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Puritans(viii): The Knowledge of God Displayed in the Structure of the Universe and in His Continuing Governance

清教徒(viii):对上帝的认识表现在宇宙的构造与继续管理中

前言:接上篇,本文主要是原文。


第五章,对上帝的认识表现在宇宙的构造与继续管理中。以下是原文:

一、完全的快乐生活既包含于对上帝的认识之中,所以上帝为要使每人都可以达到幸福的境地起见,不但把宗教的种子撒在人心里,而且在宇宙各部分创造中表现了自己,又每天向众人显现,叫他们睁开眼睛没有看不见他的。他的本体真是不能了解的,所以他的威严不是人的感官所能看到的;但他却已把他的荣光像印记般清清楚楚地表现在他的一切工作上,虽下愚也不能托词无知而自恕。所以诗人说:“他披上亮光,如披外袍”(诗104:2);他无异是说,他最初以可见的外表显现,是在宇宙受造之时,他那时所表现的荣光,在各方现在还是显著的。这诗人在同一地方把广阔的天空比作宫殿,说:“在水中立楼阁的栋梁,用云彩为车辇,借着风的翅膀而行;”又以风和电光为他的使者。因为他权能与智慧的光荣更灿烂地在上照耀,于是广大穹苍便被称为他的宫殿。

你目光所及之处,没有不从宇宙间的每一原子之中看到他荣光的。当你看到宇宙这一部美轮美奂的机器,你对它无限的光华将不胜惊异之至。所以希伯来书的作者巧妙地把世界看为无形事物的表现(参来11:3),因为宇宙的匀称得体正如一镜子,叫我们可以在它里看到那原是无形无像的上帝。所以诗人说,诸天以都能明了的言语,使世上最无知的人,因它们的明显见证也对神有所认识。可是保罗更清楚肯定地论到这有助于对上帝之认识的显现,说:“自从造天地以来,上帝的永能和神性是明明可知的,虽是眼不能见,但借着所造之物,就可以晓得”(罗1:20)。

二、关于他的奇妙智慧,天地间都有无数的证据;这些证据不仅是在天文、医药,和全部自然科学所研究的那些难解的事物中,而且在那些甚至世上最无知的人一睁开眼睛就可以看见的事物中。诚然,学术精通的人因此能够更进一步探讨神智慧的奥秘;不过没有科学知识并不就此使人无从观察那足以激发人对神创造的钦敬之心的上帝的作为。至于星宿的运行、位置、距离,及其特性的研究是需要专门的技巧、精确和勤奋的;上帝的照顾既借这些科学的发现而更为彰显,人心就应当更加提高来思念他的荣耀。既然最卑下愚蠢的人,只要有眼可见,对于那在变幻无穷而井井有条的无数天体之中所表现神工作的优美,也不致茫然无知,可见主对世上每一个人都充分表现他的智慧。有非常技巧的人,才能用迦伦(Galen)的精确方法考查人身各部的关系、匀称、美丽和用途,但人身的结构普遍地被认为是非常灵巧,使它的创造者值得成为赞美的对象。

三、所以,古代有些哲学家恰当地称人为小宇宙,因为他是上帝的权力、仁慈和智慧的优美标本,我们若有心研究,他内部所藏的奥妙,是足够我们探讨和注意的。因此,保罗说了要叫盲目之人“寻求上帝,或者可以揣摩而得”以后,随即又说:“他离我们各人不远”(徒17:27),因为每人内心对那赐与他生命的天上的仁慈,有一种不可怀疑的认识。如果对上帝的观念是不必求之于我们自身以外的,那么,那些不肯反求诸己以寻找上帝的人,是何等懒惰!因此,大卫在称赞了那普遍显著的上帝的奇妙之名与荣耀以后,就说:“人算什么,你竟顾念他?”又说:“从婴孩和吃奶的口中,你建立了能力”(诗8:4,2)。这不仅明说人类是反映上帝工作的明镜,也是说,甚至吃奶的婴孩也可以宣扬他的荣耀,而不必要别的雄辩家;所以上帝毫不犹豫地把婴儿提出来,使他们满有能力,去驳倒那些存心恶毒骄傲、想毁灭上帝圣名之人的狂妄。保罗因此也引证过亚拉突(Aratus)的话说:“我们也是他所生的”(徒17:28),因为他之以如此优美的品质予我们,已经证明了他是我们的父。所以,外教诗人受常识与经验的暗示而称他为人类之父。除非人首先体验到他的父爱而受感动并敬爱他,否则谁也不会把自身完全奉献给上帝。

