艺字五行属什么？艺字取名禁忌！

新艺术本体与艺术优存定律（中英文对照版）

王艾石

摘要：艺术不是一个物象作品,人们所看见的物象，是艺术呈现的先验于物象的表观结果。艺术是从人体物质与宇宙物质物电纠缠运动产生的意识思维高端建筑层面加工的思想精神性产物，是物象作品背后的本原性形态，旨在调和精神幻象与物质世界的关系,在宇宙规定性下遵循递增循进规律中作用于人类一切生命活动，终极任务是优化人类生命生存度，保障生命守恒；实性任务是为达成人性完美精神世界，构建更符合人类社会的文化精神体系而服务的。

Ontology of New Art and Survival of Art

Wang Aishi

abstract: Art is not an image work, but an image that people can see and an apparent result of the transcendent image presented by art; art is the ideological and spiritual product that’s processed from the high-end level of consciousness and thinking and generated by the entanglement movement of human body and cosmic materials. Also, it is an original form behind the physical image works, intended to reconcile the relationship between spiritual illusion and the material world; acting on all human life activities in accordance with the law of increasing progression under the cosmic stipulation, its ultimate task is to optimize the survival of human life while safeguarding the conservation of life; its practical task is to serve to help human beings achieve a perfect spiritual world of and construct a cultural spiritual system more in line with human society.

我们经过梳理宇宙规律、生命、文明、文化、未来社会等要素关系，首次提出艺术本体性概念“艺术优存定律”，进一步明确艺术在人类生命活动中的绝对主导作用与意义，明确人类一切生命活动都是艺术的结果，明确人类审美的来龙去脉与基因优存的必然联系，解决了艺术在人性内的终极本质问题，为填补21世纪新艺术体系的空白，为新时代艺术发展提供了一个全新思路。

本文写作手法为先提出概念，后进行关系解析。

the concept of art ontology—survival of art is proposed for the first time, by sorting out the relationship between the law of the universe, life, civilization, culture, future society and other elements and further clarifying the absolute leading role and significance of art in human life activities in illustrating all human life activities are the result of art, and elucidating the inevitable relationship between the context of human aesthetics and genetic development. It solves the ultimate essence of art in human nature, and provides a new idea, filling the blank of the new art system in the 21st century and presenting mentality for art development in the new era.

This paper first puts forward the concept, and then analyzes the relationship mentioned previously.

王艾石水墨作品

一、传统感官下的认知模型崩塌，重新定义艺术为历史必然性

在艺术创作层面，很多人都面临同一个问题:无法突破传统，无法突破自己，创作方向迷茫。在艺术鉴赏层面，大多普通民众很难理解真正艺术，更无法深度欣赏感悟艺术。

2.1 The collapse of the cognitive model under the traditional sense and the historical necessity to redefine art

When it comes to artistic creation, many people are confronted with the same problem: they, confused in the direction of creation, are unable to break through the tradition or unable to break through themselves. In terms of art appreciation, it is difficult for most ordinary people to understand, not to mention appreciating or feeling art in depth.

其根源是旧的传统不再符合新的时代，而创作者和欣赏者的思想又被框固或盲从在了传统的架构里，如技法、功力、笔墨、结构等。所以，我们必须打破传统艺术壁垒，以传统文化精神为奠基，重新构建符合时代的新艺术体系。

The root cause lies in that that the old tradition no longer accords with the new era, and the thoughts of the creators and viewers are framed or blindly followed in the traditional framework by techniques, skills, ink, structure and so on. Therefore, it’s necessary to break away the barriers of traditional art, but to take the spirit of traditional culture as the foundation, and rebuild the new art system that follows the times.

我们来看传统艺术，它产生于传统感官下的认知模型，传统认知模型产生于早期人类以感官建构宇宙空间和时间的知识体系。通俗地说，传统是人类早期以眼见为实而构建的世界观模型。

The traditional art is a cognitive model of the traditional sense, which comes into being from the knowledge system of space and time of the universe acquired by the ancient people. Generally speaking, tradition is worldview model built by seeing in the early days of mankind.

在智能时代的21世纪，人类信息量空前增长，新宇宙观的原子、粒子、量子、基因、高维等要素无法靠传统的视觉、听觉、触觉、嗅觉等感官直接认知，标志着由传统感觉器官构建的知识体系早已全面崩塌，在传统感官模型下建构的艺术体系也随之崩塌，重新认识与定义艺术成了历史的必然性。

In the intelligent era of the 21st century, the amount of information of human beings is increasing unprecedentedly, when the elements of the new cosmology, like atoms, particles, quantum, genes, and high dimensions, cannot be directly recognized by traditional senses of vision, hearing, touch, and smell. This indicates that the knowledge system constructed by traditional sensory organs has completely collapsed, to an extent in which the artistic system constructed under the traditional sensory model has also collapsed, so it’s inevitable to understand and define art.

二、新艺术定义与艺术优存定律概述

无论是艺术从业者还是鉴赏者，如果不能从生命本体、艺术本体、此在本原上看待艺术，一切艺术理论、艺术创作、艺术鉴赏都是盲目的。

2.2 The definition of new art and the overview of art survival of the fittest art

For both art practitioners and connoisseurs all art theories, artistic creation and artistic appreciation would become blind, if art cannot be viewed from the essence of life noumenon, or art noumenon.

（一）、新艺术定义与优存定律

我们生存的宇宙世界是物质的，宇宙间的万事万物全都是物质的，包括人类身体。而人类生命的存在，则是由精神支撑的，精神是物质运动的幻象。支撑精神的，是艺术。

2.2.1 The definition of new art and the survival of the fittest art

The universe we live in is material, so is everything in the universe, including the human body; the existence of human life is supported by the spirit, an illusion of the movement of matter, which is supported by art.

那么，艺术是什么？

艺术不是一个物象作品。人们日常所看见的物象作品，是艺术呈现的先验于物象的表观结果。

真正的艺术则是从人体物质与宇宙物质物电纠缠运动产生的意识思维高端建筑层面加工的思想精神性产物，是物象作品背后的本原性形态，旨在调和精神幻象与物质世界的关系。

So, what is art?

Art is not a physical work. The image works in daily life are the apparent results of the transcendental image presented by art.

Real art is the ideological and spiritual product processed from the high-end level of consciousness and thinking, and generated by the entanglement movement of human body and cosmic materials. It is an original form behind the image works to reconcile the relationship between spiritual illusion and the material world.

终极任务是优化人类生命品质、优化人类基因存在力、保障人类生命体从亘古到未来的永恒存在。也就是说，为人类永恒存在而服务的一切思想精神活动与行为形态都属于艺术，并扮演着人类生命活动的总调度师的角色，对人类生命活动起到奠基、开启、组织、引导、安抚的作用，有着神、魂、气、魄的特性；

Its ultimate task is to optimize the quality of human life and the existence of human genes while guaranteeing the eternal existence of human life from everlasting to future. That is to say, all ideological and spiritual activities and behavioral forms serving the eternal existence of human beings, are art and play the role of the chief scheduler in human activities, laying the foundation for man to start, organize, and guide activities, and to seek comfort. It features soul and spirit.

