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各位大大帮忙翻译啊~~~泣血以求

各位大大帮忙翻译啊~~~泣血以求# EnglishChat - 鸟语花香

d*u2003-02-27 08:02

1 楼

1、书名和题意全译
2、第一章美学事实
美学事实是那么明显，那么直接、就象爱情或水无法确定。
它无法判断，无法推理，要么我们感受到美，要么感受不到。最重要的是自己去感受美学事实本身，那个专属作者的声音能打动我们。
3、第二章记忆或幻化
记忆远远不是物象本身，它比物象更丰富，更自由。
中国画重写生更重“默写”，即是对记忆所蕴含创造力的一种肯定和依赖。
对记忆高度意匠加工的过程，我们称之谓幻化。
画家个人记忆通过艺术幻化形成审美，从而才有可能成为每一个人的普遍记忆。
这是画家的创作终点，又是观者再创造的起点。艺术的记忆以此延续传承。
4、第三章绘画与时间
通常，我们将音乐和诗歌看作是表现时间的艺术，而把绘画仅仅看作是空间艺术，其实绘画归根结底在表现时间的通过。
在永远流动的时间里，艺术派别，传统或当代技法及工具，甚至个人的名字都并不重要。
最重要的是在我们的作品中，在别人的记忆中留下我们的行为，留下我们的精神，留下我们的态度，留下个人时间史中这一切最美好的部分。
4、第四章跨越不同文化的障碍
我们试图寻求一种没有文化障碍的艺术语言，而山水画本身就是一种人类共通的情感裁体

a*i2003-02-27 08:02

2 楼

Chapter 1. The Aesthestic Reality
The aesthestic reality is seemingly all too obvious and straightforward yet
it is practically difficult to define, just like water or love. It is beyond
our judgement or rationality--you either feel it or totally lose sight of it.
The most important thing,nonetheless, is to experience the beauty as it is and
to be touched in our hearts by artist's own voices.

a*i2003-02-27 08:02

3 楼

Chapter 2 Memory or Illusion
Memory is far more than the underlying physical form,rather, it enriches
and liberates the physical existence it represents. Traditional Chinese
painting attaches much of its emphasis to "reproduction through recollection",
by which means the creativity underneath the memory is properly accknowledged
and adopted. While this process of reconstructing and refining from the
memories is what we call "illusionalization".
The artist starts from his personal memory,develop

w*r2003-02-27 08:02

4 楼

一个为我作品感动的人身上。我们相信这就是绘画的个人价值。
与模仿”，即便是开派宗师，也只是群体性艺术成就的典型表现而已。
坐下来做一点实事。
When you are reading my paintings, an aesthetic appreciation could possibly be
brought up inside you. At that very moment, I am in you, and you become me,
and I am living again in every single person who has been touched by my work.
We believe that is the personal value of painting. Strictly speaking, there is
no absolute creativity, nobody can completely avoid replicating and imitating
in the process of arts evolution. Even

a*i2003-02-27 08:02

5 楼

Chapter 3 Painting and Time
The music and poetry are often viewed as expressions of time whereas the
painting as one much related to space. In fact, the painting ultimately
speaks for time as it passes by. In the ever-flowing stream of time, the
artistic genre rarely matters, nor do the traditional or comtemporary
techniques and instruments, not even the names of the artists.What truely
matters is how our artistic exprssions impress people with our acts, our
spirit, our attitude and what have b

【在 w***r 的大作中提到】

:
: 一个为我作品感动的人身上。我们相信这就是绘画的个人价值。
: 与模仿”，即便是开派宗师，也只是群体性艺术成就的典型表现而已。
: 坐下来做一点实事。
: When you are reading my paintings, an aesthetic appreciation could possibly be
: brought up inside you. At that very moment, I am in you, and you become me,
: and I am living again in every single person who has been touched by my work.
: We believe that is the personal value of painting. Strictly speaking, there is
: no absolute creativity, nobody can completely avoid replicating and imitating
: in the process of arts evolution. Even

a*i2003-02-27 08:02

6 楼

Chapter 4 Cross the Cultural Barriers
As we seek an artistic language that transcends cultural barriers,the landscape
painting presents itself as a vehicle that carries the shared human emotions.
The understandings of natural realities are not much different in western and
estern cultures, which makes the dialogue between two possible. While in the
unique language of Chinese patinting, there is something immortal, something
that once expressed and all will be deeply impressed.

【在 w***r 的大作中提到】

a*i2003-02-27 08:02

7 楼

Chaper 5 Personal Value in Painting
As you view my paintings from an atistic angle, I dwell inside you and you
become me at this specific moment.In fact, I reincarnate in everyone who is
touched by my work and this is where we believe the personal value of the
painting resides. However, there is no absolute creativity in a most strict
sense. No one could avoid "repetition and imitation" in the evolution of the
arts.Even the virtosity is merely a prominent manifestation of the collective
artistic

【在 w***r 的大作中提到】

s*g2003-02-27 08:02

8 楼

Western and Eastern should be capitalized.

【在 a***i 的大作中提到】

: Chapter 4 Cross the Cultural Barriers
: As we seek an artistic language that transcends cultural barriers,the landscape
: painting presents itself as a vehicle that carries the shared human emotions.
: The understandings of natural realities are not much different in western and
: estern cultures, which makes the dialogue between two possible. While in the
: unique language of Chinese patinting, there is something immortal, something
: that once expressed and all will be deeply impressed.

s*g2003-02-27 08:02

9 楼

-------
cancel "it is"

【在 a***i 的大作中提到】

: Chapter 1. The Aesthestic Reality
: The aesthestic reality is seemingly all too obvious and straightforward yet
: it is practically difficult to define, just like water or love. It is beyond
: our judgement or rationality--you either feel it or totally lose sight of it.
: The most important thing,nonetheless, is to experience the beauty as it is and
: to be touched in our hearts by artist's own voices.

s*g2003-02-27 08:02

10 楼

---------- develops

--- should be "a"

【在 a***i 的大作中提到】

: Chapter 2 Memory or Illusion
: Memory is far more than the underlying physical form,rather, it enriches
: and liberates the physical existence it represents. Traditional Chinese
: painting attaches much of its emphasis to "reproduction through recollection",
: by which means the creativity underneath the memory is properly accknowledged
: and adopted. While this process of reconstructing and refining from the
: memories is what we call "illusionalization".
: The artist starts from his personal memory,develop