創造
創造
2026-05-26
「創造」是由無到有的「過程」，「製造」是有原料的，不同原料根據設計和需要，成為一種工具或物件。而「創造」本身不需要原料，如果它有一個「物質的殼」才要原料，如繪畫、雕塑等。有些是有節奏的 (時間)：高低/快慢變化的，如歌曲、音樂、舞蹈等。
有些較複雜，甚至非常複雜繁瑣的，就是戲劇、小說一類，需要很長時間去創作及演繹，還有修改。小說/戲劇 (以下簡稱「小說」)，是相當花心思的，角色、情節、舖排。情節的變化，是由角色去推動的，各角色的設定和改變，像正反雙方交戰，影響劇情的推進。
作者可能在開始前，可能已有大綱，想到開始、中段、結局 (起承轉合) ，也可能邊寫邊想，甚至回頭再重編，到完成後，除了文字上的潤飾修改外，甚至還有增刪改情節，讓角色退場、加進新角色。像金庸的武俠小說，改完又改，現在有兩個主要版本。
人有創造力，他的創造力主要來自經歷、學識及模仿他人作品，當然，天份及實踐也是重要的。
論到人的創造，基督教的說法是「人是按照神的形象」創造的，神會創造，人也會創造，分別在於人受制於時空、經驗等因素，不能完善。小說會有犯駁、不合理的地方。人的創造有時反會被其創造所傷，如誤用工具、被小說角色「綁架」。
作者完成作品，讓觀眾欣賞。對觀眾來說，看前面情節時不知道後面情節，但可以「估計、預測」，在小說中的「時間點」就向後慢慢推移。有時觀眾可以暫停，返回前面再看；如果是偵探推理小說，可以猜猜「誰是兇手/謎底」，是否跟作者一樣，甚至可以說，「由我來寫就不會這樣！」
「作品」是「由無到有」，通常都有一個「物質外殼」：印刷書、光碟、甚至雲端檔案。小說中有不同角色，由小說開頭到結局的時長，由作者決定。當然，作者不會細緻到角色每天做什麼、吃什麼、什麼時間清潔、睡覺，跟劇情無關的不會寫進去，甚至小說中的時間、地點也不必過於詳細。畫家也不會什麼也畫進去，甚至故意用「前景」遮蓋後面的東西。因此，作者可以 愚弄/誤導 觀眾，到適當時候才揭盅。有部分作品是「作者/讀者」互動的。更重要的是，「角色」不會、也不可能跳出作品外面，跟作者討價還價，作者是「全知全能」的，他知道每個角色在想什麽、有什麼打算計劃，「預定」他的未來。
很多時我在想，我們身處的宇宙，是「神的作品」，世上每一個人，每一件事，無論是大是小，祂都知道；祂知道我們的心思意念、我們的未來、人類歷史的走向。因此，無論世界、科技會變成怎樣，祂完全有能力「控制」。有時候，祂會有「神諭」給指定的人，好像以前皇帝的「聖旨」。
最後，結論是：我們必需明白並遵行「神的旨意 / 天道 / 真理」，走過一生，這是人類作為智慧生物的終極意義。
跟Google Gemini 對談此題
https://gemini.google.com/share/a93b07e48925
by cmlai
2026-05-26
https://cmlai1218.blogspot.com/?m=1
https://hkese.net/@cmlai1218_j8k
translated by DeepSeek
Creation
“Creation” is the process of bringing something into existence from nothing. “Manufacturing,” on the other hand, involves raw materials. Different raw materials are used according to design and need to produce a tool or object. Creation itself does not require raw materials. Only if creation has a “material shell” does it need raw materials—for example, painting or sculpture. Some creations have rhythm (in time)—variations in pitch/fast-slow changes—such as songs, music, and dance.
Some creations are more complex, even extremely complicated and tedious—like dramas and novels. These require a long time to write, perform, and revise. Novels/dramas (hereafter “novels”) require considerable thought: characters, plot, arrangement. The development of the plot is driven by the characters. The settings and changes of each character—like a battle between opposing sides—affect the progression of the story.
The author may have an outline before starting, envisioning the beginning, middle, and end (introduction, development, climax, resolution). Alternatively, they might write as they go, even revising earlier parts. After completion, besides polishing the language, they may add, delete, or alter plot points, retire characters, or introduce new ones. For example, Jin Yong’s martial arts novels were revised repeatedly; there are now two major versions.
Humans have creativity. Their creativity comes mainly from experience, knowledge, and imitating the works of others. Of course, talent and practice are also important.
Regarding human creation, Christianity teaches that “man is created in the image of God.” God creates, and humans also create. The difference is that humans are limited by factors such as time, space, and experience, and therefore cannot achieve perfection. Novels may contain contradictions or unreasonable elements. Human creations can sometimes harm their creators—for example, misusing tools, or being “hijacked” by a fictional character.
After an author completes a work, the audience appreciates it. For the audience, they do not know later plot points when viewing earlier ones, but they can “estimate or predict.” The “timeline” within the novel slowly moves forward. Sometimes the audience can pause and go back to rewatch. If it’s a detective mystery, they can guess “who the culprit is / the solution” and see if it matches the author’s. They might even say, “If I were writing it, it wouldn’t be like this!”
A “work of art” is brought “from nothing into being.” It usually has a “material shell”: printed books, optical discs, or even cloud files. A novel contains various characters. The length of time from the beginning to the end of the novel is determined by the author. Of course, the author will not go into meticulous detail about what each character does every day, what they eat, when they clean or sleep. Anything unrelated to the plot is left out. Even time and place in the novel need not be overly detailed. Similarly, a painter does not paint everything in sight; they might deliberately use the “foreground” to obscure things in the back. Thus, the author can fool/mislead the audience, revealing the truth only at the right moment. Some works are interactive between author and reader. More importantly, the “characters” cannot and will not jump out of the work to bargain with the author. The author is “omniscient and omnipotent”—they know what each character is thinking, what plans they have, and “predestines” their future.
I often wonder: the universe we inhabit is “God’s work.” Every person and every event in the world, great or small, He knows. He knows our thoughts and intentions, our future, the direction of human history. Therefore, no matter what becomes of the world or technology, He is fully capable of “controlling” it. Sometimes He gives “oracles” to designated people, much like the “imperial edicts” of ancient emperors.
In conclusion: we must understand and follow “God’s will / the Way of Heaven / the Truth” throughout our lives. This is the ultimate meaning of human existence as intelligent beings.