在这个喧嚣的世界里，成长如同一场孤独的修行。我们追求极致的简约生活，只为在纷繁复杂中，找到内心的宁静与自由。

In this noisy world, growth is like a solitary journey of practice. We pursue an extreme minimalist lifestyle, just to find inner peace and freedom amidst the complexity and confusion.

1. 俗话说，端多大的碗，就吃多少饭。

1. As the saying goes, "How big a bowl you hold, so much rice you eat."

2. 石丰画语所谓“创意书法”，就是根据字词本义进行创作，或者拓展出其它寓意，又要具有一定的逻辑性和关联性，使书法的表现形式更具有表现力或趣味性等。其次，具体到字形的结构特点，根据总体创意和构想而展开，也要突破原有的字形结构对人的思维控制，使字形的布局与设计更具有个性化或创意性。

2. The so-called "creative calligraphy" in Shi Feng's artistic language refers to the creation based on the original meaning of characters and words, or to expand other meanings, while still maintaining a certain logicality and relevance, making the expression of calligraphy more expressive or interesting. Secondly, when it comes to the structural characteristics of the characters, they should be developed based on the overall creative concept and design. It is also necessary to break through the original structural constraints on people's thinking, making the layout and design of characters more personalized or creative.

3. 抱朴守拙：大美无言，大象无形，大音稀声，大辨若纳，大智若愚，大巧若拙。

3. Embrace Simplicity and Clarity: Great beauty is wordless, great form is无形, great sound is faint, great discernment is like acceptance, great wisdom appears foolish, and great skill appears clumsy.

4. 一个人可以从幼稚“走”向成熟，一个国家可以从专制“走”向共和。“行走”有非常抽象而广泛的比喻意义。老子道论的本质是：把平常的三维空间中的行走类推为“描述空间”或广义的“价值空间”中的“行走”。在平常三维空间中的到某地，在“描述空间”中就表现为成某名，在“价值空间”中则表现为达某德。所以，方法论问题也就是 “走路”的问题；走什么样的路、成为什么样的存在、追求什么样的目标，是老子道论的基本问题。

4. An individual can "walk" from immaturity to maturity, and a country can "walk" from despotism to republic. The act of "walking" carries a very abstract and broad metaphorical meaning. The essence of Laozi's Taoist doctrine is to analogize the act of walking in the ordinary three-dimensional space to "walking" in the "description space" or the general "value space." In the ordinary three-dimensional space, reaching a certain place is represented as achieving a certain fame in the "description space," and as attaining a certain virtue in the "value space." Therefore, the methodological issue is also the issue of "walking"; what kind of path to take, what kind of existence to become, and what kind of goals to pursue are the fundamental questions of Laozi's Taoist doctrine.

5. 并对应和搜索各自的审美要素、目标对象以及提示的相关问题，更进一步地使人的联想思维的能力和潜力得到最大地发挥和拓展，为人的启智启蒙和灵感迸发提供了一切可能。

5. Correspondingly, search for the aesthetic elements, target objects, and related questions, further maximizing and expanding the capabilities and potential of human associative thinking. This provides all possible means for human enlightenment, inspiration, and the outbreak of creativity.

6. 反之，思维架构的基础如果没有建好，单一固化的思维模式将会在无形中伤害人的一生。这样的境况，诚如尼采先生危言耸听——有的人可能活到一百岁走向坟墓，但是他可能生下来就已经死亡。

6. Conversely, if the foundation of the framework of thought is not properly established, a single, rigid pattern of thinking will, in an invisible way, harm a person's entire life. Such a situation is as Mr. Nietzsche dramatically warns – some may live to be a hundred years old and approach the grave, but they may have already died the moment they were born.

7. 民族： 华夏族

7. Ethnic Group: Han Chinese

8. 钱不在多，够用就行。如果你总要追求高端奢靡的生活，而自己又是一个普通人，那注定会在负债中痛苦不堪。

8. It's not about how much money you have, just enough to get by. If you always strive for a luxurious lifestyle and are just an ordinary person, you're doomed to suffer in debt.

9. 稀有的物品不是贵重的，而通常制做的许多物品将美作为自由的机缘是很深的，只有自由健康才能产生绝好的美。

9. Rare items are not valuable, but the profound depth of making many items beautiful as an opportunity for freedom is usually deep, only with freedom and health can excellent beauty be produced.

10. 值、陟），是关于行动者的心境、行为在某一评价空间中到达哪里或站在哪里的判断。论德是评价、对比人们“走路的水平”怎么样。

10. Value (值, 陟) refers to the judgment of where the actor's mindset and behavior reach or stand in a certain evaluation space. The concept of virtue (德) is about evaluating and comparing people's "level of walking" or how they conduct themselves.

11. 做好自己，不羡慕，不攀比，不虚荣，过低欲、简单的生活。

11. Be true to oneself, without envy, without comparison, without pretense, lead a simple life with low desires.

12. 先人们几千年来就是遵循着这种简朴的自然之道，创造出了光辉灿烂的中华文明。现代生活中，东西方文化的不断冲撞，使人们对人生的现实意义产生了很多不实的幻象，其实在一定程度上表现为文化的迷失。回归真正的人类精神家园是每个现代人的奢侈渴求。在生活中人们会自然的选择自己喜爱的事物印证自己的判断正确与否，作为生活中必不可少的元素的服装无形中担起这个重任，所以一个好的设计师必须有好的心态，通过自己的作品努力去传达一种积极向上的信息。顺其自然的设计可以使服装回归到它的最基本意义，在赏心悦目中完成传播思想意识的使命，减少雕琢，色彩自然和谐，功能的合理性，决不以牺牲方便和舒适去换取毫无意义的形式变化。这是一种理想的设计状态。

12. For thousands of years, our ancestors have been following this simple natural way, creating a brilliant and splendid Chinese civilization. In modern life, the continuous collision between Eastern and Western cultures has led to many false illusions about the realistic meaning of life, which is actually a form of cultural confusion. Returning to the true spiritual homeland of humanity is a luxurious desire for every modern person. In life, people naturally choose things they like to confirm the correctness of their judgments. As an indispensable element in life, clothing unintentionally takes on this important role. Therefore, a good designer must have a good mindset, strive to convey positive and uplifting messages through their works. A design that follows nature allows clothing to return to its most basic meaning, accomplishing the mission of spreading ideas and consciousness in a pleasing manner, reducing embellishments, using natural and harmonious colors, and ensuring the rationality of functionality. It does not sacrifice convenience and comfort for meaningless changes in form. This is an ideal state of design.

13. 如今社会物质生活极大丰富，各种美食触目可及。有些人管不住的嘴，喜欢大鱼大肉，大饮大醉，大快朵颐。结果脑满肠肥，油腻臃肿，疾病缠身。

13. Nowadays, with the material wealth of society greatly enriched, all sorts of delicious foods are within sight. Some people can't control their appetites, preferring to indulge in lavish feasts, excessive drinking, and heavy intoxication. As a result, they become brainy and chubby, greasy and bloated, and are plagued by various diseases.

14. 日本著名的民艺大师柳宗悦先生说过：“只有从民间艺术的世界中才能寻求产生于自然的健康的，朴素的灵动之美”。布言布语的设计和制作的过程正是遵循着这样的教诲而完成的。我们有责任对美的本源进行保护并使之长存。

14. The famous Japanese folk art master, Mr. Tsuneo Yano, once said, "Only from the world of folk art can we seek the healthy, simple, and lively beauty that originates from nature." The design and production process of Fuyan Buyan is exactly completed following such teachings. We have the responsibility to protect the source of beauty and ensure its longevity.

