Translator Li Qingya
(The photo is selected from the "Librarian Directory" compiled by the Shanghai Municipal Research Museum of Culture and History; in this article, Mr. Li Qingya's study experience refers to the relevant historical materials edited and published by the library.) ）
Mr. Li Qingya was born in 1884 in Xiangyin, Hunan Province, and died in Shanghai in 1969. He graduated from Fudan College in 1907 and graduated from the University of Liège in Belgium in 1912, then moved to France to study French literature before returning to China. It is not easy for a person to devote his life to the translation of literature in a country; it is even more difficult for a person to devote most of his life to only one writer, such as Maupassant. More than forty years of labor, more than twenty French writers, more than forty works, painstakingly and meticulously written, just to live up to the original author, not to fail the reader. However, after entering the 1980s, there were fewer people talking about Mr. Li's translations, and the name Li Qingya disappeared bit by bit. In short, Maupassant's works are still read, but Mr. Li Qingya's translations have been shelved, and few people have read them, that is, they are not popular.
The late Mr. Shi Kangqiang was my senior in college and my classmate when he was a graduate student, and he wrote an article in 1992 entitled "The "Line" and "No" of the Translation", which is almost thirty years ago, when Mr. Li's translation was "not OK", and now it is even more "no". "The 'line' and 'no' of the translation depend not entirely on the value of the original work and the quality of the translation." On the one hand, the word "not exhausted" implies the background of the translation's "line" and "no", and on the other hand, it indicates the reasons for the translation's "line" and "no". The article mainly discusses Mr. Li Qingya's translation, which is the "line" and "no" of the translated style. The reason why Mr. Li's translation is "not ok" is not only one end, but the biggest one is nothing more than style. However, "whether the new translation can replace the old translation, how many years it can 'do', remains to be tested by time." The new translation is stylistically superior to the old translation, and is also relatively speaking. The reason for this, I did not say well by Mr. Shi Kangqiang, right and quote a paragraph:
The Chinese language is still evolving. Perhaps the written Chinese of the twenty-first century will be familiar with the contemporary written Chinese, just as the French of the twentieth century will be familiar with the French of the Maupassant era at the end of the nineteenth century, and they will go all the way to life and steepness (the reaction of Song poetry to Tang poetry is an example). Looking at the present and the past, we know that our grandchildren will not feel that the Maupassant translated by Zhao, Hao, and Wang is using the "middle" vernacular, and thus ask for a translation that is more in line with their reading habits.
Mr. Shi Kangqiang was very polite and sent the "Yanzhi" thing to "our grandchildren", but I saw signs of "change" in the current changes. In the future development, I seem to see the role that Mr. Li Qingya's translation may play. In short, Mr. Li Qingya's translation is a translation that scrupulously abides by its duty, its "no" is mainly caused by the times and history, I hope that different eras or changes in the times can give it an unexpected fate, I know that many years, Mr. Li Qingya's kind of translation will not be popular again?
Fundamentally, Mr. Li Qingya is a literal translator. There are roughly two kinds of people in the translation industry who talk about translation, one is translation theorists, who are not involved in translation practice, and the other is translation workers, who generally talk about translation theory without long talk. Although the former has no practice, it always talks about the possibility of translation; the latter, although it has no systematic theory, has vivid experience and experience. Just as the function of literary theory is not to guide creation or writing, but to guide literary research, teaching, and even reading, the function of translation theory is not to guide translation practice, but to discuss translation activities, even to argue with other translation theories, and so on. Translation theory may have a long-term, hidden positive and negative effect on translation practice, which is probably one of the reasons why good theorists are often not good translators, and the opposite is true.
Therefore, translators should be concerned about the evolution of translation theory, but they should not fantasize that with theoretical cultivation, they can improve their work. If a translator has something like "god-like" or "avatar" in his head before he starts writing, it will probably not have a good result. In this way, literal translation is the most basic skill of the translation of this activity, that is, it is the foundation, whether it is paraphrasing, or beautification, or god-like, or transformation, etc., all have to start from the literal translation, the literal translation is good, the other can be good. Mr. Li Qingya's translation is basically such a literal translation.
