一段关于中国绘画的翻译

clearwater wrote:

当第一次看到罗氏兄弟的商标作品的一幅画——苹果脸的幼童浮动在一片从天安门中射出的深红色、黄色和粉红色的射线时

许多人一见到when就译成“当......时”，其实，把“当”字删了，岂不是更简洁、更汉化？

当然，这同样是个长句，沉下心来的话，是完全可以分成几个短句的，至少读起来不用那么上气不接下气。

PS：挑别人的刺总是很容易的事：）

http://mt.china-papers.com/2/?p=197260

The first chapter analyzes the embodiment of Su Shi's self-awareness on the theor(ie)s of literati painting. It is divided into three aspects: First, he put forward the spirit theory from subjective perspective. Second, he talked about the theory of relationship between poem and drawing for creating artistic conception. Third, he focused on Nature's engineering and pureness that were the style of literati painting, and were achieved when subjective thought acted in accord with external substance.

Libin PhD wrote:



删掉更好，习惯思维很可怕。

sunreader wrote:



这个“当”字，我经常省掉，审校又给我加上。

Phil Hand wrote:

Now, shall we actually have a look at what the paper says?

"在将绘画雅化的过程中,绘画的功能被逐步改变:从政治教化功能转变为审美娱 乐的功能,从为政治服务转变为以人为本,从正统理性走向了世俗的情感化.因 此,苏轼文人画论中的自我意识是他以感性为主,理性指导感性,感性与理性互 动的产物." (end of section 2, p. 36 on the Baidu wenku copy)

Ya is a quality which involves personality and personal feeling; in which rationality guides emotional response; forming a product which is the result of the interaction between the emotional and the rational.

To be honest, this particular paper supports my argument that the definition of 雅 and the explanation in the text of "loftiness" are so close that that author *must* have been using "loftiness" to refer to 雅.

This argument is not definitive. I'm still open to other ideas, with evidence.

http://ascetlan.bokee.com/6353378.html

蔡居的表现性抽象画最显著的特征是“中国元素”和“原始美”。
中国元素既不仅仅在于他的绘画题材取自传统的中国画题材，山水、荷花和书法，也不仅仅是揉合了国画的笔墨、线条和气韵。更可贵的是他的作品中表现了他对中国艺术哲学的个性化理解。作品《春雨》、《残荷雨声》都巧妙地运用了印象派的色彩，但毫无疑问的是纯粹的中国式抒情，激情是含蓄收敛的，在春雨的喜悦中是淡淡的忧患意识，在残荷的萧瑟中有乐观的希盼，这样的中国式的意境就在难以琢磨的色调、云雾般的朦胧和既断又续的线条里表现出来。在他的纯抽象画《蓝色6号》、《不太久》、《宇宙之晨》表现了原始美的质朴，混沌和不可名状的崇高、雄伟。光线、虚空和永恒的运动是画作中的主题，它远离了现实世界的具象却亲近着大自然，也亲近着老庄哲学中把天地间无穷的虚空看着永恒运动着的气。虚与实、静与动有节奏的动力形式，把每个绘画元素结合成一个有机的整体，也把画面和观众联系在一起。总的来说蔡居的作品形式灿烂丰富，内函深厚饱满，融合了中西视角的长处。

What marks the expressiveness of Cai Ju's abstract paintings are the “Chinese elements” and “primitive beauty”.

The “Chinese elements” are not merely embodied in the subjects of his works taken from the traditional Chinese painting such as landscapes, lotus and calligraphy; furthermore, they are more than the simple combination of the inkling, lines and flowing vitality of the traditional Chinese painting. What is most worthy of appreciation is that his works exhibit his personalized understanding of Chinese art philosophy. In his masterpieces of Spring Rain and With Withered Lotus in Rain, he deftly employs the colors usually utilized by the impressionists; nevertheless, it is doubtlessly pure Chinese expression in which passion is veiled and restrained. What is hidden in the joy of spring rain implies the unnoticeable awareness of apprehension and what is concealed the melancholy withered lotus indicates optimistic expectation; such Chinese artistic conceptions are thus displayed by the incomprehensible hues and intermittent lines wreathed by mist. In his pure abstract painting Blue No.6, Not Long and Morning of the Universe, he well reveals the simplicity, artlessness, chaos, as well as the indescribable loftiness and grandness of primitive beauty. Light, nothingness and unceasing motion feature the subject of his painting. It goes away from the reality world, yet it gets closer with nature as well as the idea that the endlessly moving air constitutes the boundless nothingness of universe. The rhythmic forms of nothingness and existence, motionlessness and motion well intertwine each painting element into an organic and new whole and associate the visual images with viewers. On the whole, Cai Ju’s works are ample in form, pregnant in content, fully accommodating the merits of the eastern and western perspectives.

http://www.96hq.com/sccidian/23865.html

中国绘画有它别具一格的特点：重在寓神情于物象之中，对客观物象诸如人物、山水、花鸟等“遗貌取神”须靠意会，“因具体而得其抽象，因抽象而完其具体”(近代名画家陈师曾语)。它不拘泥于物象表面，而重在抒发内心的感受，即重在一个“意”字，力求“神似”以达完美境界。

...

中国画取意，西洋画写实。取意者求“神”.写实者取貌。故陈师曾概括为“西人之画，目中之画也；中国人之画，意中之画也。”西洋画以建筑空间“为间架”；中国画则以书法“为骨体”。因而西洋画重立体感、空间感、科学性和工艺性；中国画则重意境、情感和书法笔致，倾向于“借形表情”，并追求画境进人诗境。苏轼曰：“味摹诘之诗，诗中有画；观摩洁之画，画中有诗”(《书摩诘蓝田烟雨图》)。中国画的至高意境为诗境，看来古人早有定说。’‘诗是无形画。画是有形诗(北宋张舜民《画慢集》)。”品评中国画，“诗情画意”是休闲鉴赏的一个重要基点。您曾记否：唐代著名诗人兼画家王维的“明月松间照，清泉石上流”(《山居秋嗅》)，“落花寂寂啼山鸟，杨柳青青渡水人”等等，该是何等的“神似”之美啊!

Phil Hand wrote:

虽然一个字一毛跟免费差不了多少，但早晚客户总会意识到，找廉价翻译与上谷歌没有差，毕竟两种都是没有保障的。

Phil Hand wrote:



I mean, I still disagree. My best guess, based on everything I've looked at, including the articles you've posted, is still that 雅 is the best fit. But it's only a guess, and you've made an argument for another term. This is one of those places where I think it's fine to agree to disagree.

Phil Hand wrote:

You don't have to copy by hand. Open the Google cached version of the Wenku page, and the text comes up as copyable html.