四、人类卑劣的忘恩负义之心,就在这里表现出来了。他们本应当颂扬上帝创造他们的奇妙工作,与赐给他们的无量恩惠,反而更加踌躇自满。他们看出上帝是如何奇妙地在他们心里运行;经验告诉他们,他们由上帝的厚恩所领受的幸福是何等繁多。他们不论是否愿意,也要被迫承认,这些都是他的神性证据,然而他们却把这认识压抑在心里。诚然,只要他们不把那得自于天的看为是自己的,而消灭那启导他们心灵更加清楚认识上帝的亮光,他们尽可以求诸于己。甚至在今天,也有许多脾气古怪的人,不惜败坏那撒在人性中的一切神性种子,而埋没上帝的圣名。人在身体灵魂两方面发现了上帝的无数证据,竟以这优美作为否认他存在的借口,这疯狂是何等可恶!他们固然不会说自己之异于禽兽是出乎偶然;但他们却认为这是出乎自然,以自然为万物的创造者而抹杀上帝。他们在自己的身体各部从头到脚,都看出创造匠心的精微,而他们在此也是以自然代替上帝。尤其是心灵的敏捷动作、高尚的功能、优美的禀赋,都表明一位不易隐藏的神,除非以伊壁鸠鲁派,像塞克罗浦斯(Cyclops)巨人一般,居然胆敢以这样的优美禀赋作为反对上帝的根据。既然天上智慧的这么多宝藏都用来治理这五尺之躯,难道全宇宙竟没有这特权吗?至于说,在灵魂里有和身体各部分相当的某种机构,这非但不是掩盖神的荣耀,反而是彰显他的荣耀。请以伊壁鸠鲁回答这问题好了:原子如何集合,能使饮食混合,叫一部分排泄出来而一部分变为血液,又使身体各部执行不同的任务,有如有许多灵魂同心支配一个身体呢?

五、我目前的事是和这群栏里的猪无关的;我所说的乃是针对那些受了荒谬的微妙之说所影响,想间接利用亚里士多德的死板规则,以破坏灵魂的不朽,并剥夺上帝权利之人。他们因为身体各器官受灵魂功能所支配,就以为灵魂与身体息息相关,甚至不能离身体而独存;他们又以歌颂自然来尽力排除上帝的圣名。但灵魂的能力绝非肉体功能所能限制;试问,对于天体的测量、星宿的数算、星体的估量、距离的推测、运行的速率,以及经纬的角度,对肉体有何相干呢?我确实承认天文学有其用途;不过我要说明,这些对天体的高深研究,并不需要肉体的合作,而是靠那与肉体完全无关的灵魂的作用。我已经提出了一个实例,读者可以由此类推。心灵各方面的巧妙变化,使心灵能观测天地,能结合过去与现在,能记忆往事,能运用想象随意构思,并能发明创造各种艺术,这都是人里面有神性的明证。此外,在睡眠中,心灵行动自如,而且还能想出许多有用的观念,研究各种问题,甚至为未来之事筹划。这岂不是说明,不朽刻在人心中的印证是绝不可涂抹的吗?出自于神的人,竟不承认他的创造者,是为了什么理由呢?我们借着所领受的判断力,能够分辨是非,难道在天上竟没有施行审判的吗?我们甚至在梦中,尚且有智慧思辨的残迹,难道竟没有统治宇宙的上帝吗?我们是否应被尊为许多有用艺术的发明者,而诈取上帝的荣耀吗?可是经验告诉我们,我们一切所有的都是某至高主宰所赐的。有些人议论纷纷,以为暗中有灵感使全世界有生气,这种喧闹不但没有道理,而且完全是亵渎。


这一段不解释了,大家自行体会。


(to be continued)

Preface: This article is the original text of Chapter Five reinterpreted in plain English by ChatGPT.

