创造
创造
2026-05-26
「创造」是由无到有的「过程」，「制造」是有原料的，不同原料根据设计和需要，成为一种工具或物件。而「创造」本身不需要原料，如果它有一个「物质的壳」才要原料，如绘画、雕塑等。有些是有节奏的 (时间)：高低/快慢变化的，如歌曲、音乐、舞蹈等。
有些较复杂，甚至非常复杂繁琐的，就是戏剧、小说一类，需要很长时间去创作及演绎，还有修改。小说/戏剧 (以下简称「小说」)，是相当花心思的，角色、情节、舖排。情节的变化，是由角色去推动的，各角色的设定和改变，像正反双方交战，影响剧情的推进。
作者可能在开始前，可能已有大纲，想到开始、中段、结局 (起承转合) ，也可能边写边想，甚至回头再重编，到完成后，除了文字上的润饰修改外，甚至还有增删改情节，让角色退场、加进新角色。像金庸的武侠小说，改完又改，现在有两个主要版本。
人有创造力，他的创造力主要来自经历、学识及模仿他人作品，当然，天份及实践也是重要的。
论到人的创造，基督教的说法是「人是按照神的形象」创造的，神会创造，人也会创造，分别在于人受制于时空、经验等因素，不能完善。小说会有犯驳、不合理的地方。人的创造有时反会被其创造所伤，如误用工具、被小说角色「绑架」。
作者完成作品，让观众欣赏。对观众来说，看前面情节时不知道后面情节，但可以「估计、预测」，在小说中的「时间点」就向后慢慢推移。有时观众可以暂停，返回前面再看；如果是侦探推理小说，可以猜猜「谁是凶手/谜底」，是否跟作者一样，甚至可以说，「由我来写就不会这样！」
「作品」是「由无到有」，通常都有一个「物质外壳」：印刷书、光碟、甚至云端档案。小说中有不同角色，由小说开头到结局的时长，由作者决定。当然，作者不会细致到角色每天做什么、吃什么、什么时间清洁、睡觉，跟剧情无关的不会写进去，甚至小说中的时间、地点也不必过于详细。画家也不会什么也画进去，甚至故意用「前景」遮盖后面的东西。因此，作者可以 愚弄/误导 观众，到适当时候才揭盅。有部分作品是「作者/读者」互动的。更重要的是，「角色」不会、也不可能跳出作品外面，跟作者讨价还价，作者是「全知全能」的，他知道每个角色在想什么、有什么打算计划，「预定」他的未来。
很多时我在想，我们身处的宇宙，是「神的作品」，世上每一个人，每一件事，无论是大是小，祂都知道；祂知道我们的心思意念、我们的未来、人类历史的走向。因此，无论世界、科技会变成怎样，祂完全有能力「控制」。有时候，祂会有「神谕」给指定的人，好像以前皇帝的「圣旨」。
最后，结论是：我们必需明白并遵行「神的旨意 / 天道 / 真理」，走过一生，这是人类作为智慧生物的终极意义。
跟Google Gemini 对谈此题
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.