The Use Of The Formal Language Of Painting In Chinese Poetry Translation

Throughout history,it is widely accepted that painting and poetry can interact with each other,and that translation can imitate the expression of painting.However,there is little discussion on the transferring relation between translators' painting experience and poetry translation.To further explore such relation,this research draws a comparative study on two English translations of Cold Mountain Poems(from Gary Snyder and Red Pine),from the perspective of the Formal Language of Painting.Based on this objective,the author raises the following questions:(1)In terms of visual elements,rhythm,and composition,what translation methods are adopted by the two translators respectively to reflect their painting experience?(2)What are the main differences in their choices of visual elements,rhythm,and composition?(3)Why are there differences in the choices of visual elements,rhythm,and composition between the two translators?Through comparative analysis,this research has shown that:(1)The two translators differ from each other in their use of lines,depth,dots,rhythm(including gradual advancement and repetition)and cavalier perspective;(2)In terms of translation methods,Red Pine tends to adopt adjustment of word order or omission of some images while Gary Snyder turns to follow the visual logic of lines,juxtapose images with commas and balance all elements in cavalier perspective;(3)The divergence of translation methods between the two translators can probably be explained in their different painting experience.In conclusion,by explaining how a translator's painting experience influences his artistic cognitive mechanism in the process of translation,this research has revealed the role of painting experience in improving the aesthetic effect of poetry translation and highlighted the significance of inter-categorical research in poetry translation.