15. 石丰画语感性和理性作为人的思维能力的必须要素，感性直接关乎人的审美意识或价值体验，理性直接关系人的价值追求和创造活力。

15. Shi Feng's artistic expression views sensibility and reason as essential elements of human cognitive abilities. Sensibility is directly related to human aesthetic consciousness or value experience, while reason is directly connected to human pursuit of values and creative vitality.

16. 石丰画语技术和工具的进化所带来的一切艺术语言和表现方式的多彩，不但丰富了艺术创作者的观念需求和多元选择，而且为读者和观众提供了新的视觉体验和心理感受。同时，打破或激活了常规和传统意义上的创作模式和观念观点，为艺术创作方法论的开启也奠定了理论与实践的基础，对艺术创作和独立个性也提供了新的契机和期待。

16. The evolution of Shifeng's artistic language and tools brings a colorful array of artistic expressions and ways of communication. It not only enriches the conceptual needs and diverse choices of artists, but also provides readers and audiences with new visual experiences and psychological sensations. At the same time, it breaks or activates conventional and traditional modes of creation and concepts, laying the foundation for both theory and practice in the methodology of artistic creation, and offers new opportunities and expectations for artistic creation and individuality.

17. 石丰，独立艺术家，自由撰稿人，资深设计师。《国际在线》文化访谈者，《时代人物》封面人物，新丝路文化推广奖获得者。67年生于陕西，现居西安；自幼习画，年少时即有作品发表于杂志和报端。

17. Shi Feng, an independent artist, freelance writer, and senior designer. A cultural interviewer for "International Online," a cover subject for "Time Figures," and a recipient of the New Silk Road Cultural Promotion Award. Born in Shaanxi in 1967, currently resides in Xi'an; has been painting since childhood, and his works were published in magazines and newspapers at a young age.

18. 石丰画语维度作为事物原本的存在方式和单位而永续演绎，它也并未因人的心智或认知而产生任何凝滞或停顿，而且维度本身也会按照它的逻辑和范畴而运转运行。对于生命环节上的高能智慧来说，若能不断提升一个认知的维度和观察支点，即可对事物的真相和面貌了解得更加深入或完善一些。

18. The dimension of Shifeng's artistic language, as the original mode of existence and unit of things, continues to unfold indefinitely. It has not encountered any stagnation or pause due to human intellect or cognition, and the dimension itself operates and runs according to its own logic and categories. For highly intelligent beings in the life cycle, if they can continuously elevate the dimension of cognition and the observation point, they can gain a deeper or more comprehensive understanding of the truth and appearance of things.

19. 上善若水：水善利万物而不争，处众人之恶，故几于道。

19. The Supreme Good is like water: Water benefits all things without contention and stays in the low places among the detriments of the world, hence it is close to the Tao.

20. 石丰画语人生形色，文字形色，意识形色，它和人的认知层次和内心关照相得益彰，同时，也形成了人从精神状态到灵魂复苏比较清晰明了的线索和脉络。诚然，文以载道，凄美灿烂，作为文字庄严肃穆的至高审美和价值指向，它只有和人的知行合一形成同频共振，方可构成人从思想、到操守、到行为的完整和统一，以达到真正地探索求实和生命提升。

20. Shi Feng's paintings depict the shapes and colors of life, the shapes and colors of words, and the shapes and colors of consciousness. They complement the cognitive levels and inner concerns of humans, and at the same time, they form a clear and distinct thread and context for humans to understand their spiritual state to the revival of their soul. Indeed, literature carries the essence of a path, being both melancholic and brilliant. As the highest aesthetic and value orientation of solemn and serious words, it can only resonate with the unity of knowledge and action in humans to form a complete and unified integration from thought to character to behavior, thus truly exploring the essence of life and promoting personal growth.

21. 美国作家梭罗说，我宁可一个人坐在一只南瓜上，也不愿坐在天鹅绒的垫子上，听人群喧嚣。

21. The American writer Thoreau once said, "I would rather sit on a pumpkin and have it all to myself than be on a velvet cushion listening to the noise of a crowd."

22. 由西安钟馗文化研究所与西安钟馗故里欢乐谷度假村钟馗王，组织专家在秦岭终南山下收 老子画像

22. Organized by the Xi'an Zhongkui Culture Research Institute and the Zhongkui King of the Xi'an Zhongkui Ancient Village Happy Valley Resort, experts collected the paintings of Laozi under the Zhongnan Mountains of the Qinling Mountains.

23. 关注他这批人脸已近一年，先是单线、黑白，成百上千地产出，继而赋了色，继而又是水墨。每一系列感受不同，但讶异是有的，脸还可以这样糟蹋，却也有趣。

23. I have been paying attention to this batch of portraits for nearly a year. Initially, they were single-line, black and white, produced in the hundreds and thousands, and then they were colored, followed by ink wash painting. Each series evokes different feelings, but there is certainly a sense of surprise – the faces can be treated so poorly yet still be interesting.

24. 古人说，一个人吃的东西是有定数的，吃完了，人也该走了。

24. The ancients said, "A person's food is predetermined; once it's eaten, it's time for the person to leave."

25. 朱思睿，云南省美术家协会会员及协会理论委员会委员，先后就读于云南文山学院、云南艺术学院、中国艺术研究院，作品多次参加省内外展览，并发表于各种报刊杂志及入编画册。艺术创作包括油画、水墨、装置、行为、摄影、诗歌等，至今出版及在《美苑》《江苏画刊》《江湖》(荷兰莱顿大学图书馆中国民间诗刊特藏纸本)《滇池》《影响力》《美术大观》《美术视线》《当当代代》《边疆文学》等刊物发表艺术评论、诗歌19万余字，部分油画作品海内外人士收藏。著有中英文双语《划破膨胀欲望的刀锋一一江海评传》(2014年中国今日美术出版社)《非遗画艺》(撰文)(2016年，云南美术出版社)及诗集《时间的刻度》《一杯月光》（2019年出品）。

25. Zhu Sui, a member of the Yunnan Provincial Artists Association and a member of the Committee of Theoretical Committee of the Association, has studied at Yunnan Wenshan University, Yunnan Art Institute, and the Chinese Academy of Art. His works have been exhibited many times at provincial and national levels and have been published in various newspapers, magazines, and anthologies. Art creation includes oil painting, ink painting, installation, performance art, photography, poetry, etc. To date, he has published and published over 190,000 words of art criticism and poetry in magazines such as "Meiyuan" (Art Garden), "Jiangsu Art Magazine," "Jianghu" (Special Collection of Chinese Folk Poetry in Leiden University Library, Netherlands), "Dianchi Lake," "Influence," "Fine Arts Panorama," "Fine Arts Outlook," "Dandandai," and "Border Literature," etc. Some of his oil painting works have been collected by people both at home and abroad. He has authored the bilingual Chinese-English book "The Edge of the Sword That Pierces the Inflated Desire - Jiang Hai's Biography and Criticism" (published by China Today Fine Arts Press in 2014), "Intangible Cultural Heritage Painting Art" (written by him) (Yunnan Fine Arts Press, 2016), and poetry collections "The Scale of Time" and "A Cup of Moonlight" (published in 2019).

