necessarily mean one loves less, and not being hidden doesn't necessarily mean one loves more.

28. 这场雨或许不打伞更浪漫

28. This rain might be more romantic without an umbrella.

29.
不怨别人忘本太快 只怪自己记的太深

29. Don't blame others for forgetting their roots too quickly; only blame myself for remembering too deeply.

30.
山高路远 独善其身 看世界 爱自己

30. High mountains and distant roads, take care of oneself, see the world, love yourself.