Chapter Five, “The Knowledge of God Displayed in the Structure of the Universe and in His Continuing Governance”.


I
Since a perfectly happy life is contained in the knowledge of God, God, in order that every person might be brought to a state of blessedness, has not only sown the seed of religion in the human heart, but has also manifested Himself in the creation of every part of the universe. He reveals Himself to all people every day, so that they may open their eyes and not fail to see Him. His essence is truly incomprehensible, and therefore His majesty cannot be perceived by the senses; yet He has impressed His glory upon all His works as clearly as a seal, so that even the most ignorant cannot excuse themselves by pleading ignorance. Thus the psalmist says, “He covers himself with light as with a garment” (Ps. 104:2). It is as if he were saying that God first appeared in a visible form at the creation of the universe, and that the glory displayed then remains evident everywhere even now. In the same place the psalmist compares the vast heavens to a palace, saying, “He lays the beams of his chambers on the waters; he makes the clouds his chariot; he rides on the wings of the wind,” and he makes the winds and flashes of lightning his messengers. Because the radiance of His power and wisdom shines more brilliantly above, the boundless firmament is called His palace. Wherever your eye can reach, there is nowhere you cannot see the traces of His glory in every atom of the universe. When you look upon this splendid machine of the cosmos, you cannot but be struck with amazement at its immeasurable brilliance. Therefore the author of Hebrews skillfully regards the world as the manifestation of invisible things (cf. Heb. 11:3), because the well-proportioned order of the universe is like a mirror in which we may behold the God who is otherwise invisible and without form. Thus the psalmist says that the heavens, in a language understood by all, make even the most unlearned people on earth know God through their plain testimony. Paul speaks even more clearly and definitively of this manifestation that aids the knowledge of God: “Ever since the creation of the world, his eternal power and divine nature, though invisible, have been clearly perceived through the things that have been made” (Rom. 1:20).


II

As to His marvelous wisdom, there are countless proofs throughout heaven and earth. These proofs appear not only in the difficult matters studied by astronomy, medicine, and the whole range of natural sciences, but also in things that even the most uneducated person can see the moment they open their eyes. Granted, those who are learned can go further in investigating the mysteries of God’s wisdom; yet the lack of scientific training does not prevent people from observing God’s works—works sufficient to awaken reverent admiration for His creation. The study of the motions of the stars, their positions, distances, and properties requires specialized skill, precision, and diligence; and since God’s providence is made more manifest through these scientific discoveries, the human mind ought to be lifted all the more to contemplate His glory. Since even the lowest and most foolish person, so long as they have eyes to see, cannot be wholly ignorant of the beauty of God’s work displayed in the countless heavenly bodies—ever-changing yet perfectly ordered—it is plain that the Lord has fully displayed His wisdom to every person on earth. Only those with extraordinary skill can examine the relation, proportion, beauty, and use of the parts of the human body with Galen’s precision; yet the structure of the body is universally regarded as so ingenious that its Creator deserves praise.


III

For this reason certain ancient philosophers aptly called the human being a “little world” (a microcosm), because the human person is a splendid specimen of God’s power, goodness, and wisdom; if we are willing to study it, the mysteries hidden within us are sufficient to occupy our attention. Accordingly, after Paul says that the blind should “seek God, in the hope that they might feel their way toward him and find him,” he immediately adds, “Yet he is not far from each one of us” (Acts 17:27), because in each person’s inner being there is an undeniable awareness of the heavenly kindness that gives them life. If the idea of God need not be sought outside ourselves, how lazy are those who refuse to look within themselves in order to find God! Thus, after praising the universally evident name and glory of God, David says, “What is man that you are mindful of him?” and again, “Out of the mouths of babies and nursing infants you have established strength” (Ps. 8:4, 2). This not only declares that humanity is a mirror reflecting God’s works, but also that even nursing infants can proclaim His glory without the need of other eloquent speakers. Therefore God does not hesitate to set infants forward, equipping them with strength to refute the arrogance of those who, malicious and proud, would seek to destroy His holy name. Paul likewise cites the words of Aratus: “For we too are his offspring” (Acts 17:28), because by endowing us with such excellent qualities God has proved Himself to be our Father. Thus pagan poets, prompted by common sense and experience, called Him the Father of humankind. Unless a person is first moved by the experience of His fatherly love to revere and love Him, no one will wholly devote themselves to God.