26. 静能生慧：心体澄澈，赏在明镜止水之中，意气和平，赏在丽日风光中。

26. Tranquility Breeds Wisdom: A serene mind finds clarity in the stillness of a mirror's water, and a peaceful demeanor is reflected in the splendor of a sunny day.

27. 就其希腊语的本源涵义而言，“方法论”（methodology）也就是“道论”，词根meta在希腊语中即循、沿、随，hodos即路，“方法”也就是“人们所循沿的道路”。方法论或道论，就是关于目标及其实现途径的一般论述，是关于一个人或一个团队为达目的该如何选择道路的探究。

27. In its original Greek sense, "methodology" is also known as "logos of the way." The root "meta" in Greek means along, with, or following, while "hodos" means path. Thus, "method" refers to "the path that people follow." Methodology or logos of the way is a general discourse about goals and their means of realization, an inquiry into how an individual or a team should choose a path to achieve their objectives.

28. 石丰画语艺术描绘物象，描红生活，超越现实，期许未来，建立艺术的生活和生活的艺术，作为文化丰富多彩的载体和表现方式，也是艺术激发思维和创建观念秩序的重要途径和价值所在。诚若艺术的趋势方向一样，由最初的简单记录和模仿开始，艺术一路走来，逐渐形成了多重维度下的发展演绎，为艺术观念的更新和表现形式的千变万化奠定了自身的文脉、伦理和基础。

28. The artistic expressions of Shi Feng's paintings depict objects, describe life, transcend reality, and look forward to the future. They aim to establish a life integrated with art and art integrated into life, serving as a carrier and a way of expressing the rich and diverse culture. They are also an essential means and value for stimulating thought and creating a system of ideas. Just like the trend of art, it began with simple recording and imitation and has gradually evolved into a multi-dimensional development and interpretation. This has laid the groundwork for the renewal of artistic concepts and the endless variety of expressive forms, with its own cultural context, ethics, and foundation.

29. 本书虽然内容简洁，但结构和思想并不简单；虽然内容简洁，但是言简意赅。作者省去了众多事件和人物，保留的都是形塑了当今世界轮廓的重要历史事件，如意大利的文艺复兴，德意志的宗教改革，英国的议会改革，法国的民主革命等。

29. Although the content of this book is concise, its structure and ideas are not simple; it is succinct yet profound. The author has omitted many events and characters, retaining only the significant historical events that have shaped the contours of today's world, such as the Renaissance in Italy, the Reformation in Germany, the parliamentary reform in Britain, and the democratic revolution in France.

30. “HEYAN'ER布言布语”的服装与其说是了不起的个性表现，还不如说是平凡的工人因受到自然的恩惠，而显现出的非个人的美。能够保持这种自然的恩惠，需要信心，纯朴之心和谦虚的态度，必须放弃自己的固执之心而激活谦逊之心。 艺术的问题，美的问题归根到底是心的问题，对布言布语的创作过程同样是追求这种高尚美好境界的心路里程。在成长的过程中明白很多道理，这些才是布言布语真正的价值所在。

30. The clothing of "HEYAN'ER Bu Yan Bu Yu" is more than a remarkable expression of individuality; it is rather the non-individual beauty that ordinary workers reveal through the grace of nature. To maintain this natural grace requires confidence, a simple heart, and a humble attitude, and it necessitates giving up one's stubbornness and activating a heart of humility. The issues of art and beauty are fundamentally issues of the heart, and the creative process of Bu Yan Bu Yu is similarly a journey in pursuit of this noble and beautiful state. It is in the process of growth that one understands many truths, which are the true value of Bu Yan Bu Yu.

31. 与其执着人际关系，不如过好自己的日子，活出自己的潇洒。

31. It's better to live your own life well and be stylish in your own way than to be obsessed with interpersonal relationships.

32. 五千年文明的积淀使中华民族的历史光辉灿烂，在继承优秀传统文化的同时设计师要具备高明的辨析能力和驾驭能力，要具备化繁为简的素质。要做到这些就必须理解中华的精华，了解民族艺术的发展脉络以丰富自己的阅历。在远古时代，衣服最初的功能是蔽体和免受利器的伤害，后来才成为一种装饰。贯头衣---这是人类石器时代最普遍穿着的一种衣服，用两幅较窄的布，对折拼缝，上部中间留口出首，两侧留口出臂。无领无袖，着后束腰，便于劳作。这种做法充分利用了布料，没有浪费，并且具有功能性。后世的衣服大多以此为基础做的改进，随着社会的进步，衣服逐渐变得繁复，更具装饰性，并成为权力与财富的象征。十几年来设计师投入大量的时间和精力坚持收集和整理民族服装服饰，从中发现很多南方少数民族的服装整体结构非常地简洁，甚至可以说是原始的。他们保留了古老的制作衣服的手法，也就是贯头衣的简单变形。上衣一般就是一块布对折，中间挖个洞，两侧稍加修改缝合，没有裁剪，穿起来不太舒服，不过却有种很现代的感觉。裙子几乎会用一整块布，从腰上捏很多折形成360度到720度的裙摆，穿起来很沉，有动感。裤子的裆简直可以拖地，穿起来却行动自如。与原始衣服不同的是，她们的衣服上会有一些古老而神秘的符号，一个故事，一段历史，一幅生活场景，或绣，或画，或蜡染，记载了一个民族的精神。克勤克俭的美德是中华文明的精髓。从这些收藏的每一件衣服中都能深切的体会到这种精神无处不在，她们一边辛勤劳作，一边想方设法地努力创造出最传神的衣服。他们会把日常生活中的布角线头收集起来在农闲时候一针一线缝合、拼织、刺绣，把花香鸟语、日出月落、欢笑、悲伤、向往、祝福和祈盼都在自己的衣服中表达出来。春来采花染线，秋时待蚕织丝，冬日围坐火塘挑着炭火拼织。常能化腐朽为神奇，创造出令人叹为观止的精美绝伦艺术品，而这一切对于他们而言这只是一件普通的衣服。为延续这样的创造，设计师用十几年来积攒下来的边角废料让工人们自由的去拼接，并巧妙地把几何构图的现代设计和色彩构成理念融合其中，使之成为一块块可用的不凡面料，再用最原始的方式加以剪裁，在形如百衲的布料上挖两个洞，一件极其简单的衣服就出来了，穿起来却是极具现代感。现代极简的表现手法，其实是一种回归，回归自然，回归自我。作为现代设计者应致力于使用最简单的符号表达出使人愉悦的效果。

