书画的翻译

文/陈善伟

书画是历史悠久的传统艺术。书是指书法，画是指绘画。由于中国的作画及书写传统上都是以笔墨为主，所以书画并称。

书画所以难译，主要是涉及很多观念及词汇问题。绘画材料的蓪纸、乳金、赭石，画式的屏条、影像，画法的写意、工笔、点、仿、临，这些字都很难处理。翻译书法同样困难。书体的鸟篆、籀文，方法的捺、月勾，品评的飞白、传神，亦很考功夫。

这篇文章及译文选自《饶宗颐书画集》。饶教授，号选堂，是知名学者，学术渊博，著作等身。饶教授浸淫书画数十年，风格自成一家，画作充满文人画韵味。

本书序言作者何怀硕先生畅谈画作的神韵问题，当中涉及很多哲学概念，是书画哲理共融的作品。翻译本文时要注意几点。其一是画风用语，例如文人画（literati painting）、士大夫画家 （literati painter）。其次是哲学用语，例如“主客观统一”（unity of subject and object）及“以形写神”（depicting the spirit through form）。其三是书名和篇名的翻译，例如《韩非子》（Hanfeizi）、《淮南子》（Huainanzi）及《画竹歌》（Drawing Bamboos），有音译，有意译。其四为人名翻译，包括名随主人的饶宗颐（Jao Tsung-i）及以汉语拼音拼出的姓名，例如顾恺之（Gu Kaizi）、白居易（Bai Juyi）及苏轼（Su Shi），有的写上生卒年份。其五是概念翻译，例如“形”（form）、“意”（spiritual communion）、“气韵”（energy）和“骨气”（structural force）。

何怀硕：《率性随心、元气淋漓》

He Huaishuo: An Artist Who Follows His Natural Inclinations

中国绘画自宋元以降，渐渐进入了文人画的高潮。此固然自唐到宋，中国绘画已达到成熟之高峰，士大夫画家之反抗院画重形似与遵格法的束缚，以抒发性灵，表现自我人格为主要目的，造成文人画的勃兴。但是，如果没有中国自先秦以来主客观统一、形神兼备的绘画哲学为先导，断不能有文人画出现。这一条艺术思想的主线，正是中国绘画哲学的神髓所在。

From the Song and Yuan dynasties onwards, Chinese painting gradually entered the high period of the literati art. The rise of this school was due to the fact that Chinese painting had reached its full maturity during the Tang and Song and the literati painters, freeing themselves from strict adherence to formal representation and the rules of composition that governed court paintings, painted with the main purpose of baring their souls and projecting their personality. However, the emergence of literati painting would not have been possible without the guiding principles of the unity of subject and object and the inseparability of form and spirit, concepts in the philosophy of painting that have prevailed since the pre-Qin period. This mainstream of artistic thinking is really where the essence of the philosophy of Chinese painting resides.

从《韩非子》揭橥了“形”的概念，到陆机“存形莫善于画”，再到《淮南子》提出“形、气、神”三者的关联，东晋顾恺之更发展为“以形写神”与“迁想妙得”的思想。南齐谢赫更进一步，认为神韵不尽因“精微谨细”的逼真（形似）而可得，“虽不该备形似，颇得状气”；“虽略于形色，颇得神气”。继承南北朝的遗绪，唐代大诗人杜甫用“骨”与“气”来充实“神”的内容。白居易在《画竹歌》中总结形、神合一，而提出了“意”。认为“意”是“得天之和，心之术，积为行，发为艺。”这“意”字即是客观物象在艺术家主观精神中淘融合一之后的艺术意象。张彦远将气韵、神、骨气等，归纳为“自然”，认为“自然者为上品之上”，“骨气形似，皆本于立意”。即说明神韵与形体，皆兼备于主客观统一之“意气”中。

From the concept of “form” expounded in Hanfeizi, to the idea of “nothing preserves form better than a painting” proposed by Lu Ji, to the notion of the interrelatedness of “form, thrust, and spirit” suggested in the Huainanji, Gu Kaizhi (c. 344–405) of Eastern Jin developed the ideas of “depicting the spirit through form” and “moving one’s thought to achieve wonderful results.” in Southern Qi, Xie He went even further. He believed that one could not capture the spiritual nuances merely by “refinement and delicacy, meticulousness and detail” in formal representation. He said, “Although an artist may not be said to have been perfect in formal representation, he can attain a high degree of vigour in his expression,” and “although he is sketchy in form and colouring, he can be rather successful in capturing the spirit.” Following the tradition of the Southern and Northern Dynasties, the Tang poet     Du Fu (712–770) improved upon the spirit of a painting with “structure” and “resonance.” On the other hand, Bai Juyi (772–846), in his poem entitled “Drawing Bamboos,” brings it together with the unity of form and spirit and suggested the notion of “spiritual communion” –a spiritual communion “which is achieved through the harmony of heaven and the bidding of the heart, accumulating as action and emerging as art.” This expression, then, refers to the artistic imagery that is created when the objective form of the object merges with the subjective spirit of the painter. Zhang Yanyuan MTI (b.815) melded energy, spiritual resonance, and structural force as important elements in producing a convincing representation of “nature,” maintaining that “naturalness makes for the highest attainment in a quality piece of art,” and “structural force and formal       representation both derive from the artist’s conception of nature.” This would suggest that spiritual resonance and form are implicit in the “feeling of life” where subjectivity and objectivity merge into one.

沈括认为传神可以通过“合理”或“造理”来达到，目的是要“迥得天机”。他说“画画之妙，当以神会，难以形器求也。”苏东坡与米芾都重常理、意气、天真、生意，可说把“神”扩充到更大范畴。从此，理、趣、气、韵、逸气、风神、性情、得意……等，成为文人画家追求的最高鹄的。

Shen Kuo (1031–1095) held that spiritual conversion can be effected by “conforming to principle” or “creating principle,” and the purpose is to “embrace heaven’s mystery.” He said, “Excellence in painting and calligraphy should be sought through spiritual communion and not in the formal elements.” Su Shi (1036–1101) and Mi Fei (1051–1107), in emphasizing constant principles, tone, naturalness, and a feeling of life, can be said to have extended “spirit” to embrace a much larger scope. From this time on, concepts such as principle, interest, energy, resonance, freedom, inspiration, feeling, and insight became the highest values to which the literati artists aspired.

（选自《英语世界》杂志2014年第7期）