在浩瀚的宇宙中，色彩不仅是视觉的盛宴，更是生命哲学的深邃表达。本文将探讨“探索空间色彩哲学：领悟最顶级的生活艺术”，引领我们踏上一次穿越色彩与生活的非凡旅程。

In the vast universe, color is not only a visual feast, but also a profound expression of life philosophy. This article will explore "Exploring the Philosophy of Space Color: Comprehending the Highest Level of Life Art," leading us on an extraordinary journey through color and life.

1. 艺术家的情感往往通过艺术形象得到充分的展现，艺术家反映生活，描绘艺术形象，绝不是冷漠的、无动于衷的，而是凝聚着他的思想情感、爱憎褒贬，渗透着他的审美情趣、审美理想。1937年4月，德国法西斯发动了40多架飞机对西班牙巴斯克文化名城格尔尼卡进行狂轰滥炸，激起了绘画大师毕加索的强烈义愤，他在短短的一个月时间内就完成了那幅名垂画史的、伸张正义与控诉罪行的力作《格尔尼卡》。

1. An artist's emotions are often fully expressed through artistic images. Artists reflect on life and depict artistic images, not in a cold or indifferent manner, but they are imbued with their thoughts and emotions, love and hate, praise and criticism, and infused with their aesthetic taste and ideals. In April 1937, the Nazi Germany launched a fierce bombing attack on the cultural city of Guernica in Spain with over 40 planes, which aroused the strong indignation of the painting master Picasso. In a short month, he completed the masterpiece "Guernica," which is etched in the history of painting, a work that asserts justice and condemns crimes.

2. “我之所以写徐霞客，是想告诉你，所谓百年功名、千秋霸业、万古流芳，与一件事情相比，其实算不了什么。

2. "The reason why I wrote about Xu Xiake is to tell you that, compared to one thing, the so-called century-long achievements, millennium-long empire, and eternal fame are actually nothing."

3. 绘人以以群合、变化、剧烈、圆滑、平稳等不同的美感产。2结构美。

3. The depiction of people in groups, with variations, intensity, smoothness, stability, and other aesthetic qualities. 2. Structural beauty.

4. 他抽象地发展了人的能动性，强调想象在艺术创造中的作用。他认为“最杰出的艺术本领就是想象。”“想象是创造性的。”又认为“艺术作品的源泉是想象的自由活动……”

4. He abstractly developed the agency of human beings, emphasizing the role of imagination in artistic creation. He believes that "the most outstanding art skill is imagination." "Imagination is creative." He also thinks that "the source of artistic works is the free activity of imagination..."

5. 蚂蚁不管怎么蹦哒，都是瞎折腾。蚊子不管怎么转悠，都是瞎胡闹。人生只是一场体验，就像你来到这个世界上旅行，是为了看花怎么开水怎么流，太阳怎么升起，月亮怎么落下，不是为了承担什么使命，更不要没事找事，负重前行。你真正需要做的，是强化自己的体验感，保持生活的愉悦感。

5. No matter how ants jump around, it's all a waste of effort. No matter how mosquitoes flit about, it's all a mess. Life is just an experience, like coming to this world for a journey, to see how flowers bloom, how water flows, how the sun rises, and how the moon sets. It's not to undertake any mission, let alone to look for trouble when there's no problem, and carry burdens forward. What you truly need to do is to strengthen your sense of experience and maintain the joy of life.

6. 马克思在认识论的基础上探讨了艺术问题，他认为艺术和一切真正自由的创造性的劳动一样，既不可能是一种“娱乐”“消遣”和无功利的“游戏”，也不可能是什么理念的显现，艺术乃是一件“非常严肃、极其紧张的事情。”它是人类“掌握世界的一种方式。”它和科学地掌握世界的方式一样，也能向我们提供关于客观世界的本质规律的认识。当然，艺术和科学是有区别的，但只是在认识世界时所采用的方式上的区别，而不是思维与非思维的区别。艺术地掌握世界与科学地掌握世界没有高低之分，也不能互相取代。马克思说希腊神话是“已经通过人民的幻想用一种不自觉的艺术方式加工过的自然和社会形式本身。”这就是说希腊神话已不自觉地反映了当时的自然和社会，人们可以从中了解到古人对自然和社会的观点。这就肯定了神话的认识意义。随着社会的发展，艺术地把握世界的范围也越来越广泛，人们可以从艺术家的作品中，认识到不同时代的人们与自然、与社会的关系，从中得到认识世界的有益启示。