IV

Here the base ingratitude of the human heart shows itself. People ought to praise God for the wondrous work by which He created them and for the immeasurable benefits He has bestowed upon them; instead, they grow complacent and self-satisfied. They perceive how wonderfully God works within them; experience tells them how many and varied are the blessings they have received from His generosity. Whether they wish to or not, they are forced to acknowledge these as evidences of His divinity—yet they suppress this knowledge in their hearts. Indeed, so long as they do not claim as their own what comes from heaven, and so long as they do not extinguish the light that leads their minds to a clearer knowledge of God, they may search within themselves. Even today many people of perverse temperament do not hesitate to corrupt every seed of divinity planted in human nature and to bury God’s holy name. Human beings discover innumerable proofs of God in both body and soul—yet they use this very excellence as a pretext for denying His existence. How detestable is such madness! They would not say that their difference from beasts is mere chance; yet they attribute it to “nature,” making nature the creator of all things and thereby blotting out God. From head to toe, in every part of their body, they discern the exquisite craftsmanship of creation, and yet here too they substitute nature for God. Above all, the quick activity of the mind, its noble functions, and its beautiful endowments reveal a God who cannot easily be hidden—unless one is an Epicurean, like the Cyclops giants, daring to use these very excellent gifts as an argument against God. If so many treasures of heavenly wisdom are employed to govern this five-foot body, does the whole universe lack such a privilege? Moreover, to say that there is within the soul a certain structure corresponding to the body’s parts does not diminish God’s glory; it displays it. Let Epicurus answer this: how do atoms assemble so as to mix food, sending one part out as waste and turning another part into blood, and causing the various bodily parts to perform different tasks—as if many souls were united in governing one body?


V

My present concern is not with this herd of pigs in their pen. I speak rather against those who, influenced by absurd subtleties, attempt indirectly to use Aristotle’s rigid rules to destroy the immortality of the soul and to strip God of His rights. Because the organs of the body are governed by the functions of the soul, they conclude that the soul is so bound to the body that it cannot exist apart from it; and by praising nature they strive to banish God’s holy name. But the powers of the soul cannot be confined to bodily functions. What does the measurement of the heavens, the counting of the stars, the estimation of their magnitude, the calculation of their distances, the speed of their motions, and the angles of their paths have to do with the body? I freely admit that astronomy has its uses; nevertheless I maintain that such lofty investigations do not require the cooperation of the body, but depend on the activity of the soul, which is entirely independent of the body. I have offered one example, from which the reader may infer the rest. The mind’s subtle transformations—enabling it to observe heaven and earth, to connect past and present, to remember events, to use imagination to form ideas at will, and to invent and create the arts—are clear proofs of something divine in human beings. Moreover, in sleep the mind acts freely, conceives many useful notions, studies problems, and even plans for the future. Does this not show that the mark of immortality engraved upon the human heart cannot be erased? Why should a being who comes from God refuse to acknowledge his Creator? We possess the faculty of judgment by which we distinguish right from wrong—can there be no Judge in heaven? We retain even in dreams traces of wise reasoning—can there be no God who governs the universe? Should we be honored as inventors of many useful arts and thus steal God’s glory? Yet experience teaches us that all we possess is given by a supreme Ruler.

Some people chatter that there is a hidden inspiration that animates the whole world. Such noise is not only groundless; it is sheer blasphemy. These people are fond of Virgil’s famous lines:

The sun and moon shine on, the stars are bright;
Great and small alike are drawn by Spirit’s might.
Strength flows from heaven, spreading far and near;
Birds cleave the clouds, wild beasts sweep the plain;
From high Olympus Spirit rules without end.