32. The accumulation of 5,000 years of civilization has made the history of the Chinese nation brilliant. While inheriting excellent traditional culture, designers must have the ability to discern and control, and possess the quality of simplifying complexity. To achieve these, one must understand the essence of Chinese civilization, and understand the development of national art to enrich one's experience. In ancient times, the initial function of clothing was to cover the body and protect against the harm of sharp tools, and it was only later that it became a decoration. The "tongtui" garment---this was the most common clothing worn during the Stone Age, made of two narrower pieces of cloth, folded and stitched together, with an opening at the top for the head and openings on the sides for the arms. It had no collar or sleeves, was tied around the waist for ease of work. This method made full use of the fabric without waste and had functional qualities. The clothing of later generations was mostly improved upon this basis, and as society progressed, clothing gradually became more complex, more decorative, and became a symbol of power and wealth. For more than a decade, designers have invested a great deal of time and effort in collecting and organizing national clothing and accessories, from which they discovered that the overall structure of many southern ethnic minority clothing is very simple, even primitive. They retained the ancient methods of making clothing, which was a simple transformation of the "tongtui" garment. The upper garment was generally a piece of cloth folded in half, with a hole dug in the middle, and the sides slightly modified and stitched together without cutting, making it uncomfortable to wear, but giving a very modern feel. The skirt was almost made from a whole piece of cloth, with many folds from the waist forming a skirt hem of 360 to 720 degrees, which was heavy to wear but dynamic. The crotch of the pants was almost dragging on the ground, yet easy to move in. Unlike primitive clothing, their clothing featured some ancient and mysterious symbols, a story, a piece of history, a scene of life, which were embroidered, painted, or batiked, recording the spirit of a nation. The virtue of hard work and thrift is the essence of Chinese civilization. From each piece of clothing in these collections, one can deeply feel this spirit everywhere, as they work hard and try to create the most expressive clothing. They would collect fabric scraps and threads from daily life, stitching, weaving, and embroidering them during the off-season of farming. They would express the flowers, birds, sunrise and sunset, joy, sorrow, longing, blessings, and wishes in their clothing. In spring, they would pick flowers to dye threads, in autumn, they would wait for silkworms to spin silk, and in winter, they would sit around the hearth, picking at the embers to weave. They often turned the ugly into the beautiful, creating exquisite art that was breathtaking. For them, all this was just a normal piece of clothing. To continue such creation, designers used the leftover scraps accumulated over a decade to let the workers freely piece them together, and skillfully integrated modern geometric design and color composition concepts, making them into extraordinary fabrics. They then cut them in the most primitive way, creating two holes in the patchwork-like fabric, and a very simple piece of clothing was born, which was extremely modern in appearance. The minimalist expression of modernity is actually a return, a return to nature, and a return to oneself. As modern designers, one should strive to use the simplest symbols to express a pleasant effect.

33. 别名： 老聃

33. Alias: Lao Dan

34. 指我国古代伟大的哲学家和思想家、道家学派创始人老子，其被唐皇武后封为太上老君，世界文化名人，世界百位历史名人之一，存世有《道德经》（又称《老子》），其作品的精华是朴素的辨证法，主张无为而治，其学说对中国哲学发展具有深刻影响。在道教中老子被尊为道祖。

34. Refers to Laozi, the great ancient Chinese philosopher and thinker, and the founder of the Taoist school. He was enshrined as the "Great Emperor Laojun" by the Tang Emperor Wu Zetian, a world cultural figure, and one of the world's one hundred historical celebrities. His surviving work, "Tao Te Ching" (also known as "Laozi"), embodies the essence of simple dialectics, advocating for a rule of non-action, and his teachings have had a profound impact on the development of Chinese philosophy. In Taoism, Laozi is revered as the Ancestor of the Tao.

35. 逝世日期： 前471年

35. Date of Death: 471 BC

36. 古人说，从俭入奢易，由奢入俭难。

36. The ancients said, "It is easy to move from frugality to extravagance, but difficult to transition from extravagance back to frugality."

37. 药王孙思邈说，晚餐过饱，损一日之寿。

37. The Medicine King Sun Simiao said, "Overeating at dinner reduces one's lifespan by a day."

38. 欲望太重的人，一生都被欲望裹挟，不能给自己的人生做主。

38. Those with too strong desires are constantly carried away by them, and cannot be the master of their own life.

39. 石丰画语知识储备构成思考的素材，作为知识的价值体现，诚然无可厚非。至于知识就是力量，要看知识是否能够转化为创造性能量，同时，这种能量又要和价值审美与观念秩序融为一体，方为创造之本与目的并真正地造福于自身及社会，而不至于形成愿望的反向和破坏。

39. The knowledge reserve in Shifeng's painting language constitutes the material for thought, and as an embodiment of the value of knowledge, it is indeed beyond reproach. As for the saying that knowledge is power, it depends on whether knowledge can be transformed into creative energy. Moreover, this energy must integrate with value aesthetics and conceptual order to be the essence and purpose of creation, and truly benefit oneself and society, rather than becoming a reverse and destructive force of desire.

40. 这种电脑上色是机器时代的艺术印迹，工业而商业、工艺而科技，那颗本已抽离灵魂的头颅又被抽了一次——创作者的灵气，也即手工对色彩的味觉彻底放弃，传统的技能再次被颠覆，把绘画从手艺里拉进机器制作与印刷术，从而成为一种生鲜的符号。

40. This computer coloring is the artistic imprint of the machine age, industrial and commercial, craft and technology. The head that has already been stripped of its soul is stripped once more—the creative spirit, that is, the manual taste for color, is completely abandoned, traditional skills are once again subverted, painting is pulled from craftsmanship into machine production and printing, thus becoming a fresh symbol.

41. “HEYAN'ER布言布语”的作品处处都有这种自由健康的迹痕，每一个制作的工人都可以把他们认为是美的想法加进自己制作的每一件衣服中，所以每一件的衣服都在传达着一种健康的自由的乐观精神。如果有人问我布言布语最大的特点是什么我会自豪的告诉他，是自由，设计的自由，面料使用的自由，搭配的自由，缝合工艺的自由，销售选择的自由。只要原本是自由的，就可以说是所有美的本质，当自由体现在形态上时，就可以称之为物质美，对工人的要求是自由的，她们在制作时就没有胆怯犹豫和固执己见，重视这种心情和机缘就使心理的执着远离了自己，因此制作时心里就有了充分的自由。没有任何拘泥之心，它超越了个人的屏障，这种非个人的审美是冲破世俗界现的美，是我们应该努力追求的至高的境界。

41. "HEYAN'ER's 'Fabric Words and Phrases'" works are imbued with this trace of freedom and health throughout. Every worker involved can incorporate their own ideas of beauty into every piece they make, so each garment conveys a sense of healthy, free optimism. If someone were to ask me what the most distinctive feature of 'Fabric Words and Phrases' is, I would proudly tell them it is freedom - the freedom of design, the freedom of fabric choice, the freedom of matching, the freedom of stitching techniques, and the freedom of sales selection. As long as there is freedom in the beginning, it can be said to embody the essence of all beauty. When freedom is manifested in form, it can be called material beauty. The requirement for workers is freedom, and in the process of making, they have no fear, hesitation, or stubbornness. Paying attention to this mood and opportunity allows the psychological obsession to distance itself, thus giving them a full measure of freedom in the process of creation. With no restrictive thoughts, it transcends personal barriers. This non-personal aesthetic breaks through the mundane beauty of the world and is the highest境界 we should strive for.

42. 在这个世界上，美无所不在，但是那些脱离了生活本质的过分夸张的精致的器物包括服装,流于纤弱，陷于技巧，成为病态，与之相反，由一般的无名工人在一种良好的心态下制作的器物却很少有丑陋的现象出现，是自然的无心的，是健康的，自由的，人们一定会在这种创造中发现我们的惊喜我们的爱。这其实是中华民族对人类的伟大的贡献，是最值得我们继承和发扬的传统美德。

42. In this world, beauty is omnipresent, but those excessively refined objects that脱离了生活本质 and are overly exaggerated, including clothing, tend to be frail, trapped in skill, and become pathological. In contrast, objects made by ordinary, unknown workers in a good state of mind rarely exhibit ugliness; they are natural, unconscious, healthy, and free. People are bound to find our surprise and love in this kind of creation. This is actually a great contribution of the Chinese nation to humanity and the traditional virtue that is most worthy of inheritance and promotion.

