从中国传统美学看中国翻译理论的“向心”文化特征

Observing The "Essence Oriented" Cultural Characteristic in Chinas Translation Theories in the Light of Chinese Traditional Aesthetics

在以“物”向“心”倾斜、“天”向“人”倾斜的中国“心学”文化哲学影响下 ,中国传统美学所崇尚的“内重外轻”、“贵神贱形”、“心融万有”、“无我之境”等思维取向模式 ,带有浓重的“向心”文化色彩。中国翻译理论受传统美学影响 ,并从传统审美文化精神中汲取养分 ,吸收了其由表及里、由实及虚的思想 ,强调审美主体的自我人格欣赏 ,提出了相应的“三似”论、“神似”论、“离形得似”、“心神交融”、“感应”、“意境”、“妙悟”、“化境”说等翻译观 ,不可避免地具有传统美学的“重心”特色和“向心”

Influenced by Chinas 'essence study' cultural philosophy, inclination of objects towards essence, nature towards man, there are strong 'essence oriented' cultural features in Chinas aesthetics which advocates such mind tropism modes as 'attaching importance to fundamentals instead of outer appearances', 'valuing spirit instead of form', 'achievements by devotion' and 'ego-less stage'.Chinese translation theories have been influenced by such traditional aesthetics and have drawn quintessence from the taste in traditional culture. They have absorbed the mentality of penetration from outlook into inner core, of transition from the real to the virtual. By emphasizing the personality enjoyment of the principal part in taste, they put forward corresponding translation view of 'similarity in three aspects', 'similarity in essence', 'preserving essence similarity when impossible to maintain the form ', ' spiritual merging ' , 'induction','artistic conception', 'subtle realization', 'conversion state' etc. These views inevitably possess the cultural marks of 'recognizing essence' and 'essence orientation' in tradition aesthetics.