The Beauty Of Harmony In Translation

As a kind of art,the Chinese calligraphy is formed and developed based on Chinese characters.It is the most symbolic element in traditional Chinese cultures,condensing the spirit of Chinese nation over the five thousand years and creating the splendid and brilliant Chinese civilization.The art of Chinese calligraphy is in harmony with various elements,including dots and lines in square or round,curved or straight,and forceful or mild shapes,Yong Bi(methods/approaches in calligraphy)with the trends of lifting or pressing,holding or spurting in different speeds,postures and compositions in slanting or upright,sparse or dense structures and ink colors with heavy or light,dry or wet changes.Because of the flexible changes of dots and lines,it appears writing scriptsin various styles,forms and genres during the different periods of Ancient China.For instance,there are flexible and well-balanced Zhuan Shu,forceful and orderly Li Shu in broad postures,unstrained and bold Cao Shu in a very fast speed,flowing and graceful Xing Shu and even elegant and upright Kai Shu.And it is because the rational layout and arrangement in Yong Bi,postures and compositions as well as the harmonious ink colors that the different but unique art works--"Bei" and "Tie" are formed in the history of Chinese calligraphy.No matter how smart the strokes and lines are or the Yong Bi,postures and compositions are shown in the writing process,all betray the emotions of calligraphers during different historical periods.As a famous saying goes,"The strokes and lines reveal the beauty of nature,and also reflect the beauty of people's inner hearts." By the flowing strokes and lines,the calligraphers' emotions and spirits are expressed and showcased to the whole world,which makes Chinese calligraphy become a unique art that is colorless but has the brilliant effect as paintings,that is soundless but has the harmonious effect as music.It has been found that the art is more ofa nation and it is more of the world.The art of Chinese calligraphy cannot stand firm among the nations of the world without overseas dissemination of Chinese calligraphy.Over the last few decades,the overseas dissemination of Chinese calligraphy has reflected mainly on two levels--one is artistic level and the other is academic level.Compared with the communication of artistic level in a subdominant position,the communication of academic level is getting more and more frequent;therefore,it has more practical significance in enhancing Chinese calligraphy on academic level.However,as a bridge and belt,translation plays an important role in promoting the disseminations and communications among the nations.Based on the above,this dissertation will analyze the English translation of Chinese calligraphy from four perspectives--the names of Chinese calligraphy,thefeatures of writing styles,the writing process and the aesthetic standards of calligraphy.As for the English translation of the names of calligraphy,this dissertation will focus on the names of writing styles,the names of Bei and Tie,the names of the writing tools,the calligraphers' names and the names of different strokes.For the English translation of the features of writing styles,this dissertation will mainly discuss about the features of the five most important writing styles in the history of Chinese calligraphy-the features of Zhuan Shu,Li Shu,Cao Shu,Xing Shu and Kai Shu.For the writing process,this dissertation will mainly put emphasis on the English translation of three elements--Yong Bi,postures and compositions.As for the aesthetic standards of calligraphy,this dissertation will explain the English translation of the terms of calligraphic aesthetics,the beauty of aesthetic conception in calligraphy,the beauty of form of Shangu's writing techniques and the aesthetic standards of "Five disfavors and five favors" in writing process.From the perspective of Chinese calligraphy,these four parts are in progressive logical relations,which mean that this study covers three levels--from the calligraphic material beauty on a low level,the formal beauty on a middle level and the aesthetic conception beauty on a high level,making a comprehensive and dynamic analysis of the art of Chinese calligraphy.The dissertation will make a study on translation criticism and translation practice from the perspective of the western Hermeneutics.As for translation criticism,Zhu Jianping,a Chinese scholar further explains the essence and connotation of"Translation is interpretation" and expounds "Interpretation is the common feature of translation" and "Translation is alimited interpretation" from the point of view of the western Hermeneutics.The author will analyze the advantages and disadvantages and compare the differences and similarities among different English versions of the art of Chinese calligraphy in accordance with Zhu Jianping's Hermeneutics translation studies.As for translation practice,Wang Ning,a Chinese scholar puts forth"Transcultural iconic translation" combing with the theory of the western Hermeneutics,the three aspects of translation put forward by Roman Jakobson and"Image Turn" in the modern literary criticism.The author will give some views and opinions on translation practice from the perspective of "Cross-cultural Iconic Translation" in order to provide reference for the English translation practice of the art of Chinese calligraphy.With the constant development of world-wide dissertation and communication of the enthusiasm in learning Chinese and Chinese culture,to a great extent,the art of Chinese calligraphy has gain great recognition and popularity in international cultures and art communication.It can no longer exist against the background of Chinese culture and more and more foreigners get to realize its aesthetic function and unique charm of Oriental Culture.Meanwhile,the quality of translation should be further improved in order to enhance the soft power and the status of international discourse power of Chinese calligraphy,avoiding divergence in international cultural dissemination and communication.During the process of translation,the appropriate theories should be appropriately applied to translation practice.Translators should be not only active in showing the cultural feature of Chinese calligraphy and its unique charm,but also take consideration of the target language readers' reaction effects.Therefore,the research on the English translation of the art of Chinese calligraphy is of both practical and theoretical significance on facilitating the overseas dissemination of Chinese calligraphy,as well as the deep significance on the translation work of other Chinese cultures and arts.