43. 有些人名利心太重，总想着去结交人脉，寻找资源。于是他们辗转于各种各样的圈子，经营着各种各样的关系，把自己弄得精疲力尽，迷失自己。

43. Some people are overly obsessed with fame and wealth, always thinking about networking and seeking resources. So they奔波于各种圈子，经营着各种关系, exhaust themselves, and lose themselves in the process.

44. 三个系列，各有短长，石丰的战斗是合纵，是连横，是结吴抗曹，还是三家归晋？他仍在思考，我静观其变。

44. Three series, each with its own strengths and weaknesses. Shi Feng's battle is a combination of vertical integration, horizontal expansion, and joining Wu to resist Cao, or will the three families reunite under the Jin? He is still pondering, and I am quietly observing the situation unfold.

45. 贴吧相册 展开 编辑本段人物简介

45. Baidu Tieba Album Expand Edit this section Character Introduction

46. 石丰画语超现实主义打破了客观世界的表现形态和模式，赋予艺术更加自由的创造力。其次，这种风格的画面构成要素，依然呈现出现实生活中的具体物象，为人提供一个比较清晰的思维线索而容易看懂或产生易物式或同质化联想思维，不像纯抽象艺术，非常挑战和锻炼人的想象力。

46. Shi Feng's surrealistic art breaks through the forms and patterns of the objective world, endowing art with greater creative freedom. Secondly, the elements of composition in this style still present specific objects from real life, providing a relatively clear thought trail that is easy to understand or evoke associative or homogenized thinking, unlike pure abstract art, which is very challenging and exercises one's imagination.

47. 李耳[1]（约前571～前471），字伯阳，又称老聃（dān），楚国苦县厉乡曲仁里(安徽涡阳，河南鹿邑互有争论）人。我国古代最伟大的哲学家和思 老子标准像

47. Li Er [1] (approximately 571 BC – 471 BC), styled as Bo Yang, also known as Laozi (dān), was from the Lüxiang of Qurenli in the Kuixian County of Chu (controversial between Woyang, Anhui and Luyi, Henan). He was one of the greatest philosophers in ancient China. The standard portrait of Laozi.

48. 人一旦奢侈惯了，在回归简朴清淡的生活，那是非常难的。

48. Once a person is accustomed to luxury, it is very difficult to return to a simple and modest way of life.

49. 只是个性的美不是卓越的，只有非个性的美才能与生活融合，从而给社会带来和谐。

49. Beauty that is merely individual is not excellent; only beauty that is non-individual can blend with life, thereby bringing harmony to society.

50. ，周行而不殆”的永恒意义。《老子》书中包括大量朴素辩证法观点，如以为一切事物均具有正反两面，“反者道之动”，并能由对立而转化，“正复为奇，善复为妖”，“祸兮福之所倚，福兮祸之所伏”。又以为世间事物均为“有”与“无”之统一，“有、无相生”，而“无”为基础，“天下万物生于有，有生于无”。“天之道，损有余而补不足，人之道则不然，损不足以奉有馀”；“民之饥，以其上食税之多”；“民之轻死，以其上求生之厚”；“民不畏死，奈何以死惧之？”。其学说对中国哲学发展具有深刻影响，其内容主要见《老子》这本书。他的哲学思想和由他创立的道家学派，不但对我国古代思想文化的发展作出了重要贡献，而且对我国2000多年来思想文化的发展产生了深远的影响。也有人认为是老莱子，也是楚国人，跟孔子同时，曾著书十五篇宣传道家之用；还有人认为是周太史儋（dān），生活在孔子死后一百多年的时间里。著名史学家司马迁在其《史记》的《老子韩非列传》中即说明了当时对老子何其人有过此两种猜测。“或曰：老莱子亦老莱子也，著书十五篇，言道家之用，与孔子同时云。”当时司马迁也疑老子即为老莱子。现在很多学者都采用第一种说法，认为老子就是李耳，春秋末年人。

50. The eternal significance of the saying "move around without stopping." The book of "Laozi" includes a large number of simple dialectical views, such as the idea that all things have both positive and negative aspects, "opposites are the movement of the Tao," and that they can transform from opposition, "the normal becomes strange, the good becomes evil," "misfortune is the依靠 of happiness, happiness is the hiding place of misfortune." It also holds that all things in the world are the unity of "being" and "non-being," "being and non-being give birth to each other," with "non-being" as the foundation, "all things in the world are born from being, and being is born from non-being." "The Tao of heaven is to reduce the surplus and make up for the deficiency, but the Tao of humans is not like that, reducing the deficiency to serve the surplus"; "The reason why the people are hungry is because their rulers collect too much tax"; "The reason why the people are willing to risk death is because their rulers value life too much"; "If the people are not afraid of death, how can you scare them with death?". His theories have had a profound impact on the development of Chinese philosophy, and their content is mainly found in the book "Laozi". His philosophical thoughts and the Taoist school of thought he founded not only made an important contribution to the development of ancient Chinese thought and culture but also had a profound impact on the development of Chinese thought and culture for more than 2,000 years. Some people believe that it was Lao Laizi, also a native of Chu, who lived at the same time as Confucius, and once wrote fifteen books to promote the use of Taoism. Some people believe it was Zhou Tai Shi Dan (dān), who lived more than a hundred years after Confucius. The famous historian Sima Qian explained in his "Records of the Grand Historian" in the "Biographies of Laozi and Han Fei" that there were two guesses about Laozi at that time. "Some say: Lao Laizi is also Lao Laizi, wrote fifteen books, spoke of the use of Taoism, and was contemporary with Confucius." At that time, Sima Qian also suspected that Laozi was Lao Laizi. Now, many scholars adopt the first opinion, believing that Laozi was Li Er, a person from the end of the Spring and Autumn period.

51. 石丰画语创意教学和综合教育大同小异，殊途同归，通过创意思路或具体作品激发出另一个创意或作品，启迪和培养人的举一反三的意识和能力！

51. Shi Feng's artistic expression in creative teaching and comprehensive education is quite similar; they take different paths but lead to the same destination. By sparking another creative idea or work through imaginative approaches or specific pieces, it inspires and nurtures people's ability to generalize from one example!

52. 自己的确信成为产生美的条件，谦虚的心便是具有自然美的根本。

52. Self-assurance becomes a condition for the creation of beauty, and a humble heart is the essence of natural beauty.

53. 只有艺术的兴趣不是美的源泉，只有全身心投入的劳作的结果才格外有约束之美，勤劳的工作和实在的美密不可分。

53. Interest in art alone is not the source of beauty; only the result of wholehearted labor is particularly约束_beauty, and diligent work and genuine beauty are inseparable.

54. 你好！如果我帮你写，没那么多的时间，只能给你几篇作为参考，希望对你有帮助，如果可以的话采纳下，谢谢！

54. Hello! If I help you write, I won't have much time, so I can only give you a few articles as references, hoping they will be helpful to you. If possible, please feel free to adopt them. Thank you!

55. 厚德载物：博大宽容，包举万物，德行深厚能育人利己。

55. Virtue bears all things: broad and tolerant, embracing all things, profound virtue can cultivate both oneself and others.

