本文认为中国的李贽与德国的尼采在同是传统文化的叛逆者方面具有可比性。在艺术产生问题上，李贽认为艺术源于生命的匮乏与需求，是对生命的补偿，尼采则理解为艺术源于生命的丰盈与富足，是生命的给予；在艺术表现上，李贽重自然、自适，但因缺乏丰厚的生命意识而导致苍白的审美自由，尼采则重视生命之强力的艺术表现，从而是真正意义上的审美自由；在艺术对人生的功能问题上，两者也多有迥异。 This article argues that Li Jin of China and Germany’s Nietzsche are comparable in terms of traitor with traditional culture. On the issue of art production, Li Kui thought that art stems from the lack of life and needs, which is the compensation for life. Nietzsche understands that art comes from abundance and abundance of life and life giving. In artistic expression, Nietzsche emphasizes the artistic expression of life’s strength and thus is the aesthetic freedom in the true sense. As for the function of art in life, there are also many Different.