6. On the basis of ontology, Marx explored the issue of art. He believed that like all genuinely free creative labor, art is neither an "entertainment" nor a "leisure activity" nor a purposeless "game," nor an manifestation of an idea. Art is a "very serious, extremely tense affair." It is a way for humans to "grasp the world." Just as the scientific way of grasping the world provides us with insights into the essential laws of the objective world, so does art. Of course, there are differences between art and science, but these differences lie only in the methods used to understand the world, not in the distinction between thinking and non-thinking. There is no distinction of high and low between the artistic way of grasping the world and the scientific way, nor can one replace the other. Marx said that Greek mythology is "the natural and social forms themselves that have been processed in an unconscious artistic way through the幻想 of the people." This means that Greek mythology has unconsciously reflected the natural and social conditions of that time, and people can understand the ancient people's views on nature and society from it. This confirms the cognitive significance of mythology. With the development of society, the scope of the artistic grasp of the world has also become increasingly broad. From the works of artists, people can understand the relationship between people of different eras and nature, and society, and gain beneficial insights into understanding the world.

7. 第四，语言是思维的外壳，是思想的直接现实。文学对人类生活以及艺术家思想情感的反映、表达，有着一定的理性深度，是一种精神性的存在。同时，由于文学作品中的词义所提供的一切，要受到思维确定性的规范，因而它往往比其它艺术形式更易明确表达创造主体的思想，有着更为明显的理性力量，能够使阅读者由审美体验直接地趋向认识和思考活动，进而达到明确、深刻的理解深度。可以说，正是由于文学具有这种深刻、细致地表达主体思想的特点，使文学成为所有艺术中蕴含理性内容最为深厚的艺术形式。

7. Fourthly, language is the shell of thought, the direct reality of ideas. Literature, as a reflection and expression of human life and the thoughts and emotions of artists, possesses a certain depth of reason and is a spiritual existence. At the same time, due to the specification of meaning provided by the words in literary works, they are subject to the norms of thought certainty, thus they often more readily express the thoughts of the creative subject, demonstrating a more pronounced rational force. This enables the reader to directly move from aesthetic experience towards cognitive and thinking activities, thereby reaching a clear and profound depth of understanding. It can be said that it is precisely because literature has this characteristic of deeply and finely expressing the subject's thoughts that it becomes the art form among all others that contains the deepest content of rationality.

8. 你看看能不能弄到一本杨辛和甘霖编的《美学原理新编》，这本书是北大出的，出了好几版了，相对比较成熟。作为一个教材还是很不错的。图书馆找找。要不然就是找点朱光潜的美学的书看看。不过个人觉得朱光潜还是在用认识的方法来对待美学，不够感情化，所以在看的时候要保持一颗哲学的批判的心。

8. Have a look and see if you can get a copy of "New Edition of Aesthetics Principles" compiled by Yang Xin and Gan Lin. This book is published by Peking University and has been issued in several editions, making it relatively mature. As a textbook, it's quite good. Check the library for it. Otherwise, you might read some books on aesthetics by Zhu Guangqian. However, personally, I feel that Zhu Guangqian still approaches aesthetics with a method of cognition, which lacks emotional depth. Therefore, when reading, maintain a philosophical critical mindset.

9. 请你运用所学过的美学原理知识 分析舞剧《妈勒访天边》的美所在

9. Please apply the aesthetic principles you have learned to analyze the beauty of the ballet "Mala Visits the Edge of the Sky."

10. 车尔尼雪夫斯基和黑格尔从各自的哲学立场出发，分别片面地夸大了生活美和艺术美而否定另一方，从而导致他们在生活美与艺术美关系上的片面性。一个是犯了形而上学的错误，一个是犯了唯心主义的错误。但他们对生活美与艺术美关系的探讨，给人们留下了有益的启示，一个是唯物主义的原则，一个是辩证法的思维方式。

10. Chernyshevsky and Hegel, starting from their respective philosophical stances, each exaggerated one-sidedly the beauty of life and the beauty of art, thereby negating the other, which led to their one-sidedness in the relationship between the beauty of life and the beauty of art. One committed the error of metaphysics, while the other committed the error of idealism. However, their exploration of the relationship between the beauty of life and the beauty of art has left people with beneficial insights: one is the principle of materialism, and the other is the dialectical way of thinking.

11. 演出前的道具装卸、舞台装置和舞美灯光调试在国内通常需要三至四天甚至更长时间，而完成同样的工作，美方工作人员仅需要短短一天半的时间，并且严格遵守工作时间，绝不超时，其专业性、高效率令人肃然起敬。这是6月《妈勒访天边》在美国巡演期间所有演职人员共同的感受，他们看到了自己的差距和不足，但更多的是开阔了视野，积累了经验，坚定了改制的信心。

11. In China, the props loading and unloading, stage setup, and lighting debugging before the performance usually take three to four days, even longer, whereas the same work is completed in just a short one and a half days by the American staff, who strictly adhere to working hours and never exceed them. Their professionalism and high efficiency is truly impressive. This is a shared feeling among all the performers and staff during the U.S. tour of "Maler Visits the Edge of the Sky" in June. They saw their own shortcomings and gaps, but more importantly, they broadened their horizons, accumulated experience, and strengthened their confidence in reform.