56. 想家之一，被道教尊为教祖，世界文化名人。后人称其为“老子”（古时“老”字的读音和“李”字相同）。 《史记·老子韩非列传第三》：“老子者，楚苦县厉乡曲仁里人也。姓李氏，名耳，字伯阳，谥曰聃。周守藏室之史也。”按：①东汉边韶《老子铭》：“老子，姓李，字伯阳，楚相县人也。……相县虚荒，今属苦，故城犹在，在濑乡之东，涡水处其阳。”《水经注》卷二三载：“涡水又曲东，迳相县故城南。”②东汉桓帝永兴元年谯令长沙王阜所立碑说：“老子生于曲涡间。”曹丕《临涡赋》提到了曲涡：“荫高树兮临曲涡，微风起兮水增波。”③晋葛洪《神仙传》载“（老子）其母感大流星而有娠。”《大明一统志载：“流星园，在亳州天静宫南，碑云：有星突流于园，老子因而降诞，即此。元有圣母殿，遗址尚存老子生活在春秋时期，曾在周国都洛邑任藏室史，他博学多才，孔子周游列国时向老子问礼。老子晚年乘青牛西去，在函谷关写成了五千言的《道德经》（又称《道德真经》或《老子》或《老子五千文》）。相传老子在此关点化了函谷关总兵尹喜。后一路西行至盩厔，观此处依山傍水（终南山田峪河）、峰峦起伏，遂在此驻足，并结草为楼修行说经。沿传至今世称楼观台。为国家首批重点文物保护单位，国家AAAA级旅游景区，内存历代文人骚客墨迹碑石三百余座。史称道教发源地。老子去世后葬于距此八公里的西楼观，现存老子墓。 某些辩证物主义者认为《道德经》含有丰富的辩证法思想。老子哲学与古希腊哲学一起构成了人类哲学的两个源头，老子也因其深邃的哲学思想而被尊为“中国哲学之父”。老子的思想被庄子所传承，并与儒家和后来的佛家思想一起构成了中国传统思想文化的内核。道教出现后，老子被尊为“太上老君”，道教称其是太上老君的第十八个化身；从《列仙传》开始，老子就被尊为神仙。《道德经》的国外版本有一千多种，是被翻译语言最多的中国书籍。 老子的思想主张是"无为"，理想政治境界是“邻国相望，鸡犬之声相闻，民至老死不相往来”。《老子》以“道”解释宇宙万物的演变，“道”为客观自然规律，同时又具有“独立不改 老子

56. One of the most homesick figures, revered as the founding patriarch of Taoism and a world cultural celebrity. His later descendants called him "Laozi" (in ancient times, the pronunciation of the character "Lao" was the same as that of "Li"). "Records of the Grand Historian · Laozi and Han Fei's Biography, Chapter 3": "Laozi was a native of Quxian, a town in the Lai乡 area of Chuxian County, Chu. His surname was Li, his given name was Er, his character was Boyang, and he was posthumously titled Dan. He was the historian of the Zhou Dynasty's library of sacred texts." Note: ① The "Laozi Inscription" by Bian Shao of the Eastern Han Dynasty: "Laozi, surname Li, character Boyang, from Xiang County, Chu. ... Xiang County was desolate and now belongs to Ku, and the ancient city is still there, east of Lai乡, where the Xue River flows." ② The "Waterways Annotation" Volume 23: "The Xue River then curves to the east, passing south of the ancient city of Xiang County." ③ The "Biography of Immortals" by Ge Hong of the Jin Dynasty: "Laozi's mother felt a great meteorite and conceived him." "The Great Ming General Gazette" states: "The Meteorite Garden, south of the Tiansheng Palace in Bozhou, the stele says: a star suddenly flowed into the garden, and Laozi was thus born, which is this place. There was a Holy Mother Palace in the Yuan Dynasty, and the ruins are still there." Laozi lived in the Spring and Autumn period, served as the librarian in the capital of the Zhou Dynasty, Luoyi, and was erudite and talented. Confucius asked Laozi about etiquette during his travels around the states. In his later years, Laozi rode a blue ox westward and wrote the "Tao Te Ching" (also known as the "True Tao Te Ching" or "Laozi" or "Laozi's Five Thousand Words") at Hangu Pass. It is said that Laozi enlightened the general Yin Xi of Hangu Pass. He then traveled west to Zhouzhi, admired the place for its mountains and rivers (Tianyue River of the Southern Submountain), and stopped there, building a thatched pavilion to practice and expound on the teachings. This place is now known as the Laojun Pavilion. It is the first batch of key cultural relic protection units in the country, a national AAAA-level tourist attraction, with over three hundred historical literati's calligraphy and stone tablets. Historically, it is considered the origin of Taoism. After Laozi's death, he was buried eight kilometers away in the West Laojun Pavilion, and the Laozi tomb still exists. Some dialectical materialists believe that the "Tao Te Ching" is rich in dialectical thinking. Laozi's philosophy, together with ancient Greek philosophy, constitutes two sources of human philosophy. Laozi is also respected as the "Father of Chinese Philosophy" for his profound philosophical thoughts. His thoughts were carried forward by Zhuangzi and, together with Confucian and later Buddhist thoughts, formed the core of traditional Chinese cultural and ideological heritage. After the emergence of Taoism, Laozi was respected as the "Great Emperor Laojun," and Taoism claimed him as the eighteenth manifestation of the Great Emperor Laojun; starting from the "Biography of Immortals," Laozi was respected as a god. There are more than a thousand foreign versions of the "Tao Te Ching," making it the most translated Chinese book. Laozi's philosophical stance is "wu wei" (non-action), and his ideal political realm is "countries can see each other, the sound of chickens and dogs can be heard, and people can live and die without ever contacting each other." The "Tao Te Ching" explains the evolution of the universe and all things in terms of "Tao," which is the objective natural law, and at the same time, it has the characteristics of "independent and unchanging" ...

57. 我们说历史是以一个个故事的形式呈现给后人，但历史的密码就在于这些看似不相关的故事背后的联系。历史是连续的，也是活的，我们活在当下也是活在历史中。历史流经我们眼前。只有看到历史的延续性，我们才能明白当下；只有看到历史的延续性，才能敏锐地判断未来。深切的现实关怀感，在我看来是本书的最大看点。

57. We say that history is presented to future generations through a series of stories, but the key to history lies in the connections behind these seemingly unrelated stories. History is continuous and alive; living in the present is also living in history. History flows before our eyes. Only by seeing the continuity of history can we understand the present; only by seeing the continuity of history can we make acute judgments about the future. A deep sense of concern for the reality is, in my view, the most appealing aspect of this book.

58. 关系极简，就不会有烦恼。

58. Keep relationships simple, and there will be no worries.

59. 老子传说 老子出生

59. Legends of Laozi - The Birth of Laozi

60. 人是智慧动物，要学会战胜自己的欲望，不被欲望所摆布，这样才能活得健康长寿，潇洒自在。

60. Humans are intelligent animals, and they need to learn to conquer their desires, not be controlled by them. Only in this way can they live a healthy and long life, and be carefree and at ease.

61. 老子试图建立一个囊括宇宙万物的理论。 老子认为一切事物都遵循这样的规律（道）： 事物本身的内部不是单一的、静止的，而是相对复杂和变化的。事物本身即是阴阳的统一体。 相互对立的事物会互相转化，即是阴阳转化。 老子授经图卷（局部）

61. Laozi attempted to establish a theory that encompasses all things in the universe. Laozi believed that all things follow such a law (the Tao): the internal nature of things is not simple or static, but relatively complex and changeable. The essence of things itself is a unity of yin and yang. Opposing things will transform into each other, which is the transformation of yin and yang. (Partial illustration of the Laozi's classic scroll)

62. 一辈子追名逐利，上蹿下跳，其实很可悲，不过是名利捆缚住的奴隶。

62. To chase fame and wealth for a lifetime, to flit up and down, is actually very pitiful; one is merely a slave bound by fame and wealth.