实性任务是从宇宙规律层面走出来，进入人类现实生活中，优化提升人性品质，构建人的价值审美导向，开启人类性灵，引导思想方向，引领时代未来，达成完美文化精神外化世界，明确生命存在的本性意义与实性意义，最终为保证人类生命体守恒服务。

故，我们将其定义为“艺术优存定律”。

Its practical task is to step out of the cosmic law and enter the real life of human beings by working as mentioned before to lead the era and future and achieve the perfect externalization of cultural spirit while clarifying the natural meaning and practical meaning of life existence, and ultimately serving to ensure the conservation of human life.

So, that’s the definition of the survival of the fittest art.

大家看艺术二字，“艺”多指技能技法；“术”指道的中心，“道”是宇宙万物的中心，是一切精神、思想的中心。简单的说，人们用技能技法来阐述表达人与道的关系，叫做艺术。

In the system of Chinese culture, the Chinese character is composed of two parts that respectively mean skill and center; the latter refers to the core all things in the universe, and of all spirits and thoughts. Simply put, the word art in Chinese philosophy signifies that people use skills and techniques to express the relationship between man and Tao that’s also called art.

请注意，这里的技能技法并不单指传统表观艺术上的工艺性质，它的主体表现在思想加工层面的艺意识维态中，例如，思想加工的方式方法即是艺术技能技法的一个项类。

这里的“艺”字也只是时代演变的表意。因为，真正的艺术是以“生命优存定律”为轴心而开展的最高级的、抽象的生命活动形式，目的是明确生命存在的本性意义与实性意义，最终完成艺术的终极任务与实性任务。

It’s worth noting that skills and techniques here do not only refer to the craft of traditional art, but are mainly expressed in the dimension of art consciousness at the level of ideological processing. So from this perspective, ways and methods of ideological processing are a category of artistic skills and techniques.

In addition, art is only manifestation of the evolution of the times, because the real art is the highest and abstract form of life activity that’s carried out by the law of the fittest to survive. The purpose is to clarify the essential meaning and practical meaning of life existence, finally completing the ultimate and practical task of art.

特别说明

本文艺术一词主要指的是思想层面以上的艺术本原性形态，艺术物象背后的东西，不代表以传统工艺技法为主体的表观工艺。我们说的终极，也不是宇宙意义的终极，它是人性认知上的终极，宇宙没有终极。

Special instructions

The term of art in this paper is mainly about the original form of art that’s above the ideological level. What’s behind the artistic objects does not represent the craft that takes traditional techniques as the main body. The ultimate is not the ultimate meaning of the universe, but the ultimate cognition of human for the universe is indefinite.

王艾石水墨作品

三、 艺术优存定律与宇宙循进优存规律的本体关系

艺术的本体性载体是人类的生命，生命的本体在宇宙规律中。所以，我们追寻论证艺术本体，必须从宇宙规律入手。

2.3 The noumenal relationship between the law of art survival and the law of universe progression

The noumenal carrier of art is human life, while the noumenon of life is in the laws of the universe. Therefore, the pursuit of the survival of the fittest art should start from the law of the universe.

大家都知道，宇宙非常深奥神秘，但只要略作深究，你就会发现，宇宙间的万事万物都会遵循同一个规律，即在守恒状态下不断向前运动、不断在优胜劣汰中不断本位循环，我们把这一现象叫做递增循进律。比如大树，从小往大增长，没有人看过大树越长越小。在大树成熟的时候，会开花结种，种子再发芽长成小树，小树再长成大树，如此循环往前。树在循环过程中不断自我劣汰，自我优化，以期实现守恒的诉求。（本段落里的“增”并不是绝对的增长增加，弱化也是一种增进）。

It is well known that the universe is very esoteric and mysterious, but on further analysis, it can be found that everything follows the same law, or exactly in a state of conservation, in cycle of survival of the fittest, which is called the law of increasing progression in this paper. Take the tree as an example, which grow from the small to the big. When it matures, a tree flowers or seeds, and then seedling begins, making a cycle, in which the trees have to survive in order to achieve the appeal of conservation (The “increase” in this paragraph is not an absolute increase, because weakening can also make an increasing state) .

动物和人类的生命也是在递增循进律下运动的，出生，长大，生育，衰老，死亡，再出生死亡，永远在往复循环之中期求守恒。

需要强调的是，无论动物植物，个体生命的死亡，并不意味着生命的消失。死亡，其实是组装生命体的原子的回归，是递增循进律的环节。

除了生命之外，人类的思想境界同样受递增循进律影响。例如佛门修行，依次概分为沙弥、和尚、罗汉、菩萨、佛，当一个人的思想境界超越到佛之上的时候，又循归到沙弥之前的原点上。由此反推，修行者的每一个进步，就是一个循进。

In an incremental progression moves the life of animal and man, in which to witness birth, growth, reproduction, aging, and death in the cycle of conservation.

It should be pointed out that the death of individual life, whether animals or plants, do not mean the disappearance of life. Death, in fact, is the return of the atoms that build up life, a process of increasing progression.

Besides life, the mental state of human is also affected by the law of progressive progression. For example, Buddhist practice can be divided into sammi, monk, Arhat, and Bodhisattva. When a person’s ideological realm goes beyond Buddha, he or she will return to the original point before sammi. Therefore, every progress of the practitioner is a progression.

在动物和人类的生命递增循进过程中，结合生命起源与生命体构造研究，我们基本确定，作为宇宙中的一个人，我们并不是我们自己，我们的基因是亿万年前循进优化而来，我们的肉体是细胞等微生物通过生化电反应控制的基因利用宇宙中的物质组装而成。我们是谁，没有人知道。我们之所以感觉到我们是我们，是因为人类的思维记忆等不能通过基因保存遗传到下一代的躯体中，故每一个新的躯体诞生，就会产生出一个具备独立思考的新思维系统，这个思维系统其实就是细胞等微生物用于支配人体活动的基本工具，我们把这个工具叫做意识思维，就是这个意识思维让我们以为自己就是自己。从终极角度来说，我们思维系统所产生的一切认知，都是细胞生物控制下给予的假象，假象的目的是控制人类在不同社会环境下进行相对应的生命优化守恒活动。比如人还在动物时期，与动物一样，哺育下一代属于纯洁的本能性优存行为。当人的思想循进到一定度值时，哺育下一代被渗入求福报的功利思想。我们在其它章节已有论述，主观的功利福报思想无疑是思维假象，目的是优化个人生命生存度。所以，功利思想仍然没有摆脱基因守恒控制。

In the life process off animals and man, if combined with the study of the origin of life and the structure of living bodies, it can be basically determined that as a man in the universe, man is not alone, whose genes were optimized hundreds of millions of years ago, and whose bodies are of cells and other microorganisms through biochemical and electrical reactions controlled by genes and assembled with materials in the universe. Who man is no one knows. The reason why man is aware of who they are is that human thinking and memory cannot be passed on to the next generation's body through gene preservation. So, every new body will produce a new thinking system with independent thinking, which is actually the basic tool used by cells and other microorganisms to control human activities. That is conscious thinking, which makes man know who they are. From the ultimate viewpoint, all cognition produced by our thinking system is an illusion given under the control of cellular organisms. The purpose of the illusion is to control human beings to carry out the optimization of life activities in different environments. For example, when people were still animals, feeding the next generation was purely done out of instinctive preexistence behavior. When human thoughts developed to a certain value, feeding the next generation is infiltrated into the utilitarian of seeking blessings. This is to be discussed in other sections. The subjective utilitarian is undoubtedly an illusion of thinking, and its purpose is to optimize one’s life survival. So, utilitarianism still doesn’t get rid of the control of genetic conservation.