12. 在艺术美中所包含的客观因素，已经不同于自然形态的原型了。我们常说“江山如画”，这是因为杰出的山水画集中了自然的精神，它比自然山水的审美特征更加集中和鲜明了。宋代山水画家郭熙曾说：“千里之山，不能尽奇。万里之水，岂能尽秀？……一概画之，版图何异？”亚里士多德曾说：“美与不美，艺术作品与现实事物，分别就在于美的东西和艺术作品里，原来零散的因素结合成为统一体。”由于艺术中所反映的美比较集中、精粹，因而，它所包含的客观内容已经不是自然形态的原型了，而是经过加工改造的艺术形态了。“自然界是黄铜世界，只有诗人才交出黄金世界。”这些说明，艺术美是对生活创造性的、能动的反映。

12. The objective factors contained in the artistic beauty have already been different from the prototypes of natural forms. We often say "the mountains and rivers are like paintings," because outstanding landscape paintings concentrate the spirit of nature, which is more concentrated and vivid than the aesthetic features of natural landscapes. Guo Xi, a landscape painter of the Song Dynasty, once said, "The mountains over a thousand miles cannot be all unique. The rivers over ten thousand miles, how can they all be beautiful? ... To paint them all, what's the difference in maps?" Aristotle once said, "The difference between beauty and ugliness, between artistic works and real things, lies in the fact that the originally scattered elements are combined into a unity in the beautiful things and artistic works." Since the beauty reflected in art is relatively concentrated and refined, the objective content it contains is no longer the prototype of natural forms, but an artistic form that has been processed and transformed. "The natural world is a world of bronze, only poets can offer a world of gold." These explanations indicate that artistic beauty is a creative and dynamic reflection of life.

13. 有人说每个人都要经历三次死亡，第一次是呼吸停止的时候，第二次是你的骨灰彻底被微生物分解，一点痕迹都没有的时候，第三次是世界上最后一个记得你的人死去之后，从此这个世界没有你的任何信息，连念头都没有。

13. Some say that everyone has to experience three deaths. The first is when breathing stops, the second is when your ashes are completely decomposed by microorganisms, leaving no trace at all, and the third is after the last person who remembers you in the world dies. From then on, there is no information, not even a thought, of you in this world.

14. 艺术不仅仅是对生活创造性的、能动的反映，它作为意识形态范畴，对社会生活还有巨大的反作用，这种反作用表现为，通过艺术的方式把握世界，以形象思维的独特方式认识世界，通过审美陶冶人们的灵魂，以美的追求推动生活的发展。

14. Art is not only a creative and dynamic reflection of life; as an ideological category, it also has a significant counteraction on social life. This counteraction manifests itself in the way that the world is grasped through artistic means, in the unique way of recognizing the world through imagery thinking, in the way that people's souls are tempered through aesthetic cultivation, and in the way that the pursuit of beauty drives the development of life.

15. 其次是：需求性、创造性、程序性、物质性、时空性、审美性特点：设计与工艺作为一种人类文化和创造性的审美活动，反映了人类与社会、经济与技术、生理与心理等因素，表现在社会化大生产的内外环境中，也表现在艺术创造与生产的各个环节之中。从最简单的日常用品到最复杂的工业产品设计，都对工业化文明的社会进行物的美化或美的物化过程，从这种意义上说它是以工业生产为基础的经济发展的美化，现代人审美价值观和现代艺术形态的物化。

15. Next are the characteristics of demand, creativity, procedurality, materiality, temporality, and aesthetics: Design and craftsmanship, as a human cultural and creative aesthetic activity, reflects human relationships with society, economy and technology, physiology and psychology, and is manifested in both the internal and external environments of socialized mass production, as well as in all aspects of artistic creation and production. From the simplest everyday items to the most complex industrial product designs, they all involve the process of beautifying or materializing beauty in the social civilization of industrialization. In this sense, it is the beautification of economic development based on industrial production and the materialization of modern aesthetic values and artistic forms.

16. 设计：在正式做某项工作之前，根据一定的目的要求，预先制定方法、图样等。

16. Design: To pre-determine methods, drawings, etc., based on certain objectives, before formally engaging in a task.

17. 要学好美学需要扎实的哲学功底与艺术涵养，它既是一门思辨的学科，又是一门感性的学科。美学是研究人与世界审美关系的一门学科，即美学研究的对象是审美活动。

17. To excel in aesthetics, one needs a solid foundation in philosophy and artistic cultivation. Aesthetics is both a discipline of speculation and a discipline of sensibility. Aesthetics is a field of study that focuses on the aesthetic relationship between humans and the world, that is, the object of aesthetic research is aesthetic activity.