People often have a misconception that literal translation is word-to-word (word) translation, such as "traduire mot à mot" in French, but it is not. It is unlikely that english and French are so close to each other that they can be translated word-to-word, not to mention that French and Chinese are so far apart. So, word-to-word translation cannot be a literal translation of the interpretation, but is a sentence-to-sentence translation possible? Translation (word)? Translation? Translation? Or a translation? Different translators have different opinions and frequent debates, and this is not a matter of concern to translation theorists. Translation (word), some people call it "verbatim translation", I thought it had long disappeared, but I didn't expect that in the eighties of the last century, some people solemnly talked about it, but now it is true that there are fewer and fewer advocates of translating words (words). It is easy to argue about whether to translate sentences, translated paragraphs or translated passages, paragraphs and passages are the difference between parts and wholes, from the perspective of translation, the difference is not big, can be regarded as one. Then, it needs to be clear whether the translation should be in sentences or paragraphs and paragraphs.
Translation is based on sentences, which has been said by previous generations, such as Mr. Yang Dai, but how to break sentences and how to combine them, but few people give a clear explanation. The meaning of the foot is a sentence, both Chinese and foreign, but the length is different, the order is different. Translations should be based on sentences and should not add, subtract, omit, exaggerate or reduce meaning. Whatever the original text says, the translation will say, and the original text will say what it says, so that it can follow the same trend, advance and retreat at the same time, and the translation closely follows the order of the original text. When the sentences are translated, the paragraphs and chapters are naturally good. Otherwise, the sentences deviate, the paragraphs and chapters can only deviate more and more, and finally the face is completely different, just the so-called difference of a millimeter, the accumulation of inches, it will be fallacious, can not be careless!
I am not advocating paraphrasing, that is, it is easy to open the door to convenience for mistranslation or nonsense translation. Mr. Li Qingya's translation is basically a translation of sentences, which is what Yang Dai said, "sentence by sentence", so the whole article is not bad.
Yan Fu (1854—1921)
Literal translation is the tradition of translation, and the beginning of human translation activities is literal translation, and then there is other, there is no difference between China and foreign countries. Yan Fu continued to open up the past, and put forward a relatively complete translation standard, which can be regarded as an objective and sequential expression of literal translation, and his words are: "The three difficulties of translation: faith, da, and ya." It is a great difficulty to ask for his faith! Gu Xinyi does not reach, although the translation is not translated, then it is up to Shangyan. ...... The translator will integrate the whole text of the theology into the heart. Then write lyrics, naturally mutually prepared. Until the original text is deep and difficult to refer to, then the current back is quoted to show its meaning. All this business is thought to be reached, to reach, that is, to believe in it. Yi said: 'Rhetoric stands in good faith. Zi Yue: "It's just a matter of words." He also said, "Words are not far away." 'The three are on the right track of the article, that is, the model of translation. Therefore believe, reach out, and ask for its elegance. This is the standard expression of the literal translation, and the subsequent expressions of the translation can only be deepened and developed accordingly, giving some new interpretation, so the three difficulties of translation are actually the fixed needle of the translator. It is a great difficulty to ask for his faith, let alone the trinity of faith, Dada, and Ya!
As an amateur translator, I believe what Mr. Qian Zhongshu said in "Lin Shu's Translation":
The highest ideal of literary translation is "transformation", and the transformation of works from one country to another can not only not reveal the traces of birth hardness and far-fetchedness due to differences in language habits, but also preserve the original flavor.
I also believe what Mr. Chung Chung shu said in the same article:
Complete and total "transformation" is an unattainable ideal ... There must be a distance between one language and another, and there will be no distance between the translator's understanding and style and the content and form of the original work, and there is often a distance between the translator's experience and his own ability to express. Starting from one script, accumulating inches and feet across the distance, and safely reaching another language is a very difficult process. Along the way, the wind and dust are bumpy, and there are risks, and it is inevitable that there will be some losses or some damage. Therefore, there are always distortions or distortions in the translation, which are contrary to the meaning or tone and do not fit the original text.
This sentence is said reasonably, which makes people feel very warm after listening to it. Mr. Qian Zhongshu himself rarely engages in translation work, but his words have both lofty ideals and down-to-earth practical considerations. In my opinion, Mr. Qian Zhongshu has revealed the true meaning of literary translation, which is a new interpretation of Yan Fu's "three difficulties of translation, faith, da, and ya": faith is the cornerstone, da is the building, and ya is the soul.
Regarding the letter, Yan Fu said: "It is very difficult to ask for his faith! Qian Zhongshu said: "From one country's script to another's script" "it is a very arduous process."
