Leo Tolstoy said: "One-tenth of genius is inspiration, nine-tenths is blood and sweat." This not only shows the importance of diligence, but also reflects the value of inspiration.
Therefore, we can understand that Goethe's Faust was willing to sell his soul to the devil in order to obtain inspiration.
What is inspiration? I think one-tenth of inspiration is opportunity and nine-tenths of it is information. On the basis of a large amount of information, the opportunity realizes an excellent combination of information.
In opportunities, one-tenth is movement and nine-tenths is connection. A lot of information is related, and movement allows related information to collide, combine and flow.
How to move information, generate opportunities, and gain inspiration?
Inspiration is by no means an accidental phenomenon. It is the result of accumulation, a process of accumulation, and comes from visible and invisible information.
Invisible information is a way of behavior that is implicit and can be expressed as a know-how of thinking and behavior. This is often not noticed and difficult to describe, subdivide, copy and disseminate. However, Hidden information is the key driving force behind the final formation of inspiration.
The secret to inspiration is to be well-read, to be versatile, to have a rebellious spirit, and to have your own personality. Inspiration is connecting two unrelated pieces of information. Exposure to poetry, music, art and humor may broaden the connection channels between brain lobes. A scholar named Ramochadaan believes that we should often be with those who can inspire others' thinking in work and life to form "brainstorms." He also said: "People in love often have problems. Lots of good ideas”. Therefore, please relax more, listen to music, have meals with colleagues, read poetry, cultivate your sentiments, and become a confident rebel. No matter how much you read, you won't come up with good ideas if you just follow the rules. Many of the management methods described in celebrity biographies would simply not work if it were someone else. Therefore, when Marx faced his daughter's question "What is your favorite motto?" he answered "doubt everything".
Why is inspiration important? Because the finishing touch is important, the symphony needs to have a theme, the article needs to have ideas, and the work needs to have ideas, all of which require the emergence of inspiration.
Inspiration is the guiding light for brilliant strategies, tactics, ideas, and decisions.
Inspiration is valuable in everything from family governance to corporate governance to national governance.
Inspiration is always there, as the ancients said, "A good hand comes by chance." . . .
However, even if there is no inspiration in your stomach, you still can’t express it.
So, inspiration is the same as talent. If there is no fertile soil, it will be wasted. . . .
For example, I often feel inspired to write poems, but after a long time I can only say "Ah... my motherland...".
Artistic creation cannot be separated from inspiration, which is almost an indisputable conclusion. The ancient Greek philosopher Plato recorded the words of his teacher Socrates in the Apology: "Poets do not rely on wisdom, but on a kind of genius and inspiration." 1 Democritus said: "There is no such thing as wisdom." The flame of the soul, without a kind of crazy inspiration, cannot become a great poet." 2 Zhu Guangqian, a famous contemporary Chinese esthetician, also clearly pointed out: "The emergence of the realm of poetry all starts from inspiration." 3 It can be said that art and inspiration. It's hard to tell for a moment, and I don't know how many theorists and artists have expressed sincere sighs. In recent years, theorists have used modern psychology and thinking to conduct various studies on artistic inspiration. However, when those well-known "inspiration materials" have been repeatedly used, artistic inspiration remains mysterious and unpredictable, and there is always a gap between its rare occurrence and endless artistic creation. Therefore, when the once-hot "inspiration craze" gradually cools down, we should ask: What exactly is inspiration? What is the relationship between inspiration and image thinking in artistic creation? After a long period of thinking With prudent inference, the author recently published such a view - "General Inspiration Theory", believing: "The 'inspiration' that we have talked about for thousands of years cannot be distinguished from the general immediate results of thinking. "And the existing inspiration research has fallen into a mysterious swamp. Its "mystery of the object caused the research to lose its scientific and reliable premise, and the resulting theory naturally took on a mysterious color", so it "has come to an end." At the same time, "it is necessary for us to combine 'inspiration' with thinking to study it, so as to open up a research path for the production rules of generalized 'inspiration' (or immediate thinking results)." The so-called "generalized inspiration" ", that is, "the conscious mind and the subconscious mind work together to combine relevant knowledge and information, and the thinking results of a certain link appear in the consciousness immediately." It has "relative creativity" and "temporality of existence." "Continuous suddenness" and other characteristics. 4. Looking at artistic creation based on the "generalized theory of inspiration", the basic way of thinking in artistic creation - image thinking, and the results of each link are inevitably regarded as "generalized inspiration", and "inspiration" has always been magical. It takes off the mysterious veil and reduces it to an "immediate thinking result". In this way, the study of generalized artistic inspiration has become a fertile ground for cultivation due to the reliability of the object.