18. 艺术的审美特性是区别于其他社会实践活动的根本标志。所谓审美特性，是指艺术作品所具有的美学品质和审美价值。艺术作品是艺术家审美理想的结晶，是美的创造的结果。它不仅以情动人，更以美感人，使人得到一种精神上的愉悦享受。艺术作品中的形象由于集中、浓缩了生活中的形象美，因此比生活中实际存在的事物的形象更具有形而上的审美特性。中国传统绘画中的梅花形象，往往老干虬枝，横斜逸出，凌寒傲霜、迎春怒放，体现了一种老树新花、青春勃发的审美内涵，使人产生比观赏生活中的梅花更丰富的美感。艺术作品表现生活中美的形象，使之更加突出顺畅，表现生活中的丑，同样可以化生活丑为艺术美。艺术家在作品中，通过对生活丑的嘲讽和鞭笞，充分暴露出其丑恶的本质，引起人们对丑的厌恶与鄙视，从而去消灭丑、根除丑用以激发起人们对美好事物的憧憬与向往，此时的生活丑也就具有了一定的美学意义与价值。譬如，以反腐倡廉为题材的艺术作品，通过对腐败现象的暴露和批判，充分揭示了社会腐朽现象对社会主义建设的危害性、并给世人以警示，同样达到了化腐朽为神奇的震撼力，使欣赏者获得了一种特殊的美感。

18. The aesthetic characteristics of art are the fundamental标志 that distinguishes it from other social practice activities. So-called aesthetic characteristics refer to the aesthetic qualities and aesthetic value possessed by art works. Art works are the crystallization of the aesthetic ideals of artists and the result of beauty creation. They not only move people emotionally but also aesthetically, bringing a spiritual pleasure. The images in art works, due to their concentration and condensation of the beauty of life, are more metaphysical in aesthetic characteristics than the images of things that actually exist in life. The plum blossom image in traditional Chinese painting often features old, twisted branches, sprawling outwards, defying the cold and frost, and bursting into bloom in the spring, embodying an aesthetic connotation of a "new flower on an old tree" and youthful vitality, which elicits a richer sense of beauty than observing the plum blossoms in life. Art works depict the beautiful images of life, making them more prominent and smooth, and can also transform the ugly aspects of life into artistic beauty. In the works, through satire and criticism of the ugly aspects of life, artists fully expose their ugly essence, causing people to dislike and disdain ugliness, and thus eliminating and eradicating ugliness to inspire people's yearning for beautiful things. At this point, the ugly aspects of life also acquire a certain aesthetic significance and value. For example, art works with the theme of anti-corruption and promoting integrity, through the exposure and criticism of corrupt phenomena, fully reveal the危害性 of social corruption to socialist construction and provide a warning to the world, achieving the震撼力 of transforming the corrupt into the miraculous, and allowing the audience to obtain a special sense of beauty.

19. 情感主宰着艺术活动的整个过程，贯串在艺术创作的整个心理过程之中。艺术活动中的“感觉”，受到“享受”的欲望的支配，总是被对象的能引起自己愉快的色彩、声音所吸引；艺术活动中的“知觉”往往按照情感的需要去选择并加工对象，按照情感图式去选择与“判断”对象；艺术活动中的“想像”按照主体的情感要求的走向去创造合乎自己情感和目的的形象。艺术活动中的“理解”往往是一种个性化的体认与感悟，通过体悟获得对生命与人生意义的深切理解，它无疑是一种饱含着情感的活动。

19. Emotion dominates the entire process of artistic activity, running through the entire psychological process of artistic creation. The "sensation" in artistic activity is governed by the desire for "enjoyment" and is always attracted by the colors and sounds of the object that can bring pleasure to oneself; the "perception" in artistic activity often selects and processes objects according to emotional needs, and chooses and "judges" objects according to emotional patterns; the "imagination" in artistic activity creates images that conform to one's own emotions and purposes according to the direction of the emotional requirements of the subject. The "understanding" in artistic activity is often a personalized recognition and insight, gaining a profound understanding of life and the meaning of life through insight, which is undoubtedly an activity filled with emotion.

20. 康德的《判断力批判》在结构美学上有两大特点：一，从以审美判断力为中心，联系主体与客体的相互关系去探讨审美的本质的。得出一种

20. Kant's "Critique of Judgment" has two major characteristics in structural aesthetics: one is that it explores the essence of aesthetics by focusing on aesthetic judgment and linking the mutual relationship between the subject and the object. It results in a kind of...