Regarding Da, Yan Fu said: "If you believe but do not reach it, even if you translate it, you still do not translate it." Qian Zhongshu said: "Do not show traces of birth hard and far-fetched because of differences in language habits." ”
Regarding Ya, Yan Fu said: "Believe in the outside, ask Qi'er Ya." Qian Zhongshu said: "Preserve the original flavor." ”
Mr. Qian Zhongshu can be described as a confidant of Yan Fu, and has developed on the basis of understanding Yan Fu, for example, he said: "Yafei is to decorate", "non-polishing and adding algae". He used "flavor" to solve "elegance", which is a big creation. Some people in the translation industry think that "Ya" is unnecessary and discard it, or think that "Ya" is beautification, and regard translation as the art of beautification. Mr. Qian Zhongshu used a "non" character to reveal the true meaning of the word "Ya" in translation, and then used the word "flavor" to lock the lofty status of the word "Ya" in the translation. As far as I understand, the so-called "flavor" is the style, that is, the literary, and the style that conveys the original work is the highest realm of literary translation. From this point of view, "Ya" is indispensable in the interruption of literary translation. Giving a new explanation to an old concept and giving it a new life is an effective way to innovate, so not all novel statements show the depth of understanding and the progress of ideas. Mr. Li Qingya's translation adheres to the traditional concept, not only with "Ya" as the banner, but also with "Ya" in "Faith and Reach".
Some people think that no matter when and where, the use of the loudest, brightest, most beautiful, most gorgeous words is the best translation, that is, literary translation, such translation becomes translation literature, otherwise it is text translation. Some translators are deeply afraid that their Chinese is not good, so they ask the Chinese article master to polish his (her) translation, and the results are mostly not good: the translation may have a "literary style", but it is far from the original text. Such a translation is not a good translation. In fact, there is only one criterion for the quality of literary language, that is, the "appropriateness" of wording, group sentences, and organizational arrangements. The custom of the custom, the elegance of the ya, only the "appropriate" is to seek. Yan Fu's "Three Difficulties of Translation: Faith, Da, and Ya", the interpretation of "Ya" is "appropriate", in other words, literary, that is, style. The carving is full of eyes and sonorous and pleasant, which does not mean that the literary style is remarkable. Moderate ornateness can be literary style; moderate simplicity can also be literary style; the existence or absence of literary style depends entirely on the use of language, and the magic of use lies in the appropriate use of words, that is, there is literature, there is style, there is literary style, there is no literary style, there is no literary style. Establishing the literary nature, establishing the style, "Ya" is in it.
Mr. Qian Zhongshu said in the third volume of the "Pipe Cone Compilation", "The Seventh Five-Year Plan of the Three Kingdoms":
"Zhiqian Fa Sentence Sequence": "The servant initially felt that it was indecent. Wei Zhi is difficult to know: The Buddha's words do not need to be decorated according to their intentions, and their methods are not strict, and the one who passes on the scriptures, so that Yi Xiao does not lose his will, is good. The old man said, 'Beautiful words do not believe, faith is not beautiful'; ... 'Now pass on the Meaning of Sanskrit, it is really appropriate to reach it.' 'It is the person who has been translated by himself, and because it is in accordance with the purpose of the book, it is not decorated with a text. "Strict" means "solemn" of "strict", and "ornament" is construed. Yan Fu translated the "Treatise on the Evolution of Heaven" as the "Three Difficulties of Translation: Faith, Da, and Ya", and the three words have been seen here. The letter of translation, when Bao Da, Ya, Da is full of faith, and Ya Fei is adorned. According to the will to pass on, and can the style to come out, Si zhi is the faith. Support, strictness in this, has not yet been investigated. There are many people who know the non-polishing and algae of elegance, and those who believe in it will be overwhelmed and forgetful, and it will be difficult to solve. There are those who do not believe in the translation of the text, and there are those who do not reach and can believe.
Mr. Qian Zhongshu's words involve many aspects of translation, and the author only takes the phrase "the letter of translation, when Bao Da and Ya" and explains it slightly. The three difficulties of translation: faith, da, and ya, this is one and three sides, when combined and analyzed, it should not be divided and viewed, and with this as the standard, it can be divided into good and bad good and evil translations, comprehensive and refined. Most translators have a convincing attitude toward "faith and reach", but they are secretive about the word "Ya", such as walking on thin ice, making all kinds of explicit or implicit resistance, taking literature or style as the criterion, which can eliminate their doubts and resistance to "Ya". Mr. Li Qingya's translation integrates "letter, reach, and elegance", and although there are occasional mistakes or carelessness, the mood of taking care of each other and striving for consistency can be felt.