2
In fact, if we reflect on the traditional expression of inspiration, we can find that the view of "general inspiration theory" has already been revealed. It must be admitted that there are indeed many influential examples of the magic of "inspiration". From the perspective of artistic creation alone, we are all familiar with the following "inspirations": Goethe was inspired to create "The Sorrows of Young Werther" when he heard that a young man committed suicide due to a lovelorn relationship; Romain Rolland looked at the sunset on Chanikol Mountain. , and had the creative inspiration of "seeing" the imaginary "John Christoph" coming from the horizon; Tolstoy suddenly saw the creative inspiration of "Anna Karenina" on the sofa ; The inspiration for Mayakovsky's famous "One Leg" poem that he got in his sleep; the inspiration for the main melody of the "Quartet in D minor" that the musician Schubert suddenly got while grinding coffee; the painter Repin Encountering a group of ragged trackers on the bank of the Neva River, the inspiration for the creation of "Trackers on the Volga" suddenly came to mind;... The feelings of the artists above have almost become a classic example of the magical emergence of inspiration. Because of this, H. Osborne, an authority on the study of Western inspiration, said: "We often mean that a person (in his own eyes or in the eyes of others) seems to feel a kind of help and inspiration from a source outside himself. Guidance, especially if it significantly improves efficiency or enhances achievement, then we will inevitably say that the person has received inspiration." 5 Because traditional inspiration researchers have identified "inspiration" as a magical and rare thing for artists. It has lost its interpretative power and lost the possibility of new understanding of the expressions of inspiration by many theorists and artists. In fact, some equally influential expressions of inspiration can reasonably explain the meaning and connotation that is contrary to the traditional view of inspiration. For example: Baumgarten, known as the "Father of Aesthetics", once summarized three characteristics of inspiration: "(1) The artistic works produced in the state of inspiration are non-imitative and non-repeatable; (2) In the state of inspiration , the expression of thoughts and feelings is very agile and orderly; (3) In the state of inspiration, on the one hand, the reason endures vivid images, and on the other hand, it descends into the perceptual world, and falls into ecstasy and enthusiasm. "6 Three characteristics. , both clearly assume that inspiration is a "state". Soviet writer Bautovsky said more emphatically: "Inspiration is the psychological state of a person when he is working seriously." "The mental state of high spirits, fresh feeling, quick perception of reality, fullness of thoughts and awareness of one's own creativity" " 7 The great Russian poet Pushkin once said with deep understanding: "Inspiration? It is a state of mind that is easy to feel impressions and thus quickly understand concepts. "8 And ancient Chinese literary theory is authoritative about "inspiration". The discussion also regards "inspiration" - "response", "excitement" and "spiritual thinking" as a "state" to vividly describe it. As Lu Ji said in "Wen Fu": "If you are aware of the meeting and the passage of the fortress, you can't stop it and you can't stop it. If the scene is hidden, it still sounds. If Fang Tianji is so sharp, why should you ignore it? . The wind of thought comes from the chest, and the words flow from the lips and teeth. The emblems of the poem are full of meaning, and the sound is calm and refreshing. " said: "The thought of literature is far away. Therefore, I am silent and pondering, and my thoughts last for thousands of years; I quietly move my face, and my vision reaches thousands of miles; while chanting, I breathe out the sound of pearls and jade; before my eyebrows, the wind and clouds are rolled away. Color; it is the result of thinking. Therefore, thinking is wonderful, and the spirit and the things are wandering... The husband's spirit is far away, and the rules are empty, and the carvings are invisible. It describes: "It comes like the wind, it stops like rain, it is like sealing mud, and it is like water in a vessel. It is something that Suzi can't help but do." In these descriptions of the "state of inspiration", it is clarified that artistic "inspiration" It is easy to "feel impressions", "quickly understand concepts", "quickly feel reality", "thinking style comes from the heart", "all kinds of things are cute", "one who has to do something". That is, as the inspiration of "state", novel thinking gains are produced one after another. Ko Platunov puts it more clearly: "Inspiration is the rise of a person's abilities in the process of creative work; it is characterized by psychological clarity, and at the same time a sequence of thoughts, as well as rapid and At this time, "inspiration" is already a "series of thoughts" and "quick and highly effective thinking", which is different from the magical appearance of a single inspiration. The introspection of artists on their own creative inspiration can also prove that the traditional inspiration theory has a vague and inaccurate grasp of the connotation of "inspiration". For example, Balzac's statement in "On the Artist" has always been regarded as an authoritative example of "inspiration": One night, walking to the middle of the street, or getting up early in the morning, or while drinking and having fun, I happened to meet a man. A ball of heat touched this forehead, these hands, this tongue; suddenly, one word evoked a whole set of ideas; from the growth, development and fermentation of these ideas, the tragedy of the revealed dagger, the richly colored picture, the clear-cut lines were born. Statues, hilarious comedy. ...This is the artist working, showing endless treasures in silence and solitude; you can get whatever you want. 10 Before this, people often extracted the words "coincidence" and "suddenly" from this passage to prove the suddenness of inspiration; however, "a whole set of ideas", "growing, developing and brewing", "showing endless What does “treasure of treasures” mean? What it means is the interlocking nature of thinking, which is a state of creative thinking.