树、人、及所有动植物的这种递增循进优化守恒活动，都是由宇宙规律决定的，我们称其为优存定律。简单通俗的说，是物种在本能的基因传播循环活动中为保障生命基因永恒存在而自然劣汰优化的宇宙性的客观规律。

Trees, people, and all plants and animals are determined by the progressive and optimal conservation, which is called the law of superior existence. In simple and popular terms, it is the universal objective law of subalternation and optimization that guarantees the eternal existence of life in the instinctive gene transmission and cycle.

好比狮群，最强壮的公狮才有资格与母狮交配繁育后代，当雄狮衰老后就会被年轻的强壮雄狮赶走，并杀死老雄狮衰老基因所产生的幼崽，促使母狮尽早发情生育。在狮群中，强壮的雄狮优先交配权、杀死弱者基因的幼崽、守卫领土等行为均归属于本能的优存定律范畴。

Take lines as an example. Only the strongest male is the one eligible to mate with the lioness and produce offspring. When he gets old, he is driven away by the younger, stronger mal and the cubs produced by the aging gene will be killed to prompt the lioness to procreate as soon as possible. In a pride, the strong male has the priority to mate first, and the right to kill the genetically weak cubs and guard the territory. This is the law of the survival of the fittest.

再看人类，为什么高富帅、白富美更受异性青睐，其根本原因是高富帅、白富美的内在基因更加纯正，外在条件更具生存力，故人们本能的选择高富帅、白富美作配偶，其内在动因就是基因优存定律所支配的。比如人类对异性美与丑的定义，美是基因为了保持永恒存在，为了选择更好的基因与之交合优化，而本能的识别异性基因优劣的直观表象。这个直观表象是存在个体差异的，它受个人生存环境与个人生存度所影响，但它的动因均是指向优存的。如有的民族以胖为美，有的部落以长颈为美等，其终极动力因均指向优存。

Man is another example. Guys rich, handsome and well-educated and girls rich and beautiful are more favored by the opposite sex because they have more pure internal genes of high quality and more external conditions of survivability. This is the survival of the fittest. The beauty is the gene to maintain eternal existence, which is preferred for better genes in the course of mating optimization. This is the intuitive representation of individual differences, which are affected by living environment and individual survival, but its motivation is directed to the survival of the fittest. For example, some ethnic groups regard fat as beauty, while some tribes regard long necks as beauty, and the ultimate driving force is for the better to survive.

我们在研究“人类存在的意义”中也发现，人、动物、植物等，都是一台生命基因优化、传播、繁殖、守恒的机器，我们吃饭、喝水、呼吸等生理活动，最终目的都是为基因优存错误!而从事的宇宙物质能量吸收加工的工作。男人喜欢美女，女人喜欢帅哥，只是被肩负优存使命的基因欺骗利用而已。

When the meaning of human existence is studies, it’s found that people, animals and plants are all machines that optimize, spread, reproduce and conserve life genes. The ultimate purpose of our physiological activities of eating, drinking and breathing is to avoid errors for genes to survive. And work on the absorption and processing of cosmic matter. Men like beautiful women and women prefer handsome men. This is behavior in effect for man to be driven by genetic survival.

不仅如此，人类的一切生命活动最终都指向优存。包括人类一切主观客观、理性感性、形而上形而下、空间时间等等思想概念和人文思想活动，以及人类生活中对衣食住行的品质欲望、吃喝玩乐的愉悦欲望、生活幸福感、快乐感等等，在优存层面全都是统一的，终极动力因是一致的，一律受优存定律支配与影响。

Not only that, all the human activities are eventually oriented to survive of the fittest, including all concepts subjective and objective, rational and perceptual, metaphysical, of space and time, and humanistic activities, as well as life quality for food, clothing, housing and transportation, pleasure of desire and happiness for eating, drinking and playing, all are unified in a level for man to survive and develop, whose ultimate driving force is consistent, and subject to the dominance and influence of the survival of the fittest.

优存定律也很好的解释了地球物种的演化过程，否定了某些物种起源理论，弥补了达尔文进化论中的不足。

The survival of the fittest well explains the evolution process of species on the earth; when negating some theories of the origin of species, it makes up for the deficiencies in Darwinian Evolution.

综上所述，毫无疑问，人类艺术活动同样指向优存，不同的是，艺术所扮演的是人类生命总调度师角色，在宇宙规定性下遵循递增循进规律中作用于人类一切生命文化精神活动，终极任务是优化人类生命生存度，保障生命守恒，实性任务是为达成人类完美生命精神世界服务的，所以我们称其为艺术优存定律。

To sum up, there is no doubt that art activities of human point to the optimization. What’s different is that art plays the role of the general scheduler of human life, acting on all human life, culture and spiritual activities in accordance with the law of increasing progression under the rules of the universe. Its ultimate task is to optimize the survival of human life and guarantee the conservation of life; its practical task is to serve to achieve a perfect life and spiritual world of human beings, so it’s call the law of artistic survival, the survival of the fittest art.

艺术优存定律在实性中是不断向前运动的，人们通常把这一运动现象叫做创新创造。

A law it is that’s constantly moving forward in reality, which is usually called innovation and creation.

也就是说，递增循进的优存过程其实就是一个创新创造的过程。在这个过程中，每一个创新创造被认知利用后，必然转变为常识，再必然有新的创新创造产生，替代或淘汰旧的常识。

In other words, the process of incremental and progressive optimization is actually a process of innovation and creation, in which each and every innovation and creation will inevitably be transformed into common sense once recognized and utilized, and then there will be new innovations and creations to replace or eliminate the old common sense.

对于人类而言，创新创造并不是凭空发明创造一个东西，世界上所有物品都是宇宙规定设计好的，目前的人类还没有能力超越宇宙，自己来发明创造一个物品来。

For human beings, innovation and creation does not mean creating something out of air. All the objects in the world are designed according to the rules of the universe. Human beings currently have no ability to go beyond the universe to invent and create an object by themselves.

人类的一切创新创造，其实只是寻找和发现，我们通常将这类寻找发现称作创新创造而已。

All innovations and creations by human are in fact to search and discover, which are just titled with search and discovery, or innovation and creation.