In the eyes of translation theorists, the problem of translation is very complicated, so the controversy is repeated, and there is no consensus; and under the translator, the problem of translation is very simple, in the final analysis, that is, literal translation or paraphrasing, of course, it is also a debate. In fact, there have always been differences in the translation community over literal or paraphrasing, and from time to time, there is no sign of termination. To be honest, the dispute between literal translation and paraphrasing is a pointless dispute: when it should be literally translated, if it is not translated, it is paraphrased, and in most cases it can be literally translated, and the translation activity itself proves this.
It is well known that the work of the American writer Edgar Poe, translated by the French poet Charles Baudelaire, is still regarded as a model today, saying: "It must be consistent with him, and things must be digested as they are." Effort must be made to keep up with the text word for word. If I want to repeat the author's words and phrases instead of being faithful to him, something becomes particularly obscure. I'd rather write a kind of harsh, sometimes weird French, that shows the philosophy of Edgar Allan Poe completely authentically. Francis, who praised the French language with three "clear" words in a row, said Baudelaire used "excellent literal translations" to translate Allan Poe's works, such as "The Golden Beetle," "The Black Cat," and "The Murder on Mog Street."
Mr. Zhu Guangqian said it well:
In my opinion, the distinction between literal and paraphrased should not exist at all. ...... A literal translation cannot be a paraphrase, and a paraphrase cannot be a literal translation. ...... In short, the ideal translation is a literal translation of the text from the word.
"The text is obedient to the word", that is, Da and Ya, only faith is seeking. Mr. Li Qingya's translation should be viewed in terms of Yan Fu's "three difficulties in translation", especially Mr. Qian Zhongshu's "Yafei as an ornament", that is, the light of literal translation has enveloped all of Mr. Li Qingya's translation activities.
Dumas 's (1802-1870) translation by Mr. Li Qingya was published by the Shanghai Translation Publishing House in 1978, when Mr. Li had been dead for many years, presumably in the 1960s, and was delayed by the Cultural Revolution. Dumas is a wonderful flower in the history of French literature, writing and publishing more than 300 works in his lifetime, mainly novels and plays, and is known as the "king of popular literature". His writing style is quite special and criticized. He employed a large number of writers, who drew up their own outlines, and the people he hired wrote separately, and finally he was responsible for polishing, adding fragrance, and flavoring. His novels are loved by everyone, but they do not have a high status in the history of literature, but after his death 132 years later, his body was finally moved to the Pantheon, which is extremely mournful, which can be regarded as social recognition. His famous works also include "The Revenge of Monte Cristo", but in his later years he thought that "The Three Musketeers" was his best work.
Most of Dumas's novels have real history as the background, and then fiction, their plot twists and turns are vivid, the narrative is delicate and complete, and the ending is often unexpected, which is known as a historical thrilling novel. The structure is clear and clear, the language is vivid and powerful, and the dialogue is spiritual and intellectual, which constitute the characteristics of his novels. History and fiction, love and intrigue, sinking and passion, became the organic components of his novels, which is why his novels are so popular and enduring. Today, people are still willing to give his novels, but no one uses them as a channel for disseminating and popularizing historical knowledge.
Historical fiction is also a novel, and there is only one criterion for it, that is, the standard of fiction. The story is well told, the characters are well shaped, the dialogue is well imitated, the environment is described well, the atmosphere is created well, and the novel is well written. Fortunately, Dumas's novels do a good job of the above.
Mr. Li Qingya's translation follows the rhythm of Dumas and gives readers a sense of well-being, which is the charm of excellent popular novels. The protagonist of the novel, Daldagnan and his three companions, are witty and humorous, witty and brave, have an extremely distinct personality, and the dialogue is exquisite, and these characteristics of the popular novel are well represented in Mr. Li's translation. In short, Mr. Li Qingya's translation "Three Musketeers" successfully reproduced Dumas's original work "Three Musketeers".
