| The reason why Chinese translation theories tends to interpret translation activities with painting analogy is that Chinese culture prefers to understand the outside world from the artistic perspective. The particularity of painting analogy in Chinese translation is that it helps to forms the framework of modern translation history of China. It is rooted in the culture which is artistic in nature. It is associated with several thinking dimensions such as form and spirit, Xu and Shi, word and Tao; image and meaning etc. It bridges over the chasm between the factors in binary opposition (e,g. author and translator; the source text and target text), and reveals their equal subjectivity and a dialogical relationship in this shared world, which illuminates the road to artistic consideration. The artistic view of Chinese translation compares translation to painting, changing from facsimile painting in the beginning to creative painting at present; from only taking source text as a model to also taking reality as a model by breaking though images of the source text; from mimicking to creating. All these changes take place around"similarity". Some translators in Chinese translation circle have noticed that to compare translation to painting or facsimile without any distinction is potentially dangerous. Therefore, the target text's orientation to reality is introduced to the discussion of painting analogy. This is a theoretical breakthrough. The significance of this alteration is that the writer and the translator can stand on the equal dialogical standpoint in the sense of the Ultimate meaning. The contemporary artistic translation school of China has broken through the classic–commentary system, which is both deconstructive and constructive. As the thinking dimension of reality is introduced, the dominant status of the source text is dismantled, and therefore, the judgment that translation is an activity in pursuit of similarity is justified.
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