读者们一定会质疑，汽车、飞机、电脑、手机明明是人类发明创造的，为什么说人类没有发明创造呢？

Readers are bound to wonder why humans didn’t invent cars, airplanes, computers and cell phones when they were clearly invented by humans.

我们看汽车，是人类发现了宇宙间的蒸汽动力后制造了发动机，制造车身使用的金属是人类在石头泥土中发现了金属元素后经过加温提炼出来的，制造汽车配件所使用的塑料是人类在天然石油中发现提炼出来的。明确的说，不是人类发明了汽车，而是人类发现并利用宇宙中的物质和能量组装制造了汽车。核武器、卫星、电视等等，都是同一个原理。

Take the automobile as an example. It is human beings who discovered the steam power and made the engine out of the universe. The metal used in the automobile body is extracted by human beings after the discovery of metal elements in stone and soil, while the plastic used is extracted from natural petroleum. To be clear, humans did not invent the automobile, but discovered and assembled the automobile using the matter and energy of the universe. So are nuclear weapons, satellites and television TV sets.

艺术也不例外，人类所有的艺术创新创造都是在遵循宇宙客观规律下的探索与发现的一种高于哲学的哲学性活动，终极任务是为生命基因优存服务的。

Art is no exception. All the artistic innovations and creations by man are philosophical activities but in a sense higher than philosophy in the exploration and discovery under the objective laws of the universe; and for sure the ultimate task is to serve for the survival of the fittest genes.

为了顺应传统思维，我们在本书中仍然将艺术的探索发现活动称作创新创造。

艺术的创新创造围绕一个核心运动，我们把这个核心叫做美。

In order to conform to traditional thinking, the exploration of artistic discovery here is also called creative creation.

The creative creation of art revolves around a core movement, the core of which is referred to as beauty.

在学术界，主流学者把美列为主观范畴，主观美的代表人物之一是著名的哲学家康德。很显然，康德当年并没有涉入宇宙循进优存层面。否则，作为一个严谨的哲学家，是不会如此下定义的。

The mainstream scholars in the academic circle regard beauty as subjective category; one of the representative figures of subjective beauty is Immanuel Kant, who was clearly not involved in the universe at the point of existence. Otherwise, as a serious philosopher, who wouldn’t have defined it that way.

如果从表观上看，美确实是此在主观上的感受，对美的定义也是此在主观上的定义。若我们绕到美的背后，你就会发现，主观其实是此在的幌子，支撑美的是宇宙客观规律的优存。没有优存，美是不存在的。就像盛开的花朵，没有枝干根叶，花朵是不存在的。

If viewed on surface, beauty is indeed subjectively perceived, so is its definition. If beauty is bypassed, it can be found that the subjective is actually a cover, and that the support of beauty is the existence of the objective laws of the universe. Beauty does not exist without the survival of the fittest, without which, beauty would be like a blooming flower, a flower that does not exist without branches, roots and leaves.

关于美，我在其它文章均有论述，这里不再过多表述。

Here will not dwell on What’s about beauty, for it has been further illustrated in my other papers.

王艾石水墨作品

四、艺术优存定律在文化文明中的绝对建筑性作用

当今艺术活动中，我们经常会看到很多学者在作艺术注解时，总是会说某某艺术受到了某某文化的影响。其实，他们完全误解了艺术，本末倒置了，文化仅仅是艺术的一种形态。

2.4 The absolute architectural function of art preservation Law in cultural civilization

In art activities today, it can be often seen that many scholars, when making artistic annotations, will always hold a view that certain art is influenced by certain culture. In fact, they have completely misunderstood art and put the cart before the horse, because culture is just a form of art.

在传统认知上，文化是人类实践活动所创造的一切精神物质成果，是凝结在物质之中又游离于物质之外的、能够被传承和传播的思维方式、价值观念、生活方式、行为规范、文化学术、科学技术等，是人类相互之间进行交流的普遍认可的一种能够传承的意识形态，是对客观世界感性上的知识与经验的升华。文化也是人类在不断认识自我、改造自我的过程中不断认识自然、改造自然的活动中所创造的并获得共同认可和使用的符号、文字、图像与语言、音韵、音符等体系的总和。

In terms of traditional cognition, culture is all the spiritual and material achievements created by human practice. It is a way of thinking, values, lifestyles, norms of behavior, cultural scholarship, science and technology that can be inherited and spread, a kind of ideology that is widely recognized and can be inherited by human communication, and a sublimation of the perceptual knowledge and experience of the objective world. Culture is also the sum of symbols, characters, images, language, rhyme, notes and other systems created, commonly recognized and used by human beings in when they constantly understand and transforming themselves.

In terms of traditional cognition, however, culture is all the spiritual and material achievements created by human practice activities. It is a way of thinking, values, lifestyles, norms of behavior, cultural scholarship, science and technology that can be inherited and spread; it is a kind of ideology that is widely recognized and can be inherited by human communication; and it is a sublimation of the perceptual knowledge and experience of the objective world. Culture is also the sum of symbols, characters, images, language, rhyme, notes and other systems created and commonly recognized and used by human beings in the process of constantly understanding and transforming themselves.

但如果我们从宇宙规定性下的优存定律视角看，人类一切实践活动又都是受艺术行为所支配的，实践活动所创造的一切精神物质也都是艺术的结果。

However, if looked into from the perspective of the survival of the fittest, all practical activities of human beings are controlled by artistic acts, all spiritual materials created by which are also the results of art.

例如，人类文明、文化精神的源头为神话故事，这是公知公认的事实。神话故事是人类创造的艺术作品，这也是公知公认的事实。

For example, it is a universally acknowledged fact that the source of human civilization and cultural spirit is fairy tales, and that fairy tales are works of art created by human beings.

再例如，文化活动中最基础的文字系统，世界各地全都是在原始图像文字、象形符号、抽象符号上延展而来的，原始图像文字、象形符号、抽象符号都是无可置疑的高端艺术，也就是说，文字同样是艺术的结果。

Another example is the writing system, which is the most basic in cultural activities all over the world and is extended from original image characters, pictographic symbols and abstract symbols. Original image characters, pictographic symbols and abstract symbols are all unquestionably high-end arts of; that is to say, characters are also the result of art.

确切地说，人类的一切思维方式、价值观念、生活方式、行为规范、文化学术、科学技术等，以及人类创造的一切符号、文字、图像与语言、音韵、音符等体系，都是在优存定律下的艺术活动的结果与形态。其中包含全球性的早期文化核心，如神话故事、崇拜、祭祀等，以及中国传统主流文化核心如易经、道德经、儒学、佛学等，包括西方传统主流文化核心如圣经、古兰经、哲学、科学等主流文化，都是艺术的结果。

To be exact, all the ways of thinking, values, ways of life, norms of behavior, culture, scholarship, science and technology, as well as all the symbols, characters, images, languages, phonology, musical notes and other systems created by human beings are the results and forms of artistic activities under the law of the survival of the fittest. It contains the early core of the global culture, such as mythology, worship, and sacrifice as well as the core of traditional Chinese mainstream culture, such as I Ching, Tao Te Ching, Confucianism, and Buddhism, and the core of traditional Western mainstream culture, such as the Bible, the Koran, the philosophy, and the science and other mainstream cultures. All are results of art.

