The translation of art essays on chinese painting and poetry

It is regarded that it embodies the Chinese spirit vividly. Firstly, the lotus can be regarded as a symbol of gentleness of the scholars at that time, In another word, a symbol of the Individual personality.

The translation of art essays on chinese painting and poetry

Poetry, Calligraphy and Painting in Chinese Art explores the interconnections between poetry, calligraphy and painting. In traditional China scholars and scholar-officials were cultivated in these arts as vehicles of self-expression.

These works, dating from the fourteenth century to the present, show the uniqueness of Chinese art and the contrast between traditional and contemporary art in the continuity of a living tradition. Chinese Painting, Poetry and Calligraphy From the third century BC until China was governed by a civil bureaucracy of scholar-officials under the emperor.

The translation of art essays on chinese painting and poetry

First appointed by the emperor, and later recruited by a system of civil examinations, scholars were educated in the moral teachings of the Confucian classics.

Scholars were ideally endowed with inner virtue noble character and moral integrity and outward refinement cultivated and versed in the fine arts of poetry, calligraphy, painting and music. Calligraphy is regarded in China as the highest art form. Its artistic and expressive qualities are independent of the meanings of the written words.

Speech is the voice of the mind; writing is the delineation [hua: When this voice and delineation take form, the princely man and the ignoble man are revealed. In China, painting was not equated with poetry until the eleventh century, in the Northern Song dynasty — Scholars who were versed in poetry and calligraphy adopted painting as a vehicle of self-expression.

Su Shi —a famous scholar of the Northern Song, inscribed a painting by Wang Wei —renowned poet of the Tang dynasty — — the golden age of poetry — with an accompanying poem: Master Li had a phrase he did not want to express in words, So with light ink he sketched out a soundless poem.

Wang Gai —a scholar-amateur artist, was a native of Xiushui, Zhejiang province, but lived in Nanjing for most of his life. He became well known as the author of Jieziyuan huajuan Mustard Seed Garden Manual of Paintingthe most influential of all Chinese instructional manuals on painting.

Trees full of blossoming wisteria cover thatched huts Waterbirds stand in a lake of spring water Fishing boats, facing my window, take shelter for the night At dawn, misty lamps resemble a string of stars. Beyond my boat, lake clouds are like flowing water, Ten miles of beaded curtains bring back memories of Yangzhou.

This solitary sail only allows me to keep a long flute, fully loaded with wanderings through rain and mist in Jiangnan. In a secluded corner of the lake, enclosed by mountains, a solitary figure the artist takes shelter in a boat and listens to the spring rain.

The misty trees and movement of the reeds in the water create the sensation of drizzling rain. Painting and poetry are so subtly interwoven that one wonders whether the poem inspired the painting or vice versa. It also follows that poetry is painting without form, and painting is poetry with form.

Huang Shen —one of the eight eccentric masters of Yangzhou, was known to excel in the three perfections of the scholar-artist, well demonstrated in his album of ten leaves of flower and bird paintings.

The fifth album leaf, Red orchid, is beautifully composed. The spray of red orchid sketched with swift brushstrokes in red and green is cropped at the top. A calligraphic inscription is integrated with the painting into an abstract design, leaving empty space in the left half of the painting.

The poem is translated as follows: The newly ripe cherries scatter like coins of elm seeds. It is also April in Yangzhou. Last night red orchids in the thatched hut burst into blossom Worrying about the wind and rain [that might ruin the blossoms], unable to sleep.

The poem is written in a highly individualistic style of cursive calligraphy.Translation is an art between tongues, and the child born of the art lives forever between home and alien city. Once across the border, in new garb, the orphan remembers or conceals the old town, and appears new-born and different.

Use the blue paint, the blue shade, as well as the blue tint to paint over the lines of the Chinese inspired design created during the last class. While switching between shades and tints of paint, rise the paintbrush it the container of water and use the paper towel to dry it 9.

The exhibition Three Perfections: Poetry, Calligraphy and Painting in Chinese Art explores the interconnections between poetry, calligraphy and painting.

In traditional China scholars and scholar-officials were cultivated in these arts as vehicles of self-expression. The translatability of Chinese classical poetry with non-translatability of course, important, but more importantly can get more guidance on the principles and methods of classical Chinese poetry translation, this is the most important in 4/4(1).

静夜思 quite night thought jìng yè sī 李白 Li Bai lǐ bái 床前明月光 bed front bright moon light, chuáng qián míng yuè guāng 疑是地上霜 suspect(is) ground on frost, yí shì dì shàng shuāng 举头望明月 raise head look at bright moon, jǔ tóu.

Chinese poetry is poetry written, spoken, or chanted in the Chinese language. While this last term comprises Classical Chinese, Standard Chinese, Mandarin Chinese, Yue Chinese, and other historical and vernacular forms of the language, its poetry generally falls into one of two primary types, Classical Chinese poetry and Modern Chinese poetry.

The Long Conversation between Painting and Poetry