How unnatural it is to ask, ‘Why does that which exist, exist?' and yet how completely natural it is to ask, ‘Why do the living die? - Nikolai Fyodorovich Fyodorov

To solve the question, 'What should art be?' will be to solve the contradiction between rational being and the blind force of nature, to fathom the most abnormal relationship between man and nature, to solve the question of the subordination of rational being to blind force. Will nature always remain blind and, in its blindness, a destructive force, while art remains the creation of nothing but dead imitations? Will this division be temporary, or will it last for ever? Perfection lies in the unity of nature and art.

[M]an has always felt and recognised the imperfection of nature, and has never accepted it as law. He broke this law when he took his first step, because his vertical posture challenged gravity, the most universal law of nature. This upright position is not natural to man – it is supranatural – and he has achieved it artificially, through effort (by swaddling and other methods of adaptation). One cannot say of man that he is the creation of nature. On the contrary, he is the result of under-creation, of deprivation, of a natural pauperism which is shared by rich and poor alike; he is a proletarian, a pariah among living creatures. Yet in this lay the origin of his future greatness; deprived of natural cover and means of defence, he had to create all this himself by his own labour. Therefore man values only that which has been created by working, or which expands the area of application of work; it is not difficult to guess that the culmination of this forward movement must be that everything on which human life depends will ultimately be achieved through work, so that humans will depend solely on their labour. Consequently the entire world, the meteorological, telluric and cosmic processes, will be the responsibility of man, and nature will be his work. Man is driven towards this goal by hunger, disease and every other calamity, so that whenever he delays in expanding the area of work, the scope for disasters expands. Thus nature punishes man by death for his ignorance and sloth, and drives him to ever-expanding labour.

Nature, within man, was conscious of the evil of death, of its own imperfection. So the rebellion of the living (the vertical posture) and the resurrection of the dead, in the form of tombstones, are natural acts for a feeling, rational being. It was when the living (who had suffered a loss) rebelled and turned to heaven, and when the dead were resurrected in the form of tombstones, that art began. Prayer was the beginning of art. Prayer and the (vertical) prayer posture constituted the first acts of art; this was theo-anthropurgic art, which consisted of God creating man through man himself. For man is not only a product of nature but also a creation and concern of art. The last act of divine creation was the first act of human art, for man's purpose is to be a free being and consequently self-created, since only a self-created being can be free. In this act of self-creation – that is, in rebelling and turning towards heaven – man discovers God and God reveals himself to man; or, more precisely, on discovering the God of the fathers, the being who has made the discovery becomes not just a man, but a son of man. And only in the abstract sense, forgetting the loss, is it possible to say that the being which has discovered God has become man.