由于文字数量限制，本文仅针对影响较大的神话、易经、宗教、哲学的艺术性质逐一展开简略讨论。至于详细论证在我的书中均有论述。

Due to the limited article length, this paper only discusses the artistic nature of mythology, Yi Ching, religion and philosophy one by one, and the detailed arguments are all covered in my book.

（一）、 【神话的艺术性质】艺术是文明文化之母

4.1.1 【 Artistic Nature of Myth 】Art being the mother of civilization and culture

神话故事是全球性人类早期文化现象，也是全球文化主要奠基，更是艺术活动在文化文明中占据绝对建筑性作用的直接依据。

Mythological stories are a global cultural phenomenon for early human beings; as the main foundation of global culture, it makes the direct basis for artistic activities to play an absolute role in developing culture and building up civilization.

在远古时期，人类认知宇宙的信息量极低，对万事万物了解甚少，需要构建一个让人信服的世界观、价值观作基础铺垫，神话故事就成了当时最为理想、最有效的构建工具。

In ancient times, human beings had very little information to know about the universe, compelled to lay a groundwork build a convincing world view and values. Mythological stories then became the most ideal and effective construction tool.

古人在构建世界观、价值观时，必须要交代人是怎么来的问题。在当时，无论是地球的东方还是西方，都塑造了神创造人的神话故事，如在中国神话中，人是女娲用泥巴创造的；西方神话中，人是上帝在伊甸园中用泥巴创造的；古印度神话认为人是梵天创造的；古埃及神话认为人是天神阿图姆的眼泪变成的；古希腊神话认为人的生命是神普罗米修斯、雅典娜赋予的；古澳大利亚神话认为人的创世神是庞德杰尔；印加神话认为人的创世神是帕查卡马克；非洲神话中认为人的创世神叫乔奥克等等。

When building their world outlook and values, the ancients had to explain how people came to be. Both the east and the west at that time shaped the mythological story of God creating man. In Chinese myths, man is created by Nuwa with mud; in Western mythology, man is created by God out of mud in the Garden of Eden, in Indian mythology man by Brahma, and in Egyptian mythology man by the tears of Artum. It’s believed in Greek mythology that human life is given by Prometheus and Athena; it’s accepted in Australian mythology that Poundger is the god of creation; it’s in Inca mythology that the god of creation was Pachacamak while in African mythology the god of creation is called Joe Oke.

社会发展到今日，我们早已认识到，人并不是神话故事中描述的那样，由神创造出来的。反过来，造人的神话故事却是人类创造的一类高级艺术，女娲、亚当、夏娃、普罗米修斯、雅典娜等，则是人类塑造的艺术象形。

As society has developed to this day, it’s long realized that man is not the creation of God, as depicted in fairy tales, and that the myth of human creation is a kind of art created by human beings. Nuwa, Adam, Eve, Prometheus, and Athena are the artistic pictograms shaped by human beings.

大家都知道，当今文明文化衍自神话故事，而神话故事是人类创造的艺术，也就是说，文明文化的源头是艺术，艺术是文明文化之母。

Today it’s popularly acknowledged that civilization is derived from mythological stories, which are the art created by human beings. In other words, the source of civilization and culture is art, and art is the mother of civilization and culture.

再比如人类的世界观、价值观，也全都由神话艺术衍生而来。

For example, all the world view and values of human beings date back to mythological art.

最具代表性的是由印度梨俱吠陀神话中诞生的种姓制度，种姓制度对每个人的地位、权利、职业、义务等方面都有严格明确的规定， 尽管今天的印度已废除种姓制度，但几千年来根深蒂固的种姓思想仍然在不少地区、尤其是农村，发挥着重要的社会阶级秩序作用，依然影响着印度人民的世界观、价值观，也直接影响印度人一生的社会地位高低、经济状况好坏。

The most representative is the caste system in the rig-Vedic mythology of India, in which status, rights, occupation, and obligations are strictly regulated. Although the caste system has been abolished in India today, the caste ideology ingrained for thousands of years still plays an important role, especially in rural areas, still affecting the world view and values there and also directly influencing the social and economic status of Indians.

在印度苛刻的种姓制度中，我们可以非常明显的看到，梨俱吠陀描述的神话故事是一个标准的艺术形态，而种姓制度则是艺术形态下的结果，创造运用这一艺术形态的人，我们也可以称其为艺术家。

In the caste system it can be apparently found that the myth described by Rig Veda is a standard form of art, and that the system is the result of the form of art. The people who create and use this form of art can also be honored as artists.

像古印度这样利用神话故事的艺术形态来构建世界观、价值观的行为，在世界上也是普遍性的，古中华、古希腊、古埃及、古波斯、苏美尔、玛雅、印加等文明全都如此。有兴趣的读者可以查阅相关资料，本文不再展开。

It’s universal in the world to construct world views and values as in ancient India with the artistic use of fairy tales like ancient China, ancient Greece, ancient Egypt, ancient Persia, Sumerian, Maya, and Inca. Readers interested can refer to the relevant information.

（二）、【易经的艺术性质】易经深刻思想内涵及高度浓缩化、分类化、抽象化、符号化等都将艺术性质演绎诠释的淋漓尽致

4.2.2 【Artistic Nature of I Ching 】 Of ideological connotation and highly condensed, classified, abstract and symbolized interpretation to explain the artistic nature incisively and vividly

之所以将易经列出讨论，因为易经为群经之首，大道之源，是中国一切学术思想的源头，是智慧与文化的结晶，奠定了中华文化重要价值取向，对中国历代政治、经济、文化、等各个领域都产生了重大影响。无论是老庄学说，孔孟之道，还是孙子兵法或黄帝内经，无不与易经有着直接密切关联。

I Ching is discussed here for it’s listed top among the classics. As the source of all grand laws and all Chinese academic thoughts, it is the crystallization of wisdom and culture, laying an important value orientation for Chinese culture and exerting a significant influence on politic, economy, and culture throughout Chinese history. The philosophy of Lao and Zhuang, the way of Confucius and Mencius, or Art of War by Sun Tzu's and The Inner Canon of Huangdi, all bear a direct and close relation to I Ching.

那么，易经是什么？易经是怎么产生的？

由于早期的人类对于自然现象、社会现象、以及人自身的生理现象均不能够作出科学的解释，可是，人作为一个有思想的高级物种，必须构建一个合理的精神支撑，因而产生对天文探索、自然探索、以及神灵崇拜等，易经就是在这种社会环境下诞生的一门艺术本原性学说。

What is I Ching, then? How did it come about?