In the article "My Process of Composing Poetry", Guo Moruo recalled the creative process of "Phoenix Nirvana?". Although he also wrote about "poetry came over" and "interest came over again", he was more introspective. He explained the state of his thinking at that time: "I wrote the first half of the poem here and there on the manuscript", and "I just wrote quickly with a pencil on the pillow"; and explained that "the poem symbolizes the rebirth of China." , it is also my rebirth. The stereotyped repetition of poetry is influenced by Wagner's operas and is an attempt to musicalize poetry, but from the perspective of psychopathology, it clearly expresses a kind of neurosis. Sexual attack. That kind of attack is probably the so-called 'inspiration' (nspiration), right?" 11 Obviously, Guo Moruo also regarded "inspiration" as a state of rapid and effective thinking. Theorists and writers regard the continuous production of artistic creative thinking results as an "inspirational state", and the connotations of "inspiration" that appear miraculously from a certain new thought cannot be the same or even contradictory to each other. However, almost everyone who talks about inspiration confuses the two and uses them together, so that the fallacy has been hidden for a long time. Now, we should let its "spear" attack its "shield": when a single "inspiration" is put into an "inspiration state", does a single "inspiration" occur continuously? Or is it a specific moment in the "state"? Have an "inspiration"? It can only be one of the two. But the traditional theory of inspiration is like the man wielding a spear and a shield in Mozi's works, which cannot be justified. From the perspective of "general inspiration theory", the traditional inspiration theory's contradictory grasp of the basic concepts has revealed the clues of "general inspiration", that is: numerous and single "general inspiration" (immediate thinking). Results) are always continuous and sudden, and constitute a "state" of creative thinking.
The reason why the third "general inspiration theory" regards people's "immediate thinking results" as inspiration is that people's thinking results at every step have "relative creativity". From time to time, they are always "sudden" by chance. It is only because they occur continuously and are always fleeting that they are called "broadly" and postponed in use. As the functionalist psychologist James's stream-of-consciousness theory said: "In each personality consciousness, the state is always changing." "What I value is that the state of mind is gone and can never be returned. The same as before. "The nature of consciousness changes at any time and never absolutely stops." 12 Since human consciousness activities are not repeatable and are always changing, the instantaneity of thinking results in every link in the flow of consciousness will naturally occur. Became "generalized inspiration". The emergence of "generalized inspiration" is ultimately a combination of relevant knowledge and information in the thinking activities of the subject's conscious and subconscious minds, which work closely together. Modern psychology believes: "The thinking process, whether directed or undirected, often includes a continuous process of processing and interacting with images and other symbolic elements. In thinking, these elements appear in unusual and unexpected ways. "Methods of combination and recombination." 13 In artistic creation, because it mainly relies on image thinking - a way of thinking that combines images (including "appearance" and "imagery") as the main elements to create new images, every step of its thinking The results are regarded as the combination of new images or new images, and also as "artistic inspiration" in a broad sense. "Artistic inspiration" has always been a hot topic among estheticians, artists, and art theorists. Now that we have given "artistic inspiration" a new meaning, naturally its specific expression in artistic creation must be examined again. Art creation is a complex process, usually divided into three stages: life accumulation, creative conception, and artistic expression. From the perspective of "general inspiration theory", what is the situation of "artistic inspiration" in these three stages? 1. Life accumulation stage: artistic inspiration is manifested as the instantaneous generation of aesthetic images. Du Shuying, who is deeply involved in creative theory, once said: "The accumulation of writers can be generally called the 'accumulation of life'... Writers are always careful in observation, sensitive to feeling, good at experiencing, and diligent in thinking in life. Put the gains in life into your own consciousness warehouse anytime, anywhere, intentionally or unintentionally." 