中国唐代书法典籍《书谱》英译辩难与批评

Stylistic Distinction and Aesthetic Effects:A Criticism of the Translation of the Tang Chinese Classic of Calligraphy Shupu

书法是中国文化的重要文化母题和文化资本,而书论则是对书法实践的理论升华,集中体现了中国艺术美学思想,其语际/符际翻译对于中国传统文化“走出去”意义深远。本文以胡小石、冯亦吾、蒋彝等书学名家的重要书论思想作为语内诠释和语际翻译批评的理论依据,对唐代书论典籍《书谱》的两个英译本在书体名称和书法风格英译等两大方面进行了辩难、比读与批评,以期为中国书论思想跨文化译介和书法典籍英译批评方法研究提供借鉴。

Calligraphy has been an important cultural motif and a rich source of cultural capital throughout China's history.As such,calligraphic theory,the sublimation of the practice and the art of handwriting,has come to be informed with Chinese aesthetic principles and values,and its interlingual/intersemiotic rendition becomes a significant part of the effort for traditional Chinese culture to"go global."Within the theoretical framework of the thoughts on calligraphy by such prestigious calligraphers as Hu Xiaoshi,Feng Yiwu and Jiang Yi,this article subjects two English translations of the Tang calligraphic classic Shupu to an intralingual interpretation and an interlingual translation criticism.Focusing on their ways of rendering terms of calligraphic genres and styles,the article aims to provide some useful references for introducing Chinese conceptions of calligraphy cross-culturally,and to reflect on the methodology in general for translating Chinese classics as well.