Gurdjieff’s theory of art brings together several strands of thought expressed in his magnum opus Beelzebub’s Tales to His Grandson (1950). In particular, Gurdjieff presents art as a means for the transmission of certain ideas through history, and interpreted by properly informed individuals. In one chapter, Beelzebub’s grandson, Hassein, asks him about the meaning of “legominism.” Beelzebub describes legominism as, “one of the means existing there of transmitting from generation to generation information about certain events of long-past ages, through just those three-brained beings who are thought worthy to be and who are called initiates” (Gurdjieff 349). This article will first briefly consider Gurdjieff’s presentation of art, particularly as it reflects Gurdjieff’s notion of legominism, and the transmission of knowledge to subsequent generations. I will then focus on Ashiata Shiemash, one of the chief exemplars found in Beelzebub’s Tales that exhibits the potentialities of an authentic legominism. As I will offer, the continuing potency of Gurdjieff’s narrative is that it operates on both a deconstructive level, to destroy or wipe away the destructive notions, past and present, just as it creates a space for a more positive view of the potential for certain aspects of cultural forms, such as art and religion.

中文翻译：

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Gurdjieff，艺术和Ashiata Shiemash的乐高主义

葛吉夫的艺术理论汇集了几本思想，这些思想在他的巨著《别西卜卜的故事》中表达，他的孙子（1950年）。特别是，葛吉夫（Gurdjieff）提出艺术是通过历史传播某些思想的手段，并由知情的个人进行解释。在一个章节中，贝西布卜的孙子哈森（Hassein）向他询问了“乐透主义”的含义。Beelzebub将legominism描述为：“那里存在的一种手段，可以通过那些被认为值得并被称为同修的三脑生物，在世代之间传递有关某些长寿事件的信息”（Gurdjieff 349 ）。本文首先将简要介绍葛吉夫的艺术表现方式，特别是因为它反映了葛吉夫的法律主义观念，以及知识向后代的传播。然后，我将集中讨论Ashiata Shiemash，这是在《 Beelzebub故事》中发现的主要范例之一，展现了真正的合法主义的潜力。正如我将要提供的那样，葛吉夫的叙事的持续效力是，它既在破坏性的层面上运作，又消灭或抹去了过去和现在的破坏性观念，就像它创造了一个空间，使人们对某些可能性的潜在看法更为积极文化形式的方面，例如艺术和宗教。