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Translation Strategies for Art Translation in the Origins and Developments of the Lingnan School of Painting

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Translation Strategies for Art Translation in the Origins and Developments of the Lingnan School of Painting Linguistics and Literature Studies 2(7): 179-184, 2014 http://www.hrpub.org DOI: 10.13189/lls.2014.020701 Translation Strategies for Art Translation in the Origins and Developments of the Lingnan School of Painting Tzu-Fan Ma*, Jia-Chen Chuo Department of Applied Foreign Languages, Shih Chien University, Taipei, Taiwan *Corresponding Author: [email protected] Copyright © 2014 Horizon Research Publishing All rights reserved. Abstract Taiwan’s National Palace Museum published a achievements of these Lingnan School masters [2]. picture album of Chinese paintings, Origins and This paper focus on analyzing the translation strategies of Developments of the Lingnan School of Painting, when this bilingual album. First, I briefly introduce the Lingnan focusing on major works by Lingnan founders and masters. School’s history, including its origin and painting style. The The Lingnan School, a realistic school of art incorporating main purpose of this study is to find the problems in the western elements, has played an important role in modern translation of painting titles, including the word choice, Chinese painting development during the early twentieth untranslatability and tanslationese language, discussing century, and it has had great impact on contemporary art whether the translation matches the meaning of its source circles. Based on the bilingual album, this paper aims to language and the painting itself. Since the characteristics of analyze the translation strategies of art in Taiwan. The main Chinese culture and language are different from that of the purpose of this study is to find the problems in the translation West, not all source language can be translated perfectly into of the titles of paintings, including the word choice, the target language, especially when words are used to paint untranslatability and tanslationese language. This paper will a picture. In this album, the translator uses the literal further discuss whether the translation matches original title translation method, but some word-to-word translation and and the painting itself. Suggested translation that better improper word choice may cause the loss of the imagination meets the purpose is also offered. Since Chinese culture is and the beauty in the translation of painting titles. As a result, different from that of the West, not all source language of different strategies should be applied in art translation. And painting titles can be translated perfectly into the target this research is going to provide suggested translations that language, especially when words are used to paint a picture. better meet the purpose. Word-to-word translation and improper word choice may cause the loss of the imagination and the beauty in the translation of painting titles. As a result, different strategies 2. Literature Review should be applied in art translation. Lingnan School Keywords Lingnan School, Translation Strategy, The Lingnan School, a realistic school of art incorporated Untranslatability, Art Translation with western elements, has played an important role in modern Chinese painting development during the early twentieth century, and it has had great impact on contemporary art circles in China, Hong Kong, Macau and 1. Introduction Taiwan [2, p. 2]. Lingnan School has already become an important subject in researching modern Chinese art history. National Palace Museum (NPM) is the most famous Southeast China is the cultural center of Lingnan School. It museum in Taiwan. The main collection of cultural artifacts originated in Tayyu Mountains, Qitian Mountains, Dupang held inside the National Palace Museum consists an Mountains, Mengzhu Mountains, and Yuecheng Mountains enormous treasure trove of objects from the Song, Yuan, also known as, “the Five Ranges”. The area was known as Ming and Qing Dynasties [1]. But NPM is not Lingnan, but now the name has changed to be Guangdong comprehensive in the nineteenth century Chinese paintings. [3]. In 2013, National Palace Museum cooperated with Au In the late Qing dynasty, Guangdong was one of the Ho-Nien Culture Foundation holding an exhibition of important mercantile port in China. Then the various Lingnan School paintings. And the National Palace Museum developments led to a turning point for revolutionary change publishing this picture album, Origins and Developments of in the practice of art in Lingnan area with the appearance of the Lingnan School of Painting, for the art amateurs and many promising and talented painters. The fame of Lingnan readers to further recognize and understand the artistic artists quickly spread to Shanghai, Beijing and Tianjing 180 Translation Strategies for Art Translation in the Origins and Developments of the Lingnan School of Painting areas. Painters in Lingnan leapt to the forefront of art circle language, form-focused and adopting perspective of ST are to form a core group in