14 Of course, "life" cannot be "put" intact into the artist's consciousness warehouse. It must pass through the unique experience of the artist as a creative subject. Only the cognitive reflection of psychological structure can become the raw material for artistic creation. This kind of creative raw material stored in the artist's heart can certainly be subdivided into representations, emotions, concepts, etc., but from the perspective that artistic creation belongs to the category of aesthetics, and from the perspective that creative research must have a minimum logical starting point, theorists have Gradually, "aesthetic image" is regarded as the basic element of artistic creation and the expression of "life" in the artist's heart. Wang Yuxiong, an aesthetics scholar who has a unique research on "imagery" in my country, once wrote: "Concrete representations, due to the constant penetration of the subject's emotional and ideological factors, have become retaining the distinct and specific perceptual appearance of things, but also contain understanding factors and are imbued with emotional color. A new representation of aesthetic nature, that is, aesthetic image, can be regarded as the basic unit of aesthetic psychology. "15 As the construction of aesthetic objects, "image" naturally becomes the basic unit of artists' creative thinking. "Life" is a carrier that exists and accumulates in the soul through the artist's aesthetic understanding. At this point, we can take a look at the relationship between the generation of "image" and "artistic inspiration".
The generation of "image" is extremely complex. Here, we are not interested in analyzing it in detail. What we focus on is the situation of "perceptual aesthetic image, which occurs in the moment when things and I suddenly meet"16. Modern psychology places great emphasis on the subject's psychological setting effect on the instantaneous state of perception or thinking. The so-called "set", Uznaji, the founder of the set theory, explained: "There must be a state before the conscious psychological process... We call this state "set" - preparation for a certain positivity "17 The "set effect" is the instantaneous state when "set" meets a specific object and creates new understanding. The "set effect" that generates new understanding occurs so quickly that psychologists also deeply lamented: "Being caught by the set effect is simply a contribution to the general efficiency of people's problem-solving strategies. ... …Make the behavior of problem solvers more and more automatic.” 18 From the perspective of artists experiencing life and accumulating aesthetic images, the generation of each image is the combination of the artist’s unique creative style and specific life. The product of "setting effect". In this way, the generation of images is consistent with the "setting effect" of the artist's perception of life. At this time, the artist faces the "intuition" of life. The image contains the "emotionality" of the subject's spiritual factors. The "quickness" of its generation has caused many aestheticians to regard aesthetic knowledge-the generation of the image as "the generation of the image". "Artistic intuition" or "intuition product", in this way, "image generation", "setting effect" and "artistic intuition" have been unified in the creative field. Based on their identity, the "generalized inspiration theory" believes that they are all the immediate thinking results of artists' perception of life and accumulation of life stages, that is, "generalized inspiration". Life is colorful and constantly flowing. The "aesthetic images" that artists possess when perceiving life are also continuously generated and turned into the accumulation of creative raw materials. In a certain sense, it is the continuous blooming of the flower of "broad inspiration" . It should be pointed out that in the accumulation stage of life, artists "have been carrying out aesthetic understanding activities and latent creation, which makes the aesthetic understanding of creation be accumulated, superimposed, integrated and processed, and is undergoing gradual and quantitative changes. And in aesthetics When the understanding undergoes a sudden and qualitative change, the artist is always unexpectedly aware of this extremely new understanding. The concept of "inspiration" passed down by the predecessors naturally becomes the best summary of this psychological phenomenon. "In this moment of "inspiration", "the creative goal of the specific work is clarified, and the desire to achieve this goal immediately condenses into a powerful motivation in the heart, and prompts the artist to enter this specific creation like an obsession. Psychological motivation is the internal motivation of creation.” 19 The so-called “internal motivation of creation” here is the creative motivation associated with a specific work, and the germ of the work, the most vital image, is naturally accompanied by it. It is generated based on the formation of this specific motive. Since the generation of this initial image is the beginning of the creation of the entire work, the artist will inevitably have a new and magical self-feeling from this momentary psychological change; therefore, in the introspective materials of the artists, "inspiration" will It is more intensively connected with these "specific motives" and the corresponding image generation. Most of the so-called "classic examples" of magical and mysterious occurrences of inspiration we listed above are this kind of "motivational inspiration." In essence, "motivational inspiration" is still an immediate result composed of subject and object factors in the artist's psychology, that is, "generalized inspiration." However, it is not only a synthesis of images, but also has factors such as the goal of the work and psychological motivation. Therefore, it can be regarded as some special cases of "broad artistic inspiration". 