On such a view, it is as though this world—originally created as a stage to display God’s glory—were a stage built by the world itself. Hence the poet elsewhere, in line with common Greek and Latin opinion, writes:

Though bees are small, they share a kindred mind;
All things receive a holy favor, a benevolent wind.
Beasts perceive the divine intent; birds veil the sky;
Life may be limited, yet deep thoughts rise on high.

Consider what effect such mystical speculation about a “world-soul” that moves and animates the universe can have in producing and fostering piety in the human heart. It is even clearer in the profane sayings of the impure Lucretius, who draws blasphemous conclusions from the same principle. The point is simply to establish a phantom god and to exclude every notion of the true God whom we ought to fear. I admit that the phrase “nature is God,” when used by the pious, can have a devout meaning; strictly speaking, however, it is still incorrect. Nature is an order appointed by God, and it is dangerous to confuse God with His works; in matters of such gravity we must be especially careful.


VI

Accordingly, whenever we reflect on our own nature, we ought to remember that there is one God who rules the world and all of nature, and that we are to revere Him, believe in Him, worship Him, and pray to Him. It is utterly absurd that we enjoy the special grace within ourselves that testifies it comes from God, yet cast the Creator—who has bestowed such benefits—out of our minds. Unless we pretend not to know who upholds this vast universe by the power of a single word; who, with a nod, can shake heaven and earth with thunder and fire; who can destroy whom He will by lightning; who can turn the whole sky into a sea of flame; who can raise a tempest at will; who can at once bring everything to stillness; who can restrain the sea that constantly threatens the safety of the continents; who can stir it into raging waves one moment and calm it the next—unless we deny these things, they are obvious examples by which God calls us to notice His power. Countless praises of God’s power are found in the natural testimonies recorded especially in Job and in Isaiah; but since I consider it more fitting to treat these when discussing Scripture’s account of the world’s creation, I pass over them here. I only wish to point out that to seek God by tracing the outlines of His manifestation in heaven and earth is a method shared by believers and unbelievers alike. His power leads us to think of His eternity: since all things come from Him, He must be eternal and self-existent. But if we ask why He created all things and now preserves them, I consider His own goodness to be the sole reason. Though it is the sole reason, it is enough to make us love Him; for, as the prophet says, “The LORD is good to all, and his mercy is over all that he has made” (Ps. 145:9).


VII

In His second class of works—those that occur outside the ordinary course of nature—there are equally clear proofs of His perfection. For He so directs human affairs and societies that, on the one hand, He displays His kindness and compassion toward all by countless means, and on the other, He continually declares His generosity toward the pious and His severity toward the wicked. That He punishes wrongdoing is beyond doubt, because He plainly shows Himself to be the protector and avenger of the innocent: by His gifts He causes the good to prosper, supplies their needs, comforts their sorrows, lightens their calamities, and secures their safety. Though He often allows those who do evil to escape punishment for a time, and permits good people to be tested by undeserved afflictions and even oppressed by the malice of unbelievers, this in no way undermines the permanent rule of His justice. Rather, we should draw a very different conclusion: since He clearly reveals wrath by punishing one sin, He hates all sin; and since He now lets many sins go unpunished, there will surely be a judgment to come and punishment then. He also seeks pitiable sinners with unwearied love, calling them back with a love greater than that of parents, until His goodness overcomes their evil—so great is His mercy toward us.