21. 第二，文学可以全面而广泛地反映人的生活面貌和本质。一方面，文字语言（词语）与现实世界有着最广泛的联系，它实际上是一个民族文化传统的最主要载体，因而，以文字语言（词语）为表现手段的文学，能够表现无比广大的外在世界和复杂的内心世界，有着比其它艺术更全面、更广阔的认识和表现功能。另一方面，文学可以深入而全面地反映人的社会关系，它所揭示的乃是人同世界的一种总体关系。

21. Secondly, literature can fully and broadly reflect the essence and appearance of human life. On one hand, written language (words) has the most extensive connection with the real world; it is actually the main carrier of a national cultural tradition. Therefore, literature, which uses written language (words) as its means of expression, can depict an incredibly vast outer world and a complex inner world, having a more comprehensive and broader cognitive and expressive function than other arts. On the other hand, literature can reflect human social relationships deeply and comprehensively, revealing an overall relationship between humans and the world.

22. 生活还能推动艺术家创作技巧的发展。社会生活是不断发展的，从而使物质世界的形象丰富起来，引起人们思想情感的变化，这就要求表现生活形象和思想感情的艺术技巧相应地变化，在客观上推动着艺术美的发展。

22. Life can also promote the development of an artist's skills. Social life is continuously evolving, which enriches the images of the material world and brings about changes in people's thoughts and emotions. This necessitates that the artistic techniques for depicting life images and thoughts and emotions change accordingly, objectively promoting the development of artistic beauty.

23. 艺术，美术概论中是这样定义的，外来音，Art。许慎说文解字，羊大为美，美甘也！了解以上概念以后再谈实用与审美的统一就好办了。

23. Art, as defined in the概论 of Fine Arts, is referred to as "外来音," meaning foreign sound. Xu Shen, in his book "Shuo Wen Jie Zi," explains that "羊大为美" means that when a sheep is large, it is considered beautiful, and beauty is sweet! After understanding these concepts, discussing the unity of utility and aesthetics becomes much easier.

24. 艺术不仅是一种审美的活动，具有审美特性，而且艺术仍属于上层建筑中的意识形态，具有意识形态性质。归根结底，艺术是人对世界的一种精神把握的方式，人们通过艺术达到对世界的认识，也包含着人对自己的认识。而且，艺术中的审美性是其最根本的本质属性，其意识形态特征则是隐藏在审美特性之中的，它使艺术的审美世界具有了更为广阔和深邃的内涵，因此，我们说艺术活动是审美活动与意识形态的统一。[1]

24. Art is not only an aesthetic activity with aesthetic characteristics, but also an ideological element within the superstructure, possessing ideological nature. Ultimately, art is a way for humans to spiritually grasp the world, through which people achieve understanding of the world and also includes self-awareness. Moreover, the aesthetic nature of art is its most fundamental essential attribute, and its ideological characteristics are hidden within the aesthetic features. This makes the aesthetic world of art more extensive and profound in connotation. Therefore, we say that the artistic activity is a unity of aesthetic activity and ideology. [1]

25. 设计：在正式做某项工作之前，根据一定的目的要求，预先制定方法、图样等。（现代汉语词典，第二版，北京，商务印书馆1983）包含以下三种意思：一是动脑筋想办法；二是构思工业产品的形状、造型、色彩或组合状态，或加入装饰性的创造配置、照明等项计划，完成之后以设计图来表现；通常情况下设计一词都是以Design解释的，《英日词典》里：1设计，拟定计划； 2描绘草图，描绘构想的草图； 3对一定目的的预定、配合； 4计划、策划； 5意念意图； 6表示。

25. Design: Before formally engaging in a certain task, to pre-determine methods, drawings, etc. according to certain requirements and objectives. (Modern Chinese Dictionary, Second Edition, Beijing, Commercial Press, 1983) It includes the following three meanings: 1. To use one's brain to think of ways; 2. To conceptualize the shape, form, color, or combination state of industrial products, or to incorporate decorative creative arrangements, lighting plans, etc., and then express the result through design drawings; In most cases, the word "design" is interpreted as "Design" in English, and in the "English-Japanese Dictionary": 1. Design, formulate a plan; 2. Sketch, draw a sketch of an idea; 3. Pre-arrangement and coordination for a certain purpose; 4. Plan, plot; 5. Idea, intention; 6. Representation.

26. 这件事情就是用你喜欢的方式度过一生。

26. The matter is to spend your life in the way you like.

27. 人类从远古时代就开始了视觉造型的探索，留下了最早的绘画和雕塑。随着人类文明的进步，以视觉为审美途径的艺术种类和手段也日渐增多，绘画、雕塑、建筑、工艺美术、书法、摄影等是最为典型的视觉艺术种类。

27. Humans have been exploring visual造型 since ancient times, leaving behind the earliest paintings and sculptures. With the advancement of human civilization, the types and means of art that use visual as an aesthetic approach have also increasingly diversified. Painting, sculpture, architecture, arts and crafts, calligraphy, photography, and so on are the most typical types of visual art.

