Art is visible. However, everything one sees is filtered through certain conditions, some of them historical, and others, natural. The historical conditions include the material which is used —oil, colors, and the canvas; second, a certain style. There can be a general style, for example, the style of Impressionism, or a particular style, for example, the individual ways in which two painters, both impressionists, paint. The natural conditions include certain unchanging psychological laws of sight, for instance, the effects of colors or optical illusions.
艺术具有可视性，这一点毋容置疑。然而，呈现在人们面前的艺术因受到特定条件的影响，而被滤化了，该类条件中既包含历史的条件，又包含自然的条件。从历史的条件而言，它既有包括艺术创作中所使用的颜料、色彩乃至画布等材料方面的不同，也有艺术风格上的差异，单就风格而言，也有总体风格和个体风格区别，比如，印象主义就是总体风格的范畴；两名画家的画风皆属于印象主义流派，但每个人作画的方式有各自不同，这又属于个体风格的范畴。从自然的条件而言，这些条件包括某些特定不变的视觉心理规律，比如色彩错觉或视觉错觉效应。
The conditions of art are nothing but a particular way of interpreting reality. To understand this, one can examine the difference between the classical Greek and the classical Egyptian styles. For the Greeks, the reality of the visible was given by the perspective and the situation in which the object appears; for that reason they presented a person in his individual movements. For the Egyptians, however, this was only the appearance of a brief moment, which, according to their beliefs, was not real. Therefore, the Egyptians searched for the permanent essence and the typical character in their depiction of an object. For the Egyptians, Greek art was an illusion; for the Greeks, on the other hand, Egyptian art was unrealistic constructivism.
上述形成艺术的诸多条件只是诠释现实世界的一种特定方式。要想明白这一道理，我们可以从古希腊和古埃及的艺术风格的差异中得到答案。古希腊的艺术是以物体所处的视角和所在的情境来呈现可视的现实，正是这一原因，古希腊艺术中的人物都有自己的特定动作。然而，古埃及人认为古希腊的艺术只能是昙花一现，按照他们的观点来说，古希腊的艺术不够真实。因此，古埃及的艺术在刻画物体中追求永恒的本质和典型的特征。为此，在埃及人看来，希腊的艺术只是一种幻想，而相反，在希腊人看来，埃及的艺术只是一种非现实的建构主义。 The way in which reality appears in art must not be regarded on its own. It is affected by many other systems of recognizing reality, including the political, religious, economic, intellectual, and social — in short, all the phenomena of human life.
艺术中的现实绝不可以以写实的形式来呈现，因为艺术的呈现方式会受到其他诸多认知现实体系的影响，其中包括，政治取向、宗教信仰、经济状况、知识水平及社会地位等——简言之，人类生活的方方面面。
Moreover, art is always of a certain epoch (纪元)，with its particular conception of reality. Thus, when discussing, for example, the art of ancient myth, of medieval Christianity, or that of the technological age, one must be aware that myth, Christianity, or technology was the most outstanding feature of the epoch.
此外，艺术是时代的产物，它总会烙上时代的烙印。因此，在谈论艺术的时候，比如古代神话、中世纪基督教教义以及技术时代的艺术，我们必须要知道，无论是神话、基督教教义还是技术，它们都有其明显的时代烙印。
It is paradoxical (似是而非的)to understand art as some kind of copy of the fields of experience connected with it. So, for example, it is meaningless for the work of art to be compared with the landscape, which served the artist as his model. Even if the artist had tried to make what he
painted as similar as possible to the model he used, the landscape which he saw is only the matter from which something completely different emerges since he has submitted his view to the conditions of art: namely to the material used (colors, canvas, etc.), to his style, and even to the fact that he paints on a flat surface. Thus one must contemplate (注视）a work of art by itself. Even if it is connected to other fields of experience it nevertheless displays something unique which appears in that piece of art and there alone.
如果把艺术仅视为对不同领域相关体验的复现，那你就很难真正地理解艺术。举个例子来说，拿一件艺术作品和一幅风景画来进行比较，此举毫无意义，因为这幅风景画只是画家用来照着画的图画。即使画家画得再像，也不可能与原画完全一致，因为画家在作画的过程中已经将自己的东西融入到作品中去了。也就是说，他的作品中有他对作画材料的使用（如颜料、画布等），有他的作画风格，甚至说他在一块平面上动笔作画这一事实。因此我们在欣赏一幅艺术作品的时候，一定要从它的自身角度来看，即使它和其他领域有关联，它也只不过以艺术的形式展现它的独特面，仅此而已。
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