63. 成年人请清醒地认识自己，过低欲的生活，照看好自己的生命，安顿好自己的灵魂。

63. Adults should clearly recognize themselves, lead a modest life, take good care of their lives, and settle their souls.

64. 作为中国人读欧洲史，难免会来个中西对比，回想起“李约瑟之问”，也许在本书中，我们能找到点什么。

64. As a Chinese person reading European history, it is inevitable to make a comparison between the East and the West, and recall the "Needham Question." Perhaps in this book, we can find something.

65. 老子出生的传说 据传，被道教奉为太上老君的老子是彭祖的后裔，在商朝阳甲年，公神化气，老子寄胎于玄妙王之女理氏腹中。 一天，理氏在村头的河边洗衣服，忽见上游飘下一个黄澄澄的李子。理氏忙用树枝将这个拳头大小的黄李子捞了上来。到了中午，理氏又热又渴，便将这个李子吃了下去。从此，理氏怀了身孕。 理氏怀了81年的胎，生下一个男孩。这男孩一生下就白眉白发，白白的大络腮胡子。因此，理氏给他取的名子叫“老子”。老子生下来就会说话，他指着院子中的一棵李子树,说:“李就是我的姓”。

65. The Legend of Laozi's Birth According to legend, Laozi, revered as the Supreme Elder in Taoism, is a descendant of Pan Gu. In the 60th year of the Shang Dynasty, when the gods transformed their essence into the world, Laozi took form in the womb of Princess Li of the Xuanmiao King. One day, while Princess Li was washing clothes by the river at the village head, she suddenly saw a golden plum floating down from upstream. She quickly used a branch to pluck up the golden plum, which was as big as a fist. By noon, Princess Li was both hot and thirsty, so she ate the plum. From then on, she became pregnant. Princess Li carried the fetus for 81 years and gave birth to a boy. The boy was born with white eyebrows and hair, and with a full, white beard. Therefore, Princess Li named him "Laozi." Laozi could speak as soon as he was born. He pointed to a plum tree in the courtyard and said, "Li is my surname."

66. 有些大学生被别有用心的校园贷卡住，债务膨胀，走投无路，被迫自杀。

66. Some college students have been trapped by malicious campus loan cards, with their debts escalating, left with no way out, and被迫自杀. (Translation note: The phrase "被迫自杀" could be translated as "forced to commit suicide" or "forced into taking their own lives," but the original text might not explicitly state that the suicide was forced. The translation tries to convey the tragic outcome in a way that aligns with the implications of the original text.)

67. 中文名： 李耳

67. Chinese name: Li Er

68. 代表作品： 《道德经》

68. Representative Works: "Tao Te Ching"

69. 把这个世界营造成美的国度，这是我们所憧憬的一种理想，或许称作梦想，作为人类来说不应该放弃自己的理想。若是科学家便将这个世界当作真理的王土，若是道德家便将善的国土当作愿望，若是宗教家，便把实现神之卫国作为终生的追求。他们全部的努力都是为了理想的实现，而布言布语只想通过自己的努力尽量美化这个世界中自由幸福的人们，使这个世界变得更加和谐美满，这是布言布语的梦想。无论是自然美还是艺术美都是我们美好愿望的表现。

69. To cultivate this world into a land of beauty is an ideal we all aspire to, perhaps even a dream. As humans, we should not abandon our ideals. If one is a scientist, they treat this world as the kingdom of truth; if a moralist, they view the land of goodness as their wish; and if a religious figure, they seek to realize the guardian of the gods as their lifelong pursuit. Their entire efforts are aimed at the realization of their ideals, and their words and actions are solely to try to beautify the world of free and happy people through their own efforts, making this world more harmonious and fulfilling. This is the dream of spreading words and actions. Whether it is natural beauty or artistic beauty, they are all expressions of our beautiful wishes.

70. 我在问，石丰，你为啥平涂而不用手工让色漫化，让一切恢复自然？但我没问，他似乎自己明白利弊，于是有了批水墨的尝试，再次赋予这头气韵与灵动，让视觉从冷硬与工艺中回归趣道，回归一种老旧的审美口味。但这种口味依然陌生，因为烹法没变，但菜品变了，也是抽象。

70. I am asking, Shi Feng, why do you opt for flat painting instead of using hand techniques to allow colors to blend and fade, restoring everything to its natural state? But I didn't ask, as it seems he understands the pros and cons himself. Therefore, he embarked on an experiment with ink wash painting, once again infusing vitality and grace into this subject. It allows the visual experience to return from the cold and harsh to the path of interest, back to an old-fashioned aesthetic taste. However, this taste remains unfamiliar, because the cooking method hasn't changed, but the dish has, and it is abstract.

71. 食物极简，就不会有油腻。

71. With a minimalist approach to food, there won't be any greasiness.

72. 现代社会的诱惑非常多，琳琅满目的奢侈品，高端舒服的享受，时尚精致的穿戴，每一样都可以满足你的虚荣心和价值感。

72. There are many temptations in modern society, with a plethora of luxurious goods, high-end comfortable experiences, fashionable and exquisite attire, each of which can satisfy your sense of vanity and value.

73. 对罗马帝国进行侵略的日耳曼蛮族的战士文化。这其中罗马的作用是至关重要的，从某种意义上说，欧洲史就是古罗马的延续。“直到19世纪，某个称作罗马帝国的东西依然存活在这个世界上”。

仍然存活在这个世界上的是某种东西，被称为罗马帝国。“从某种意义上说，欧洲史就是古罗马的延续。在73.对罗马帝国进行侵略的日耳曼蛮族的战士文化中，罗马的作用是至关重要的。”直到19世纪，某个称作罗马帝国的东西依然存活在这个世界上。”

74. [3]方法（德）来源于事物的规律（道）。 老子的“无为”并不是以“无为”为目的，而是以“有为”为目的。因为根据之前提到的“道”，“无为”会转化为“有为”。 这种思想的高明之处在于，虽然主观上不以取得利益为目的，客观上却可以更好地实现利益。 从“天地无人推而自行，日月无人燃而自明，星辰无人列而自序，禽兽无人造而自生，此乃自然为之也，何劳人为乎？”（见于下文 老子故事 孔子问礼 第4段）可见： 老子所说的“自然”不是类似于神的概念，万物的规律（道）由自然来指定，即是“道法自然”。有人误解了此处自然的意思。 应当注意到：。 事实上，人活着犹如宇宙之存在，没有人能理性地指出其目的。 因此，非理性地选择某个（些）目标成为唯一的选择。 老子是站在道这个无穷高的位置来看问题。 因此，老子只说了“方法”，但没有指出“目的”。 这给我们一个启示：人何必为刻意达到目的而痛苦不堪。无为，逍遥亦是一种为人处世之道。 关于老子的宇宙观，根据之前的道，“无”与“有”（万物存在即是“有”）会相互转化。因此老子认为宇宙万物来自虚无，也走向虚无。比如：人的生与死（可参见下文 老子故事 圣人辞世 “昔日老聃之生也，由无至有”、“今日老聃之死也，由有归无”）。 辩证法属于方法论，方法论包含道论，老子道论中那些与辩证法非常相似的内容，素为人们所称道。与上述认为老子思想企图包罗一切的观点相比，另有观点认为老子道论属于纯粹的方法论的范畴。依广西师大《老子感悟》的介绍，其论点大致如下：