Southern China [2, p.11]. The the characteristics of expressive text. Therefore, when innovations in modern Lingnan painting can be traced back translators translate the title of these paintings, they need to to two progenitors, the cousins Ju Chao (居巢, 1811-1865) understand thoroughly the meaning of the titles. and Ju Lian ( 居廉, 1928-1904). Their painting style continued in the “boneless” tradition of color washes Decision-making employed by the early Qing painter Yun Shouping (惲壽平, 1633-1690), but in terms of subject matter and methods of Translation involves a complex decision-making process expression, they branched out on their own new painting which the Leipzig-based translation theorist Jiri Levy (1967) style. They specialized in the techniques of adding water and explains as “moves” in a game of chess, and choices to make powder to still-drying washes, demonstrating full command among several alternatives. In doing any kind of translation, of various changes to the subjects depicted. In the beginning there will always be a ‘problem’, and a number of possible of the twentieth century, Gao Jian-Fu (高劍父, 1879-1951), ‘solutions’ [6, p.52]. The translator face totally different Gao Qi-Feng (高奇峯, 1889-1933) and Chen Shu-Ren (陳樹 problems from the author’s. At every stage of the translation 人, 1884-1948) were their most famous followers [2, p.11]. process, choices are made, and these obviously influence They created a new Chinese art through a synthesis of East subsequent choices. Like all matters to do with text in and West and brought forth a new movement in Chinese context, however, translation decision tend to be highly painting [3]. Therefore, they became known as the “Three complex [6, p.52]. Masters of Lingnan”. Iterative nature of decision-making is often driven by a “Three Maters of Lingnan” had traveled and studied art in number of fairly subjective factors such as the translator’s Japan, influenced by realism and bright colors prevalent in own ‘aesthetic standard’ (Levy 1967). A factor that is less Japanese painting at the time. When coming back to China, subjective than aesthetics is the translator’s own they created a new Chinese art through a synthesis of East socio-cognitive system (the translator’s culture and system and West and brought forth a new movement in Chinese of values, beliefs, etc.). The nature of the commission is a painting. The revolutionary slogan of their claim is crucial factor in defining the purpose of the translation. The “Balancing Chinese elements and foreign ones. Blending decision-making involved would be partly subject to system ancient traits and modern ones.” in the early Republican era, criteria such as grammar and diction, and partly to contextual trying to confront traditional art that laid emphasis on factors surrounding the use of language in a given text [6, imitation. The impact of the Lingnan School’s “new Chinese pp.52-55]. painting” on contemporary art circles is not only limited to During the decision-making process, the translator opts the area of Guangazhou, it also has great influence in Hong for that solution which yields maximum effect for minimum Kong, Macau, and Taiwan areas [2, p.11]. effort [6, p.56]. In other words, readers would be able to There are two main techniques in Chinese painting: understand easily and quickly about the concept of the target traditional Chinese realistic painting (工筆畫) and ink and language by translator’s minimum effort. wash painting (水墨畫). The brushstroke of the former emphasizes lines and details of the subjects; the latter 3. Word Choice of Painting Titles focuses on spontaneous style [4, pp. 530-537]. Lingnan School are based on the traditional Chinese painting skills There are, in total, ninety paintings in this album, and they and ink and wash painting. Firstly, painters leave blank space are divided into four sections: “Figures”, “Birds, Flowers, while arranging the picture. They are influenced by Fish, and Insects”, “Birds of Prey and Other Animals”, and traditional Chinese philosophy, Taoism in which the “Landscapes”. The translator uses the literal translation philosopher, Zhuangzi (莊子, 369-286 BC), wisdom can be method for the titles of painting. Some of the translations can obtained while in peace. Secondly, they are influenced by the match the source language, but some do not. Since the Western painting style, impressionism, while painters of the problem of word choice might influence the results of Lingnan School focus on the appearance of light and vivid translation quality, I will now discuss some problems in the colors [5]. translator’s word choice. The problem of word choice in the first one, “Ruddiness Text Purpose and Text Function Vying with Peach Blossoms Red”, is the word, “vie”. According to the explanation of Longman Contemporary The translator need to understand the characteristic of the English dictionary, “vie” means “to compete very hard with original text before translating, which the process might help someone in order to get something”. This meaning does not translator more understanding about the purpose of the text. quite match the Chinese meaning of “相映” [7, p.1594].
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