作为高雅文化代表的唐诗，韵味醇厚，耐品耐嚼。唐诗的表现形式高度精炼，字里行间充满着各种意象，蕴含的内容无限丰富，使英译唐诗成为人所共知的难题，翻译家许渊冲多年来孜孜不倦，以其天才的翻译艺术将其转换成了英文诗，为全世界创造了翻译文学最灿烂，最宝贵的艺术财富。分析总结许渊冲的英译唐诗，不仅能够陶冶情操，更能指导我们以后的唐诗翻译工作，使我们的译诗更加完美精准，也能为中国文化走向世界贡献一份微薄之力。本文肯定了唐诗的可译性，分析了许渊冲唐诗英译的翻译策略，并从许渊冲“三美论”的角度分别分析总结许渊冲唐诗英译的艺术成就，旨在对翻译实践与教学带来指导意义，同时亦是对“中国人的诗还是由中国人译为佳”论点的支持及对许议唐诗艺术风格的高度赞赏。

Tang poems are difficult to translate.Famous translator Xu Yuan-chong contributes a lot to the Tang poem translation by researching hard.He holds that the beauty in sound and the beauty in form ,should be considered besides that of beauty in meaning.Through comparative analysis of Tang poems translated by Xu Yuan-chong and by others,this article discusses how the“Three Beauties theory” was used in Tang poem translation.Also,Xu''s artistic achievement on Chinese Tang poetry translating into English is analyzed.After citing several examples,it was believed that if one studies Xu Yuan-chong’s art of translation theory,puts a lot practices into it,and learns open-mindedly from it,the untranslatability can be turned into the translatability.

中国古典格律诗是中国古代诗歌中的精品，是中国传统文化的代表之一。作为世界文学宝库中的有机组成部分，让不同民族和地区的艺术爱好者感受其艺术价值，既是世界文化交流的需要，也是中国传统文化传播的需要。但由于中国古典格律诗的特殊性，将其以跨语系翻译的方式进行传播得不偿失：不仅有背于“信、达、雅”的翻译标准，更与原作大异其趣，其结果就是翻译的格律诗不是格律诗。对于不能英译的中国传统文化当中的古典格律诗，我们大可不必为了所谓“推广”而损害其自身的艺术价值，要领略其艺术魅力的方法只有一个：学习汉语。

Chinese classical metrical poetry is the essence of Chinese ancient poetry,one of representa-tives of Chinese traditional culture.As a part of world literature treasury,it goes without saying that art lovers across the world appreciate its artistic value,for both trans-cultural communication and popularization of Chinese traditional culture.However,the particularity of classical metrical poetry makes its trans-cultural translation neither fish nor fowl,the nondescript translation between different language family goes against translation standard of faithfulness,expressiveness and elegance.There-fore,it''s not worth the candle to translate it into English,because this''popularity''is injurious to its own artistic value.So,the only way to appreciate Chinese classical metrical poetry is to learn Chinese lan-guage and culture.

伽达默尔赋予艺术作品的“不同的理解”以合法性，肯定了审美诠释的创生性。在他的审美诠释体系当中，前判断、时间间距、效果历史、视域融合是构成审美理解和艺术创生的关键要素。伽达默尔的诠释学美学观对研究中国古诗翻译具有重大启示。本文通过对比分析李白《送友人》的3个英译本旨在证明翻译对原文之“美”的生成不再是简单的语言转换或机械的复制，而是在合法的前判断、时间间距、效果历史的相互作用下译者与原文通过对话实现视域融合进而达到“美”的创生转换。从“妙笔生花”到“译笔生花”，审美诠释的创生性是古诗得以“活”在当下、历久弥新的关键。

Gadamer advocates“diverse understandings”of works of art,confirming the creativity of aesthetic interpretation. In his aesthetic interpretation system,former judgment,temporal distance,effective history and fusion of horizon are highlighted as the key elements for aesthetic understanding and artistic creation. Gadamer’s aesthetic thoughts afford much food for thought for the translation of Chinese classical poetry. This paper,through a comparative study on the three English versions of Li Bai’ s“Taking Leave of a Friend”, observes that successful representation of the original beauty of source text does not lie in the superifcial transference of language or mechanical imitation,but undergoes,under the interaction of former judgment,temporal distance,effective history and fusion of horizon,a more complicated process involving the active dialogue between the translator and the source text,resulting in the fusion of their horizons as well as the creative transference of ar

在面对"艺术学理论"成为一级学科之后生出一波波悲情性纠结的氛围中,有必要讨论艺术学科建设的认识论与方法论。"置于历史之后的专业成长",是指艺术在遵循自身历史逻辑基础上的良性生长。研究认为:首先,在艺术学领域应确立"置于历史"的艺术思想。"置于历史",是指个体或群体的艺术思想与行动要有历史逻辑。"置于历史"的核心思想表现在两个方面。一是,"置于历史"的艺术思想应该贯穿在认识艺术、研究艺术、艺术创作、教授艺术、评价艺术、艺术管理、艺术市场、艺术传播等领域。二是,不断生成促进艺术良性变迁生长的理论。其次,专业成长需要新思想引领。最后,"置于历史"思想是当下完善构建"艺术学理论学科"的基本思想。

As we confront with the fact that“art theory”becomes the ifrst level discipline and produces a surge of sorrowful intertwined emotion, it is necessary to discuss epistemology and methodology of art disciplinary construction. “Disciplinary development positioned after history”refers to the virtuous growth of art based on its historical logic. Research reveals that it is essential to establish the thought of “position in the history” in the art theory area.“Position in the history”means any individual or group should have historical logic to think and act artistical y. The core of“position in the history”is twofold. One is that the artistic idea,“position in the history”, should penetrate into various ifelds, such as art appreciation, art research, art innovation, art teaching, art evaluation, art management, art marketing and art communication. Secondly, it is worth noting that theories, which boost positive change and growth, should be built. Then, disciplinary de

从艺术伦理学的视角审视艺术主题和母题,是艺术主题学研究、分析和批评的新视野。艺术家通过对母题的不同编码和不同运用,使艺术主题呈现出不同的含义和解读方式,也可能产生不同的阐释结果。但是,无论何种主题结果,审视的方式和视角是阐释主题含义的一个基本途径,也是艺术批评的途径。艺术伦理学从社会道德层面的角度探讨和分析艺术主题的内容,并由此做出艺术伦理学层面的艺术阐释和艺术批评,尤其对现代艺术、后现代艺术和当代艺术的伦理问题主题,是最具实际意义和有效的审视角度。

The examination of artistic themes and motifs from the perspective of art ethics has opened up a new horizon in the field of artistic thematology. Through different codings and applica-tions of motifs, artists enable artistic themes to present distinct meanings and ways of interpretation which may produce disparate results. However, regardless of which themes and results, the manner and perspective of examinations is a basic approach in the interpretation of thematic meanings as well as art criticism. As art ethics discusses and analyzes artistic themes from the angle of social morality and thereof works out artistic interpretations and critiques in the dimension of art ethics, the per-spective is especially meaningful and effective in studying the themes of modern, post-modern and contemporary art.