28. 第一，文学是用文字语言（词语）来创造形象的艺术。没有文字语言作为表达手段，文学就不成其为文学，所以高尔基把语言称之为“文学的第一要素”。当然，仅仅是使用语言还不成其为文学，文学语言乃是形象、优美的艺术性语言，能够自然地表达特定的审美意象，把阅读者（文学接受主体）引入文学作品的审美天地。“枯藤老树昏鸦，小桥流水人家，古道西风瘦马，夕阳西下，断肠人在天涯”，这就是一种文学（诗）的艺术性语言，它情景交融而又优美动人，使人读之回味无穷、引发共鸣。

28. Firstly, literature is an art created through written language (words). Without written language as a means of expression, it cannot be called literature, which is why Gorky called language "the first element of literature." Of course, simply using language is not enough to be considered literature; literary language is an artistic and beautiful form of language that can naturally express specific aesthetic images, leading the reader (the subject of literary reception) into the aesthetic realm of literary works. "With withered vines and old trees, crows in the dusk, a small bridge over flowing water, a house nearby, an ancient path in the west wind with a lean horse, the sun sets in the west, and a broken-hearted person is at the end of the world," this is a literary (poetic) artistic language that merges scenery and emotion, and is both beautiful and touching, leaving readers with endless thoughts and resonating with their hearts.

29. 艺术美虽然来自于生活，但是不等同于生活。正如高尔基所说：“因为人不是照相机，不是给现实拍照。”艺术是对生活能动地、创造性地反映。当人们对于艺术美发出惊叹的时候，不仅仅是因为艺术品反映了现实生活，更重要的是从中看到了艺术家的创造、智慧和才能。现实美虽然生动丰富，但它却代替不了艺术美，艺术美从本质上看是艺术家按照美的规律创造的产物。从生活到艺术的过程（即典型化的过程），最能体现艺术家的创造性和主观能动性。在这个过程中，现实生活作为客观因素为艺术创造提供了基础，而艺术家的审美理想、思想感情作为主观因素，始终起着主导的作用。这种主客观的结合形成了意象，在头脑中已出现了艺术形象的蓝图，然后借助于某种艺术技巧表达出来，从而完成了由生活到艺术的创造过程。郑板桥曾将画竹的过程分为“眼中之竹”、“胸中之竹”和“手中之竹”。这就是生活向艺术的转化过程，这其间充分体现出了艺术家掌握生活的创造性和主观能动性。所谓“眼中之竹”，是指现实中竹的形象作用于画家的感官引起的印象；“胸中之竹”是指现实中竹的形象和画家思想感情相结合而形成的意象，即艺术的蓝图，它已经是主、客观因素的结合体了；“手中之竹”是画家借助于笔墨技巧和创造性劳动所表现出来的形象。由此可见，现实向艺术的转化过程，要经过艺术家头脑这个加工厂，进行改造、加工和处理，这个过程无疑是一个创造过程。

29. Although artistic beauty originates from life, it is not identical to life. As Gorky said, "For humans are not cameras, not taking photographs of reality." Art is an active and creative reflection of life. When people are amazed by the beauty of art, it is not only because the art reflects real life, but more importantly, they see the creativity, wisdom, and talent of the artist. Although real-life beauty is vivid and rich, it cannot replace artistic beauty, which, fundamentally, is a product created by artists according to the laws of beauty. The process from life to art (i.e., the process of typification) is the most representative of the creativity and subjective initiative of the artist. In this process, real life serves as an objective factor, providing a foundation for artistic creation, while the artist's aesthetic ideals and emotional thoughts act as subjective factors, playing a leading role all the time. This combination of the subjective and objective forms imagery, where the blueprint of the artistic image has already appeared in the mind. Then, through some artistic techniques, it is expressed, thereby completing the creative process from life to art. Zheng Banqiao once divided the process of painting bamboo into "the bamboo seen in the eyes," "the bamboo in the heart," and "the bamboo in the hand." This is the process of transformation from life to art, which fully demonstrates the creativity and subjective initiative of the artist in mastering life. The so-called "the bamboo seen in the eyes" refers to the impression of the bamboo image in reality acting on the painter's senses; "the bamboo in the heart" refers to the combination of the bamboo image in reality with the painter's thoughts and emotions, forming an imagery, which is the blueprint of art, already a combination of subjective and objective factors; "the bamboo in the hand" is the image expressed by the painter through the skills of brushwork and creative labor. It can be seen that the process of transformation from reality to art must pass through the painter's brain, a workshop for transformation, processing, and treatment, which is undoubtedly a creative process.