74. [3] The method (in German) originates from the laws of things (the Tao). Laozi's "wuwei" (non-action) is not aimed at non-action itself, but at action. Because according to the previously mentioned "Tao," "wuwei" will transform into "wuyi" (action). The brilliance of this thought lies in the fact that although it is not aimed at gaining benefits subjectively, it can better achieve benefits objectively. As can be seen from the following passage: "The heavens and the earth move without being pushed, the sun and the moon shine without being lit, the stars are arranged without being ordered, birds and beasts are born without being created, this is all done by nature, why should humans make an effort?" (See the fourth paragraph of the story of Laozi in the section on Rites of Confucius below): Laozi's "nature" is not a concept similar to that of a god; the laws of all things (the Tao) are designated by nature, which is "Tao follows nature." Some people have misunderstood the meaning of "nature" here. It should be noted that: In fact, just like the existence of the universe, no one can rationally point out its purpose. Therefore, choosing a certain (some) goal non-rationally becomes the only choice. Laozi views the problem from an infinite high position of the Tao. Therefore, Laozi only talked about "method," but did not point out the "purpose." This gives us an insight: why should humans suffer so much for the sake of deliberately achieving a purpose? Wuwei (non-action) and逍遥 (free and carefree) are also a way of dealing with the world. Regarding Laozi's view of the universe, according to the previous Tao, "wu" (non-existence) and "you" (the existence of all things) will transform into each other. Therefore, Laozi believes that all things in the universe come from nothingness and also return to nothingness. For example: human life and death (see the story of Laozi's departure in the section on "Saints Departing" below: "In the past, Laozi was born from nothingness to existence," "Today, Laozi's death is from existence to nothingness"). Dialectics belongs to methodology, and methodology includes Taoism. The content similar to dialectics in Laozi's Taoist theory is highly praised by people. Compared with the view that Laozi's thought tries to encompass everything, there is another view that Laozi's Taoist theory belongs to the category of pure methodology. According to the introduction of Guangxi Normal University's "Understanding of Laozi," the main points are as follows:

75. 为了鉴赏而制作的东西不是完美的，而为了实用去制作的东西里往往隐藏着无事的常道之美。

75. Things made for appreciation are not perfect, while things made for practical use often conceal the beauty of ordinary ways that go unnoticed.

76. 集整理的，钟馗故里陕西户县流传千年《老子与钟馗的传说》。 传说，当年函谷关总兵尹喜见到紫气东来，老子骑青牛而至，便拜老子为师，辞官随老子沿秦岭终南山神仙路西行，昼行夜宿，不几日来到将军山下，只见此处祥云缭绕，四季如春，溪流纵横，鱼翔浅底，百鸟争鸣，龙飞凤舞，牡丹竞放，泉水叮咚，真乃世外桃源，老子抬头望时，只见一巨石十分奇异，如有人形，豹头环眼，铁面虬鬓，一手执剑，一手执扇，五蝠飞舞，正气浩然，不尽叹到：“道可道，非常道，宇宙造物，天地之始，万物之母，欲观其妙，常有也，钟馗钟馗赐福镇宅，中榜得魁，真神也……。”洋洋洒洒五千言，由尹喜记录，世谓之《道德经》是也。 后老子与伊喜结草阿福泉，马放南山，老牛坡放牛，南山不老松下讲道，发现终南捷径后清凉山讲经，楼观台炼丹，铸南山铁案，享南山之寿，是谓道教之祖庭，钟馗之故里，天下第一福地也。

76. The collected tales of the hometown Shaanxi Hu County, where the legendary Zhong Kui originated, have been passed down for a thousand years, known as the "Legend of Laozi and Zhong Kui." According to the tale, once the general Yin Xi of Hangu Pass saw the purple mist coming from the east, Laozi arrived riding a blue ox, and Yin Xi then became Laozi's disciple, resigning his post to follow Laozi westward along the immortal path of the Zhongnan Mountains of the Qinling Range. They traveled day and night, and after a few days, they arrived at the foot of the General's Mountain. They saw that this place was shrouded in auspicious clouds, resembling spring all year round, with streams crisscrossing, fish gliding in shallow waters, birds chirping, dragons and phoenixes dancing, peonies blooming, and springs gurgling. It was truly a paradisiacal land beyond the world. When Laozi looked up, he saw a large stone that was very strange, resembling a human figure with a leopard's head, ringed eyes, an iron face, and matted whiskers. In one hand, he held a sword, and in the other, a fan. Five flying bats surrounded it, exuding a strong sense of righteousness. Laozi could not help but sigh, "The Tao that can be told is not the eternal Tao; the origin of the cosmos, the beginning of heaven and earth, the mother of all things. To see its wonders, it is always present. Zhong Kui, Zhong Kui, bestow blessings and protect the home, win the top rank in the imperial examination, truly a divine being..." These words, totaling five thousand in all, were recorded by Yin Xi, and are known as the "Tao Te Ching." Later, Laozi and Yin Xi established the Jicao A Fu Spring, let their horses roam in the South Mountains, grazed old oxen on the Laoniupo slope, preached the Tao under the evergreen pines of the South Mountains, discovered the shortcut to the Zhongnan Mountains, and then taught the classics on Qingliang Mountain, refined elixirs on the Llouguantai, cast the iron case of the South Mountains, enjoyed the longevity of the South Mountains, and thus became the ancestral hall of Taoism, the hometown of Zhong Kui, and the first land of fortune in the world.

77. 叔本华说，人就是一团欲望。欲望得不到满足，人就会痛苦。欲望得到满足，人就会空虚。因此，人总是在痛苦和空虚的摇摆之间艰难地活着。

77. Schopenhauer said, "Man is a bundle of desires. Unfulfilled desires bring suffering, and fulfilled desires bring emptiness. Therefore, people live in a difficult state, constantly swinging between suffering and emptiness."

78. 而人的整体或人的大脑对空间思维的拓展所具有的天然属性，更将人的这一潜力发挥得恰到好处或淋漓尽致。也就是说，当人无论是直面艺术作品所呈现的现实生活或虚拟现实等奇思妙想的艺术世界，或者置身于室外造物之主摄人心魄的伟大作品——大自然之中，人体所有的器官都会以它们各自的担待、使命与触角展现出它们神奇的功能，而所有的联想思维也会随之而尽情地打开和拓展，让人的情绪、心念和心智彻底坦然自若的、激情澎湃的、疑惑求证地融入到人与作品、人与情境、人与自然的和谐共生的美妙感受和体验之中。

78. The inherent attributes of the human body or the human brain in expanding spatial thinking further bring out this potential to perfection or to the fullest. That is to say, whether a person is facing the realistic life presented by art works or the imaginative artistic worlds of virtual reality, or immersed in the awe-inspiring masterpieces of the Creator in nature outside, all the organs of the human body will display their神奇 functions through their respective responsibilities, missions, and sensory appendages. All associative thoughts will also be fully unlocked and expanded, allowing a person's emotions, thoughts, and intellect to fully integrate and blend into the harmonious coexistence and wonderful feelings and experiences of people with works, situations, and nature, in a completely relaxed, passionate, and inquisitive manner.