两千三百年前中国大哲孟子谓：“充实之谓美，充实而光辉之谓大，大而化之之谓圣，圣而不可知之之谓神。”此可总揽普天下所有大艺术之警世通言也，中、西莫不皆然。八大山人、伦勃朗、莎士比亚、陶潜，于美、大、圣、神皆有之矣，然其趋舍异途，绝无可融合处。比较艺术的目的，所望于后来者，为加大其距离，非缩小而趋同也。
The great Chinese philosopher Mencius, _______ lived two thousand and three hundred years ago, said, “Substantiality is called beauty; when substantiality is brightly displayed, it is called greatness; ________ greatness exercises a transforming influence, it is called sacredness; when sacredness is beyond our understanding, it is called divinity.” This extraordinary proposition is applicable to all the great arts of the world, _________(include) both Chinese and Western ones. The great Chinese artist of the seventeenth century Bada Shanren (1626—1705), the great artist of the Netherlands Rembrandt (1606—1669), the great British ________ (drama) William Shakespeare (1564—1616), and the great Chinese poet Tao Qian (c.365—427), who lived between the fourth and fifth centuries, all possessed the qualities of _________, greatness, sacredness, and divinity. __________, the objectives they aimed at, the things they chose to cast __________(side) and their approaches varied greatly from one another. There is ____________ (absolute) nothing that can be synthesized. Comparing the objectives of art, I hope that future artists will __________ the distance between Eastern art and Western art, instead of reducing it or gradually converging one into the _______________.