30. 第三，文学通过文字语言（词语）来塑造艺术形象，但文字语言所塑造的形象又必须通过主体想象活动来完成，因此，文学又具有间接性的审美特征。这就是说，作家用文字语言描写的形象，只能是一个用语言符号的一定组合所代表的形象，而不是一个物质实体的形象，它必须通过阅读者的视觉感受能力，诱发再造性想象，并在阅读者一定心理经验的参与下，才能在头脑中转化为形象。文学中所谓“如临其境”、“如闻其声”，说的就是在阅读者头脑中的所见所闻。

30. Thirdly, literature shapes artistic images through written language (words), but the images shaped by written language must be completed through the subjective imaginative activity, therefore, literature also has the aesthetic feature of indirectness. This means that the images described by writers in written language can only be representations of certain combinations of language symbols, not images of material entities. They must be transformed into images in the reader's mind through their visual perception abilities,诱发reproductive imagination, and with the participation of the reader's certain psychological experiences. The so-called "as if one were there" and "as if one could hear the sound" in literature refer to what the reader sees and hears in their mind.

31. 演员的服装以及道具必须放在指定的范围内存放，绝对不允许演员把服装和道具带到剧院的其他场所；观众入场后，除了事先明确的少数摄影摄像人员之外，其他人员不能随意走动以免打扰观众观看演出，摄影记者只能待在一个封闭透明的小房子里进行拍摄。同时，这也是为了确保演出方的知识产权。又比如，为了确保观众的安全，演出结束后记者若需要进行采访，工作人员会专门开辟一个区域并用围栏围上专供记者使用，这充分体现出了剧院管理的高水准。《妈勒访天边》的女主角李莹对记者说，她来美国演出最大的收获就是国外观众很会欣赏艺术，懂得尊重演员的劳动成果，每当节目演出出现 时都会报以热烈的掌声，这对我们演员来说是最好的鼓励。南宁市艺术剧院有限责任公司董事长李紫君说，这次出访获得成功得益于与中国对外文化集团公司中演院线的合作，通过与他们的首次合作，学习到他们闯市场的理念、经营文化产品的模式和方法，对今后如何培养南宁本土的经营管理综合性人才有了一些思考和计划。

31. Actors' costumes and props must be stored within designated areas, and it is strictly prohibited for actors to take costumes and props to other parts of the theater. After the audience enters, other personnel are not allowed to move freely to avoid disturbing the audience's viewing experience; only a few pre-arranged photographers and videographers are allowed. Photographers can only stay in a closed, transparent small house for shooting. This is also to ensure the intellectual property rights of the production. For example, to ensure the safety of the audience, if journalists need to conduct interviews after the performance, staff will set up a special area with barriers for the exclusive use of journalists, which fully demonstrates the high standard of theater management. The female lead of "Maler Visits the Edge of the Sky," Li Ying, told journalists that the biggest gain from her performance in the United States was that foreign audiences are very good at appreciating art and respecting the fruits of the actors' labor, as they always give warm applause when the show is performed, which is the best encouragement for us actors. The Chairman of Nanning Art Theater Co., Ltd., Li Zijun, said that the success of this visit was due to the cooperation with China's Foreign Cultural Group's China Performing Arts Circuit. Through their first cooperation, they learned their concepts, models, and methods of marketing cultural products, which has provided some thoughts and plans for how to cultivate comprehensive management talents with local characteristics in Nanning in the future.

32. 1什么是美学：美学是从人对现实的审美关系出发，以艺术作为主要对象，研究美、丑、崇高等审美范畴和人的审美意识，美感经验，以及美的创造、发展及其规律的科学。

32.1 What is aesthetics: Aesthetics is a science that starts from the aesthetic relationship of humans with reality, takes art as its main object, and studies aesthetic categories such as beauty, ugliness, and the sublime, as well as human aesthetic consciousness, aesthetic experience, and the creation, development, and laws of beauty.

33. 有一些西方的唯美主义者，这些人的东西可以稍微看一下，毕竟这类的是最极端的美学，不过因为极端，所以希望你也别陷进去了。

33. There are some Western aesthetes who pursue aestheticism to the extreme. Their works can be taken a brief look at, as they represent the most extreme form of aesthetics. However, due to their extremity, I hope you don't get caught up in it either.