As a species with thinking advanced, the early human beings, unable to make scientific explanations for natural phenomena, social phenomena, and their own physiological phenomena, must find reasonable, spiritual explanation, thus producing astronomical exploration, making natural exploration, and worshiping gods. I Ching came into being as an art theory.

概括的说，易经是以阴阳、五行、八卦为一体的推演宇宙空间、时间等万事万物关系的工具，以一种高超的艺术手法来解释自然现象和人事现象的关系。

Generally speaking, I Ching is a tool to deduce the relationship among the universe, space, time and other things by integrating Yin and Yang, five elements and eight diagrams, and to explain the relationship between natural phenomena and human phenomena with the aid of a superb artistic technique.

在艺术性质上，易经的深刻思想内涵及高度浓缩化、分类化、抽象化、精简化、符号化等都将艺术性质演绎诠释的淋漓尽致。以下这些易经词汇也能够充分体现：形而上者谓之道、形而下者谓之器；一阴一阳之谓道；太极分两仪、两仪分四象、四象分八卦；易者象也，圣人立象以尽意，取象比类，观物取象……

In artistic nature, I Ching have rendered the interpretation of artistic nature incisively and vividly with a profound ideological connotation that’s highly condensed, classified, abstract, condensed, and symbolized. All are fully embodied: The origin of the universe transcends all earthly beings is law, Yin and Yang as two opposite poles are law; Tai chi is divided into two instruments that are composed of four images and four images are made up of eight diagrams…

易经本初形式不是我们通常见到的厚厚的一本书，易经的前身是在甲金文发生上千年以前的母系时代的前文字象征符号系统，初期仅表现在一张回字形推演图上，后演变为河图洛书形式，再下来就形成了我们熟知的一张推演卦图，我们也可以理解为一张图画，一幅伟大的艺术作品。卦图中的阴阳鱼表现是太阳与月亮的运动规律，卦符表现的是星辰与自然现象交通变理。

The original form of I Ching is not a book that’s usually seen today. Its predecessor is the pre-script symbol system of the matriarchal era prior to inscriptions on bones or tortoise shells of the Shang Dynasty. At the beginning, it was only shown in a zigzagging deductive diagram, and later it evolved into the form of HETUOLUOSHU, two mysterious patterns handed down from ancient China that contain the esoteric theory of the cosmic and are known as the “Cosmic Cube”, also the source of Chinese culture and the number of Yin-yang and five elements. It’s constituted by a familiar deductive hexagram with HE standing for Huanghe River and LUO Luoshui River. The Yin and Yang fish in the diagram represent the motion of the sun and the moon, while the symbols of the hexagrams the communication among the stars and natural phenomena.

在易经里，其核心为阴阳概念，阴阳所代表的象征与意义最具广泛包纳性，艺术性质非常突出。易经认为，天地万物处于永不停息的有规律的自然而然的运动状态中，是一阴一阳、相生相克的交通变化之道。所谓易出太极，太极生两仪，两仪生四象，四象生八卦；八卦成列，象在其中；因而重之，爻在其中；刚柔相推，变在其中；系辞焉而命之，动在其中……等等都是围绕阴阳展开的艺术本原性哲科思辨。

The core of I Ching, is the concept of Yin and Yang, two symbols that are the most extensive inclusive and whose artistic nature is very prominent. According to I Ching, everything between the heaven and the earth is in a state of never-ending natural and regular movement. That is a way of traffic change in which Yin and Yang complement each other, reinforcing and counteracting mutually.

易经的典型表观艺术手法是将阴阳对应太阳与月亮，也代表男人和女人，以及世间万物的正反两极。正反两极概念也是无限循环延伸的，它涉及到医学、文学、地理、尊卑、刚柔、人性、气运、命理、气候、等等。在古代，如果你看不懂阴阳关系，必将寸步难行。例如中医，基础理论就是易经阴阳辩证关系，中医将人的脏腑、经络、药食、疾病全分阴阳，即把人的心、肝、脾、肺、肾化为五脏，归属为阴；胆、胃、膀胱、大肠、小肠、三焦划分为六腑，归属为阳。五脏六腑的阴阳关系再分别配对，形成一阴一阳、一脏一腑的经络学关系。包括古人的地理方位同样用阴阳来表述，山的南面叫阳，河流的南面叫阴。例如河南省洛阳市，位于洛水北岸；江苏省淮阴市，位于淮水南岸。

The most typical artistic technique of the I Ching is to represent Yin and Yang with the sun and the moon, as well as the male and the female, or all the opposites. The opposite concept goes in an infinite cycle, involving medicine, literature, geography, supremacy, human nature, luck, numerology, and climate. In ancient times, if a person didn’t understand Yin and Yang, his life couldn’t go smoothly. For example, the basic theory of traditional Chinese medicine is the dialectical relationship between Yin and Yang. In traditional Chinese medicine, Yin and Yang are completely divided into the viscera, the meridians, the medicines, the food and the diseases. In other words, the heart, the liver, the spleen, the lung and the kidney are transformed into the classified into Yin as Five Visceras, and the Gallbladder, the stomach, the bladder, the large intestine, the small intestine, and the triple burner into Yang as Six Entrails. The geographical orientation in ancient times was also expressed in Yin and Yang, with the south side of the mountain being Yang and the o river. So, the city of Luoyang get its name because it’s located on the north bank of Luoshui River, and the city of Huaiyin in Jiangsu Province because of it location on the south bank of Huaihe River.

我们再看围绕阴阳的八个基础卦符号，乾卦符号代表天，坤卦符号代表地，艮卦符号代表山，兑卦符号代表泽，震卦符号代表雷，巽卦符号代表风，坎卦符号代表水，离卦符号代表火。而天、地、山、泽、雷、风、水、火同样具备广泛性、包纳性，同样是无限循环延申的，我们常见的是从八卦中延申的64卦，每一卦象征都不同。

Among the eight trigrams of Yin and Yang, the Qian symbol represents heaven, the Kun the earth, the Gen the mountain, the Dui symbol represents the lake, the Zhen represents the thunder, the Xun the wind, the Kan the water, and the Li the fire. All symbols are also extensive and inclusive, and extends in an infinite cycle. Of the 64 hexagrams from the eight trigrams, each has a different symbol.

这些卦卜符号组合在一起形成的推演卦图，演绎出了博大精深的广阔宇宙空间，古今中外没有任何一幅图画作品、艺术作品、文学作品能与之媲美。

All the trigrams and the symbols are combined to form the deductive diagram, explaining the extensive and profound existence and development of the vast space and the universe. No painting, art or literature works in ancient and modern times can be compared with HETUOLUOSHU.

综上所述，在易经阴阳、八卦、天干地支、十二辟卦图中，哪怕是不懂艺术的人都能够非常明显地感受到巨大艺术能量，一种支撑易经理论的艺术能量。

To sum up, in the system of Yin and Yang, the eight trigrams, the Heavenly Stems and Earthly Branches and the twelve hexagrams, even those who do not know art can obviously feel an artistic energy, which supports the theory of the I Ching.

