译诗如作画:以石涛画论看汉诗英译  

Translating Poetry as Painting:Viewing English Translation of Chinese Classical Poetry in the Light of Shi Tao's Painting Theory

作　　者：贾玉嘉 Jia Yujia(Yan Tai University)

机构地区：[1]烟台大学外国语学院

出　　处：《外国语文研究》2025年第1期72-83,共12页Foreign Language and Literature Research

摘　　要：本文在当代汉诗英译实践和研究背景下,以石涛画论为基础,以王维《竹里馆》及斯奈德的译诗为例,对汉诗英译的总体、主体、客体、方法、程序、标准和效果予以较为系统的探讨。用石涛画论演化而成的“一画”法看汉诗英译,它就是译者“我”作为拥有“心”和“腕”特征的翻译主体,将原诗作者审美创造出来的原诗作为具有“质”和“饰”特征的翻译客体,通过贯通形而上的“乾坤之理”和形而下的“笔墨之法”的“一画”或曰“一译”方法,以及相应的“神遇”和“迹化”程序,“变通”为达到与原诗在“形”和“神”层面上的“不似似之”标准,产生“灵气”和“生活”美感效果,是一种译诗审美再创造活动。这种整体式的汉诗英译观对汉诗英译实践和研究具有较为深刻的本体论、认识论和方法论意义。Within the setting of present day poetry translation practice and research,taking Wang Wei's“Zhu Li Guan”and Gary Snyder's Bamboo Lane House as an example,this paper achieves in the light of“one-paint”translation theory,which evolved from Shi Tao's painting theory a systematic understanding of poetry translation in terms of its general nature,subject,object,method,procedure,standard,and effect:English Translation of Chinese Classical Poetry is an activity of aesthetic recreation in which the translator“I”as subject with the features of“mind”and“hand”converts,by means of the“one-paint”approach on the levels of views and methods and through the procedures of“mind-meet”and“mark-turn”,the source poem“hill-stream”created by the source poet as object with the features of“essence”and“shape”into the target poem“hillstream”which realizes the standard of resembling the source poem“hill-stream”in spirit but not in form and which produces the aesthetic effect of agility and vitality.Evidently,such a holistic view of English Translation of Chinese Classical Poetry is ontologically,epistemologically and methodologically significant to poetry translation practice and inquiry.

关 键 词：汉诗英译 石涛画论 一画 神遇 迹化 

分 类 号：H31[语言文字—英语]