2. Creative conception stage: artistic inspiration is manifested in the combination and connection of images. Creative conception is very complex. Painters and poets may glimpse a beautiful scenery and complete the conception of a painting or a poem while perceiving it; while writers and playwrights may create new plots when writing. , characters, and details will still come out, that is, the conception is still in progress; and when artists consciously draft and think hard, they are even more conceiving. Generally speaking, creative conception is a thinking activity in which an artist constructs a new image or image system in his mind after he has the creative motivation for a specific work and before expressing it with symbols. The motivation for creating a specific work often begins when the artist embraces a visual image, an experience, an encounter, a message, a story, a character, a detail, etc. with his or her soul; in this way, the motivation will be accompanied by There is always a meaningful and vital image. At this time, the artist's psychology is "like a pregnant mother's womb, in urgent need of rich image nutrition to nurture the fetus of the work in the womb; it is also like an extremely strong magnetic field, which will attract the corresponding image calls and combine them in an orderly manner." into the work at the core of the magnetic field." 20 The essence of the next conception is the organic combination between the relevant images accumulated in the artist's psychology and the specific image that is the embryo of the work. Artists often accumulate and store rich images in their spiritual warehouses. As the embryos of works, they can only be purposefully combined with related images according to the subject's aesthetic ideals and creative goals. This must be based on the selection of images. as a premise.
Tolstoy once said with deep understanding of the "choice" in conception: "Think, think over and over again all the possible situations that may happen to the characters to be written in the very large work being planned, and consider among millions of possible combinations. Choosing one, that is, 1/1000000, is horribly difficult!" 21 However, in the actual creative conception, the artist did not screen and select millions of possibilities one by one, but always selected and produced them from the embryo in an instant. The imagery combines the desired imagery. This is still the effect of the artist's psychological setting effect. It should be pointed out that due to the specific motivation for creating works, the artist's psychological set has been transformed from a perceptual set to a directional thinking set, that is, a conceptual set. The instant combination of images brought about by the setting effect naturally enriches the images of the works that are being nurtured and developed. The immediate result of thinking in this stage is called the broad artistic inspiration in the conception stage. The combination of images in conception always occurs continuously. For example, when Guo Moruo recalled his creation of the script "Qu Yuan", he said: "Each scene and plot almost completely emerged gradually during writing. ... In fact, it is also Strangely, my mind is like a pool that has opened its gate, and it just keeps pouring out until it calms down." 22 This magical phenomenon has also made theorists deeply sigh: "The psychological flow in the creative activity is in the creation. In the process, there is a strong dynamic tendency that is not influenced by the writer's subjective will, which makes conception an independent activity that does not seem to depend on the writer, thus giving artistic creation a somewhat mysterious color." 23 The theoretical helplessness is actually the embarrassment caused by our existing research, which isolates rational thinking from mysterious "inspiration". The proposal of "general inspiration theory" "identifies the immediate results of thinking with inspiration, which is an objective description of the true picture of the unity of order and disorder, certainty and randomness, linearity and nonlinearity of thinking." 24 In this way, the continuous combination and connection of images in the creative conception, as the broad artistic inspiration at this stage, is fast, automatic, but necessary for creation, and can be reasonably explained. 3. Artistic expression stage: Artistic inspiration is manifested as an instant combination of images and symbols. "Symbols" are receiving unprecedented attention from theorists. The German philosopher Cassirer even uniquely defined humans as "symbolic animals", while Susan Lange regarded all works of art as symbols of human emotions. . Under this premise, what people pay attention to is how artistic symbols are created. When talking about the relationship between art and symbols, Cassirer once said: "For a great painter, a great musician, or a great poet, color, line, rhythm and words are not just his technical skills. Part of the means, they are necessary elements of creation itself." 