VIII

Thus the prophet, speaking of God (cf. Psalm 107), recounts how He helps the miserable who are near destruction at moments of crisis and unexpected need; how He protects those lost in the wilderness from being devoured by wild beasts and finally leads them back to the right path; how He provides food for the hungry and the needy; how He releases captives from prison and chains; how He brings those in danger at sea safely back to shore; how He heals those who are deathly ill; how He sends drought so that the land dries up; how by His merciful rain He turns barren soil into fertile fields; how He raises up the lowest and brings down the exalted. These many examples, I maintain, are not accidents, but demonstrations of God’s will—especially demonstrations of His fatherly love—so that upright people may rejoice and sinners and rebels may be left speechless. Since most people are trapped in error, even with abundant opportunities they remain blind and do not see God; therefore the psalm says that only a few wise people will attend carefully to all God’s works (cf. Ps. 107:43). Some who are intelligent in other matters still gain nothing from seeing God’s works. Though God’s glory is displayed so fully, scarcely one in a hundred truly grasps it. His power and wisdom are equally evident. His power is shown in this: the ferocity of the unjust is commonly thought irresistible, yet He instantly brings it to nothing; He restrains their arrogance, destroys their strongest fortresses, disarms them, removes their strength, frustrates their plots, causes their efforts to fail, and makes their shameless acts collapse. Conversely, “He raises the poor from the dust and lifts the needy from the ash heap” (Ps. 113:7), delivering the oppressed and afflicted from extreme misery, restoring hope to the despairing; causing the unarmed to overcome the fully armed; the few to defeat the many; the weak to prevail over the strong. He orders all things in due season, confounding the most shrewd on earth, “catching the wise in their own craftiness” (1 Cor. 3:19), and governing all things according to the highest reason, so that His wisdom may be made known.


IX

We need not seek proof of God’s majesty and greatness through lengthy argument, for the few examples mentioned incidentally already show how plain they are—visible everywhere. Here we must also note that the knowledge of God we seek is not satisfied with empty speculation floating in the mind, but is a firm and fruitful knowledge that, once received, takes deep root in the heart. The Lord reveals Himself by His perfection; when we have seen His power and received the blessings He gives, our knowledge of Him makes a deeper impression than any knowledge of a god known only by imagination and not by experiencing His power. Therefore we conclude that the best and most legitimate way to seek God is not to pry with arrogant curiosity into His essence, which should be worshiped but not pursued to the limit; rather, we are to meditate on Him in His works—works by which He makes Himself accessible to us, familiar to us, and, as it were, in communion with us. The apostle says that God is not far from us, because by His omnipresence He dwells in each of us (cf. Acts 17:27). Thus David, though he once acknowledged God’s ineffable greatness, adds when speaking of His works that he will “declare his greatness” (Ps. 145:6). It is fitting, then, that we strive to know God; this strengthens the praise of our minds and the affection of our hearts. Augustine said that since we cannot comprehend God, and faint beneath His boundless greatness, we must attend to His works, so that we may be stirred by His goodness.


X

Such knowledge should not only encourage us to worship God; it should also remind us to set our hope on the life to come. Once we see that the Lord’s generosity and severity are only a beginning and not the completion, we should regard them as a prelude to far greater things that will be displayed in the future life. When we see the righteous sorely troubled by the wicked—injured, slandered, oppressed, and subjected to many indignities—while the wicked prosper, enjoy honor, and go unpunished, we may immediately conclude that there is a future life in which the wicked will be repaid and the righteous rewarded. Moreover, when we see that the faithful are often disciplined by the Lord, we may be absolutely certain that the wicked cannot escape His retribution. Augustine speaks rightly: “If every sin were immediately punished openly, we might suppose that nothing was left for the final judgment; on the other hand, if God did not openly punish any sin, we might say there is no providence.”

Therefore we must acknowledge that the object is Scripture. Therefore, Charles Hodge believes that for biblical theologians, using an inductive method includes the following aspects: (1) Make one’s presuppositions explicit. Natural scientists have their own presuppositions or assumptions when conducting research; theologians, when studying Scripture, must likewise have clearly defined premises. The rule of faith revealed in Scripture is what God has impressed upon our nature, and obeying God’s moral law is the most natural way of life for human beings. The validity of these rules must serve as the theologian’s foundational presupposition. (2) Collect facts from Scripture. A theologian is not a thinker in the general sense, but a Christian thinker who thinks within the framework of Scripture and takes the facts recorded in Scripture as the standard and material for thought.



(to be continued)




Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

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