因此，无可否认，易经的内在思想精神本身就是一门为生命优存服务的高级的艺术形态。

Therefore, there is no denying that the inner thought and spirit of I Ching is an advanced art form that serves for the survival of life.

最后，我们从艺术表观上反观易经，易经的阴、阳、八卦是史前人类从天地自然物象中抽象出来的一种象征符号，这种符号是典型的艺术表观形式。

From the artistic perspective Finally, Yin and Yang and the eight trigrams of I Ching are symbols abstracted by prehistoric people from the natural objects of heaven and earth, which are typical forms of art.

再从艺术内质上反观易经，易经是阐释表达人与道的关系的一种方式方法，无疑是一门高级的艺术形态。

所以，易经的艺术性质无可置疑。

I Ching is a way to explain and express the relationship between man and the law. Undoubtedly it makes an advanced art form.

Therefore, there is no doubt about the artistic nature of the I Ching.

（三）、【宗教的艺术性质】人们对宗教的信仰，也就是对艺术的接受与信仰

我们从宗教设计层面开始讨论宗教与艺术关系。

4.2.3 Artistic Nature of Religion

Human belief in religion is actually their acceptance and belief of art

Here is to discuss the relationship between religion and art from the level of religious design.

宗教是社会特殊的意识形态，是一个团体性与组织性的信仰、教义、仪礼系统，是人对超越自然界与超越人自身的事物产生敬畏崇拜信念，有着非常明晰的艺术性质。例如宗教功能是通过祭祀、祈祷、礼拜等活动及遵从教规、戒律、信条等主观价值体系以期达到消除自身苦恼与不安，获得希望与安慰，激发精神与力量，达成完美人格，这就与艺术的下行功能基本相同。

Religion, a special ideology of society, is a collective and organizational system of belief, doctrine and ritual. Also, it is man’s belief in reverence and worship beyond nature and beyond themselves. The artistic nature within is absolutely clear. For example, religion is to eliminate human distress and unease and to obtain hope and comfort while stimulating spirit and power, achieving perfect personality through sacrifice, prayer, worship and other activities, as well as following the subjective value system such as canons, precepts and creeds. This is basically the same as the function of art.

宗教的建立，通常先构建一个世界观、价值观，借助善恶意志来匡正世道人心，确立伦理道德。读过哲学的人都知道，所谓世界观、价值观，绝不是客观宇宙的反映，人类的一切观念都是主观构造的，都是对先验规定性的抽象扭曲的一个思想模型，或者叫自我感知模型、主观逻辑模型，艺术作为优存定律下的向美而生的思想体系，凌驾于这个思想模型之上，参与构建模型的核心灵魂部分，充当构建引导、开启者的角色。因此，宗教构建思想模型的过程也是艺术应用的过程。所以我们说，宗教体系是人类史上较为高级的庞大艺术体系。

The establishment of religion usually begins with the construction of outlooks and values, and the use of good and evil will to correct the world, cultivate hearts, and establish ethics. Anyone who has read philosophy knows by no means are the so-called world outlook and values the reflection of the objective universe, and that all human ideas are constructed subjectively, making an abstract and distorted ideological model of transcendental prescriptivities, or a self-perception model or subjective logic model. Art, as an ideological system developed with the survival of the fittest, is above this ideological model. Its core is to act as a guide and initiator of the construction. Accordingly, the process of religion construction thought relevant models is also the art application. So, it can be said that the religious system is a relatively advanced and huge art system in human history.

好比人类编剧的神话故事，无疑是一种艺术形态，而宗教就是人类编剧的一个更高级的、更庞大故事体系。小故事是艺术，大故事更是艺术。如犹太教、基督教、伊斯兰教等，都是建立在神话故事基础上的。单看基督教、伊斯兰教共源的犹太教的诞生，就产生于犹太人的神话故事。在犹太人的神话故事中，亚伯拉罕尊上帝神为唯一至高无上的神，将犹太人定义为上帝特选的子民，为犹太教建立了基础。后来的犹太人在这一基础上又创造了另一个神话故事，即一个叫摩西的人在西乃山领受上帝神赐予的法律，并确认犹太人与上帝神之间的契约关系，犹太教从而正式形成。后来，在犹太教的基础上，又分支出统治西方世界的基督教、及统治中东世界的伊斯兰教。

If mythological stories are undoubtedly a form of art, religion will be then a more advanced and larger story system by man. Small stories are art, so are big stories. Judaism, Christianity, and Islam are all based on fairy tales. Jewish myth is the common source of Christianity and Islam, in which Abraham honors God as the only supreme God and Jews as the chosen people of God, which laid the foundation for Judaism, and on which Jews created another myth: in which a man named Moses received the law from God on Mount Sinai and confirmed the contractual relationship between the Jews and God, thus formalizing Judaism. on the basis of Judaism derivate two religions, Christianity which rules the Western world, and Islam that demonstrates the Middle East.

我们再看传统表观艺术为宗教服务的关系。

艺术有广义与狭义之分，有内在与表观之别，有无限普泛性和包纳性，故在宗教体系中，艺术参与到各个树节，环环相扣，息息相生，密不可分。好比宇宙间生物，人是一个独立的生物体，人这个生物体又是由数以亿计的独立生命的微生物体组装而来，相辅相成。相对的说，艺术不仅体现在宗教的顶端设计层面，同时也体现在宗教下行的各个树形分支上，最为明显的是艺术家将宗教理论中抽象的、万能的神灵从混沌茫然中具象出来，使信徒的内心明确神灵形象，坚定崇拜方向。如巴比伦神庙、耶路撒冷圣殿、印度神庙、哥特建筑、敦煌莫高窟、麦积山洞窟、清真寺等，以及史前时期作为宗教前身的自然崇拜、图腾崇拜、神灵崇拜、祖先崇拜等信仰活动遗存下来的崇拜岩画、祭祀物品等同样是利用表观艺术将崇拜对象具象化的。大家熟知的达芬奇、米开朗基罗、拉斐尔等也都属于为宗教下行服务的艺术家。

Next comes the relationship between traditional art and its service for religion.

Art has forms in a broad sense and a narrow sense, with an inner expression and an apparent expression, and of infinite universality and inclusion. In the system of a religion, art is involved in all aspects, interlocked and inseparable. Like other creatures in the universe, man is an independent organism, and a human body is assembled by billions of independent living organisms, which complement each other. Comparatively speaking, art is not only reflected in the top design level of religion, but also in all branches descending from religion. The most obvious is that artists concretely represent the abstract and omnipotent gods in religious theories out of chaos and confusion, so that believers can clearly identify the images of gods in their hearts and firmly worship the direction. the Babylonian Temple, Jerusalem Temple, Indian temple, Gothic architecture, Dunhuang Mogao Grottoes, and mosques, turn to apparent art to reify worship objects, so do rock paintings and sacrificial objects left over from religious activities in prehistoric times where to worship nature, totems, gods and ancestors. Leonardo Da Vinci, Michelangelo, and Raphael others are also artists who serve the religion they believe in.