25 Why can these simple symbols become elements of creation? The reason is that they themselves are full of specific meanings, such as: the light and shade, shade, and contrast of colors; the length of lines. , thickness, straightness; the level, strength, and urgency of the rhythm; all correspond to certain aspects of people's emotions. In addition to the basic meaning of words, the extended meaning is even richer. Artists of a specific category generally have their own set of symbolic knowledge in their minds; and after the conception stage, artists have original images or image systems in their minds; at the stage of artistic expression, the artist's main job is undoubtedly to make his own The new aesthetic image is organically combined with the corresponding symbols, so that the work concept in the mind can be materialized into a work of art that others can grasp and appreciate aesthetically. However, it is not easy to achieve the best combination of images and symbols. Lu Ji, an ancient Chinese litterateur, once lamented the pain in his choice of words to express his meaning in "Wen Fu": "I am constantly suffering from the inability to express my meaning, and my writing cannot grasp the meaning." The French litterateur Maupassant put forward his famous "one-word theory" ": "No matter what a writer wants to describe, there is only one word for him to use, a verb to make the object vivid, and an adjective to make the nature of the object clear, so he has to search until he finds the word..." 26 Writers even regard this pain in expression as "pain of language", and by extension to all artists, it can be said to be "pain of symbols". "Symbolic pain", on the one hand, originates from the images or series of images in the soul that the artist wants to express. It is a rich and fuzzy whole, and it is constantly mutating due to the flow of subject consciousness; on the other hand, the artist's psychological possession Symbols are just basic materials with simple meanings. They need to be constructed and combined at multiple levels in order to form more complex meanings and to be able to be combined with the overall "image" or the local image in the "image system" (in a certain sense, it is A single "image" separated from the whole) is correspondingly combined successively to achieve correspondence with the whole; but it is almost impossible to achieve this multi-level, all-round complete correspondence. Therefore, artists' "symbolic pain" is inevitable. "The pain of symbols" certainly exists, but the mission of artists dictates that they must work diligently and constantly realize the corresponding combination of symbols and images. Although this combination may not be the best, it can be relatively satisfactory. As American psychologist Sima He said: "When people solve problems, they generally do not seek the optimal method, but only seek a satisfying method.
27 But whether it is "optimal" or relatively "satisfactory", the artist's work of combining images and symbols is extremely psychologically complex, and at least two combinations must be achieved in an instant: First, a simple inter-symbol combination must be achieved. The structural combination of words and phrases, such as the combination of words and words to form sentences, the combination of lines and colors to form color blocks, and the combination of rhythm and pitch to form syllables, thus producing richer symbolic connotations; secondly, it is necessary to realize that this combination of symbols is consistent with what it wants to express. The combination of local images (or "micro-images") allows this symbolic combination to carry the corresponding image. Regarding such a complex psychological phenomenon in this instantaneous combination, Lu Shuyuan, a famous literary theorist in my country, took a step forward. With a feeling of despair, he sighed: "The achievements of literature are born in an instant, and the rhetoric of literature is completed in an instant." (I) speculate that there may be a great secret of literary language hidden here. He went on to say: "This kind of 'momentary rhetoric' can be regarded as 'the creation of words in the subconscious'." 28 In this case, in artistic expression, every step of the artist's thinking can undoubtedly be regarded as a combination of "imagery" and "symbols", and is "completed in an instant". It is so complex that people only know it is "subconsciously" "Completed creation", this instant combination can naturally be attributed to "generalized inspiration". As above, we have a generalized understanding of artistic inspiration, and its purpose is to "unify the immediate results of thinking with inspiration", so as to It inspires people to scientifically pursue the "dialectical unity of order and disorder, certainty and randomness, and non-linear thinking" in artistic creation activities, so as to better grasp the thinking rules of artistic creation. "Thinking" has relative clarity, and "inspiration" has absolute ambiguity; then, the "broad inspiration" that unifies the two is constantly produced in artistic creation, just like the residence of Wang Ming, the advocate of "fuzzy aesthetics" in my country. The described picture of artistic creation: the image thinking in creation, “In the process of movement, it flows continuously, rises, and surpasses continuously, and even reaches the highest state. The blur it expresses is the blur in the clear, and the clarity it shows is the clarity in the blur"; thereby realizing the "blurred beauty" of the artistic work of "blur and clarity, blending with each other and complementing each other." 30 Due to the broad sense Artistic inspiration is both "thinking result" and "inspiration", and the rules of its generation must obviously include both the way of thinking and the way of inspiring inspiration. Researchers have left rich results in these two aspects. It just requires us to inject inspirational factors into the way of thinking from the perspective of "general inspiration theory", and the stimulation of inspiration should be moved into the track of rational thinking, thus opening up a new way to keep artistic inspiration alive. The research path really helps artists enter a good "state of inspiration".