34. 正如郑板桥画竹子，他观察、体验竹子的形象始于“园中之竹”、“眼中之竹”，艺术构思孕育了“胸中之竹”，而磨砚展纸倏作变相最后完成了“手中之竹”，可见竹子的形象自始至终伴随了画竹的全过程。艺术家不仅在创作过程中从不脱离生动具体的形象，其创造的成果艺术品，更须展现具体可感的艺术形象，并以其强烈的艺术感染力去打动每一个欣赏者。因此，艺术欣赏的过程也要通过对艺术形象的感情来引发对作品中情境、意境的体味。这足以说明形象贯穿了艺术活动的每个环节，形象性成为艺术区别于其它社会意识形态的最基本的特征，也是艺术反映社会生活的特殊形式，是创作主体对于客体对象瞬间领悟式的审美创造。它是感性的，不是推理的；是体验的，而不是分析的。

34. Just as Zheng Banqiao painted bamboo, his observation and experience of the image of bamboo began with "the bamboo in the garden" and "the bamboo in his eyes," and the artistic conception孕育ed the "the bamboo in his heart." Through grinding inkstones and spreading papers, he suddenly transformed it into "the bamboo in his hand," showing that the image of bamboo has accompanied the entire process of painting bamboo from beginning to end. Artists not only never脱离 the vivid and concrete images in the creative process, but their artistic achievements, the artworks, must also present concrete and tangible artistic images and move every appreciator with their strong artistic appeal. Therefore, the process of artistic appreciation also needs to evoke the appreciation of the situation and artistic conception in the work through the emotional response to the artistic image. This is enough to show that the image runs through every link of artistic activities, and the imagery becomes the most basic feature that distinguishes art from other social ideologies. It is also a special form of art reflecting social life, and the aesthetic creation of the subjective creator's instant insight into the objective object. It is sensory, not deductive; it is experiential, not analytical.

35. 3艺术起源五大学说：模仿说（赫拉克利特、亚里士多德）游戏说（席勒、斯宾塞）表现说（克罗齐、伯格森） 巫术说（爱德华·泰勒、詹·弗雷泽）劳动说（马克思、恩格斯） 4美的本质是：是自由创造的形象体现，是人在社会实践中的自由创造。没有自由创造也就没有美18形式美的法则：单纯齐

35. The five major theories of the origin of art: The Theory of Imitation (Heraclitus, Aristotle), The Theory of Play (Schiller, Spencer), The Theory of Expression (Croce, Bergson), The Theory of Witchcraft (Edward Taylor, James Frazer), The Theory of Labor (Marx, Engels). 4 The essence of beauty is: it is the embodiment of free creation, and it is the free creation of man in social practice. Without free creation, there is no beauty. 18 The laws of formal beauty: simplicity, uniformity, etc.

36. 空即是色，色即是空。这里解释一下，色即是我们接触到的一切东西，也可以理解为我们正在经历的这个世界的各种现象。

36. Form is emptiness, emptiness is form. Here, let me explain: 'form' refers to everything we come into contact with, and can also be understood as the various phenomena of this world that we are experiencing.

37. 美是什么？这是美学这门学科所要探讨的基本问题。每位哲学家对这个问题都有着自己的看法。这也并非是一个简单的问题，通过它可以辐射世界的本源性问题的讨论。从古到今，从西方到东方，对“美”的解释是复杂的。如古希腊的柏拉图说：美是理念；中世纪的圣奥古斯丁说：美是上帝无尚的荣耀与光辉；俄国的车尔尼雪夫斯基说：美是生活；中国古代的道家认为：天地有大美而不言；而一本《美学原理》则告诉我们美在审美关系当中才能存在，它既离不开审美主体，又有赖于审美客体。美是精神领域抽象物的再现，美感的世界纯粹是意象世界。

37. What is beauty? This is the fundamental question that the discipline of aesthetics seeks to explore. Every philosopher has their own perspective on this question. It is not a simple issue either, as it can radiate discussions on the fundamental questions of the world. From ancient times to the present, from the West to the East, the interpretation of "beauty" is complex. For instance, as Plato of ancient Greece said: beauty is an idea; St. Augustine of the Middle Ages said: beauty is the supreme glory and light of God; Chernyshevsky of Russia said: beauty is life; the ancient Chinese Taoists believed: the heavens and earth possess great beauty but do not speak of it; and a book on the "Principles of Aesthetics" tells us that beauty only exists in aesthetic relations, which cannot be separated from the aesthetic subject and also relies on the aesthetic object. Beauty is the representation of abstract objects in the spiritual realm, and the world of aesthetic feelings is purely a world of images.

38. 13美是如何产生的，为什么说实用价值先于审美价值：美产生于劳动，美的事物都是内容与形式的统一，它直接呈现于对象的感性形式，凝结着人的劳动和创造。这成为人的智慧、灵巧与力量的标志，因此能唤起人们的喜悦而成为美的事物，所以说美产生于劳动。

38. How does beauty arise, and why is it said that practical value precedes aesthetic value? Beauty arises from labor; beautiful things are the unity of content and form, which is directly presented in the perceptual form of the object, condensing human labor and creativity. This becomes a symbol of human wisdom, dexterity, and strength, and therefore can evoke people's joy and become beautiful things. That is why it is said that beauty arises from labor.

39. 元 吴镇《渔父图》

39. Yuan Dynasty, Wu Zhen's "Fisherman's Picture"