毫无疑问，在宗教发展史上，艺术散发出巨大力量，发挥着引领、开启人类灵魂的重要作用。

There is no doubt that in the history of religious development, art exudes great power, playing an important role in leading and guiding human souls.

Objectively speaking, people’s belief in religion is to accept and believe in art. In the traditional cognitive concept, however, the process of art belief process has an implicit nature. It is believed that in the near future, with the increase of human cognition of the information of the universe, it will be straightforward and clear, whose object will directly shift from god worship to art worship. in the traditional understanding of art, religious and artistic functions are of intrinsic similarities, such as the production of pleasure and hope, and the production of supernatural fantasy and emotion, comfort and sustentation of the human soul; also, religion and traditional art are of false and contradictory elements. For example, art calls for the positive emotions and desires of human beings towards beauty, while religions hocus the hunger and desire of human beings. That is pseudo-perversity.

客观的说，人们对宗教的信仰，也就是对艺术的接受与信仰。但是，在传统认知观念中，这种艺术信仰过程仍然有着内隐性质。相信在不久的将来，随着人类对宇宙信息的认知增加，一定会直白化、明确化，信仰对象直接从神灵崇拜转向艺术崇拜。因为，在传统的艺术认识上，宗教功能与艺术功能有着众多内在共性，如生产愉悦与希望，制造超自然幻想与情感，抚慰寄托人类灵魂等。同时，宗教与传统艺术也存在一定伪悖性。如艺术呼唤着人类积极向上向美的情感和欲望，宗教则麻醉着人类饥渴的欲望与心灵。什么叫伪悖性？从表观上看存在着悖性，但从內质上仍然是共性的。共性与伪悖性又存在着阴阳太极关系，相互交融，相互作用。而今天的人类，欲望始终在无止境的膨胀中，人与传统价值观念的关系越来越不和谐。与此同时，麻醉人类的众神的外衣被一件件剥落，神言被一次次戳穿，固有的宗教约束力逐步减弱，人类灵魂将何去何从？不断超越和自我超越的全新艺术将发挥出本能性的优存力，将真善美、感性理性、存在虚无完美统一，以更宏观的形态进入超高维度的思想意识空间，形成艺术崇拜，安抚脱缰的人类灵魂。

But what is pseudo-perversity? From the external, art and religion are of pseudo-perversity, but from the internal, both have something in common. Yin and Yang exist between commonness and pseudo-perversion blending and interacting with each other. Human desire today, is always in the endless expansion, the relationship between human and traditional values being more and more disharmonious. The garments of the gods anesthetizing human beings are peeled off one by one, the words of gods are exposed again and again, and the inherent religious constraint is gradually weakened. Where will the human soul go? The new art of constant transcendence and self-transcendence will give full play to the instinct of excellence, perfectly unifying the truth, the good and the beautiful, the emotional reason, and the existence of nothingness. When a super-dimensional ideological space in a more macro form comes into being, art worship is formed to soothe the runaway human soul.

（四）、【哲学的艺术性质】哲学之母是艺术

随着当代人类信息量不断增加，人们对宇宙、生命的认知越来越明朗，对艺术的理解也越来越透彻，艺术与哲学关系也就越来越清晰。

4.2.4 Artistic nature of philosophy

Art is the mother of philosophy.

With the increasing amount of information of contemporary human beings, people are being clear and clear to understand the universe and life, acquiring a more thorough knowledge of art and the relationship between art and philosophy.

先看艺术，从今天的宇宙规律及艺术优存定律的知识角度看，人们之前对美术、影视、音乐、诗词等艺术行为的理解都是非常低级表浅的，真正的艺术是宇宙规定性下人类思维中高级本能性的优存体系，是人类进化的一种推动剂，同时也是人类进化的行为规导，为人类服务的公仆，思想的统治者，为优化人属基因、传播基因、保障生命永恒存在提供顶层建筑性方向方法。

For art, people’s previous understanding of art, film and television, music, poetry and other artistic behaviors is very superficial from the perspective of the survival of the fittest art advocated in this paper. The art in a real sense is a superior instinctive n system of human thinking under the rules of the universe, which is a driving, guiding agent for man to evolve, being a public servant for human service and a ruler of thought to ensure the eternal existence of life while optimizing and promote human genes to provide a top-level architectural orientation method.

再看哲学，哲学是人们研究世界，揭示世界发展一般性规律，为人类认识世界、改造世界提供具体方向方法的一种指导性的行为，是为人类生存提供服务的一门高级学科。

Philosophy, by which people study the world, revealing the general laws of world development, provides specific directions and methods for human understanding and transformation of the world. It is an advanced discipline that serves man to survive.

较哲学而言，艺术则是站在宇宙优存定律层面为人类生命守恒服务的，并为人类主观构建各类学科提供顶层建筑服务和传播服务的。而且在上层建筑中，艺术具有普泛性，涵盖人类所有思想下的各个学科。哲学虽然具有广义性，但仍受的人脑中的艺意识维态的力量支配。

所以，我们可以肯定地说，哲学属于一种高级艺术，艺术是哲学之母。

Compared with philosophy, art is beneficial to the conservation of human life at the level of the survival of the fittest, providing services of top-level building and communication for human subjective construction of various disciplines. Moreover, in the superstructure, art is universal, covering all disciplines of human thought. Although philosophy has a broad sense, it is s subject to the art consciousness dimension of human beings.

Therefore, it can be definitely assumed that philosophy is a high-ranking art while art is the mother of philosophy.

我在之前也提出过艺术是哲学之母的观点，不少学者都持反对意见，认为神学才是哲学之母。因为，他们只看到了哲学头顶上的神学两个字，并没有看到神学背后就是艺术。

It’s been argued by the author that art is the mother of philosophy, and many scholars have objected by insisting theology is the mother of philosophy. It’s mostly because they view theology above philosophy, neglecting the art behind theology.

我们也看到很多学者将艺术认作为一门哲学，或者用哲学来定义艺术，并出版许多关于艺术哲学的书籍，这其实是一个本末倒置的错误。错误根源是没有理解宇宙优存定律与生命关系，没有透彻的认知艺术的动力因与终极果，仅仅是站在传统表观层面盲目地给艺术下的一个错误定义。

Many scholars regard art as a philosophy, or define art with the aid of philosophy to, publishing many books on art philosophy. In the system of the survival of the fittest art, this is actually a mistake that puts the cart before the horse. The root cause is that the relationship between the law of universe survival and life is misunderstood, not having a thorough understanding of the dynamic causes and ultimate effects of art. It is just a wrong definition of art from a traditional and artificial level.

最后看对实性人类贡献较大的科学，科学是哲学的分科之学，科学之母是哲学，哲学之母是艺术，科学的艺术性质不言而喻。

Science, which contributes more to human development of being, is a branch of philosophy. The mother of science is philosophy, and the mother of philosophy is art. So the significance of artistic nature of science is self-evident.