"Madame Bovary" is Flaubert's masterpiece, this novel has long attracted the attention of the Chinese literary circles, first introduced to China by Li Jieren in 1924, the translation name at that time was "Martin Beauvali", three years later, in 1927, Mr. Li Qingya launched his translation, named "Madame Bohuali", published by the Commercial Press, which was welcomed by readers. Flaubert believed that art should reflect reality, "without good forms there is no good thought, and vice versa", so he wanted to use beautiful forms to attack ugly realities. He follows the principle that the novel should reproduce real life through the character image, paying attention to portraying the inner activities of the characters, and not forgetting to describe the physical characteristics of the characters, so as to express the complete character of the characters. He makes it the fundamental task of the novel to depict people and things rigorously, meticulously, and faithfully.
Flaubert's main artistic achievement is to create typical characters, such as "Madame Po Hua Li", in addition to shaping the protagonist Emma, Po Hua Li, Ho mai, Reon, Lodolphe and other characters have some typical sounds and smiles of various aspects of the character, even the peasant woman LeRou who has only a small opportunity to appear is vividly written. His method is to portray the personality of the character in very concise language. In order to create a typical, he pays great attention to the depiction of the environment, so that it is in perfect harmony with the behavior of the characters. He emphasized the unity of thought and language, and in order to temper sentences, he always painstakingly deliberated and dismal management, to the point of "chanting a word, twisting off a few stems and whiskers". After he finished writing which part, he always had to recite it aloud to hear whether it was harmonious and pleasant. His writing is clear, clean and accurate, and strives to achieve a flawless combination of words, structure and mood.
Mr. Li Qingya's translation of "Madame BoHuali" was first published in 1927, when the early vernacular literature was prevalent in the north and south of the great river, so it was inevitable that it would suffer from its bluntness, old-fashionedness, and even bad mouth, although it was still satisfactory in the word "letter", but it was more different in "Da and Ya". Needless to say, Mr. Li Qingya's literal translation is not thorough enough, without the exquisite look and posture of the eighteen weapons in the mature vernacular text, which is in line with the original text as a whole, but the details still need to be pondered.
Maupassant (1850–1893)
Mr. Li Qingya's most outstanding contribution is the translation of all of Maupassant's more than 300 novellas and short stories. Around the 1920s, Maupassant's novels began to enter China, and the momentum was very strong, quite numerous, spectacular, and this phenomenon was rare. For more than 40 years, Mr. Li Qingya has been tirelessly translating and revising the translations of Maupassant's literary works, striving to "believe, reach and elegance", sparing no effort. Among naturalist (realist) writers, Maupassant's creative attitude and writing methods of short stories are deeply loved by the Chinese literary and art circles and the reading circles, whether it is his ruthless satire and criticism of society, or the seemingly bland, but in fact, deep way and strict structure, concise wording, which has had a great influence on Shen Congwen, Zhang Tianyi, Ai Wu, Ding Ling and other writers. Mr. Li Qingya conformed to the requirements of the times, displayed his personal talents, made wonderful choices, and made great achievements, which can be called the first person! Choice can be said to be the key to the success of a translator, and Mr. Li Qingya has done it.
It is generally believed that Maupassant's short and medium stories have a clear structure, concise language, refreshing words, unexpected endings, surprising wonders, whether it is satire, or criticism, or praise, have the effect of refreshing people with a bad breath, is a fine work in short and medium stories, the creator read it deeply inspired, ordinary readers read it and feel that it is beneficial to open the book. His novel is bland on the surface, with few waves, but in fact it is deep, there is no lack of whirlpool, it is said that the parents are short, but in fact there are subtle philosophies running through it. This is ignored by many readers, even critics, and Mr. Li Qingya noticed. To illustrate, for example:
"Jewelry", most of the translators are translated as "necklace", and Mr. Li directly translates it as "jewelry", which may have a deep meaning. "Jewelry", critics and readers think that it is a satire on petty-bourgeois women's blind pursuit of vanity and flashiness, but it is not the case. The key moment is when she finds that the necklace is lost, should it be returned or not? How to also? And see how Maupassant described this scene:
She took her side, by the way, all of a sudden, heroically. This appalling debt had to be paid. She paid.
Mr. Li Qingya's translation:
Suddenly, with heroism, he made up his mind that the terrible debt had to be repaid. She was ready to repay it.
The original text used the word "heroically" to write Mrs. Locksell's determination at that time very well, and Mr. Li used "suddenly made up his mind with heroism", which brilliantly showed Mrs. Locksell's mood. Others have translations of "clenching their teeth and deciding to go against the grain," and a slightly better translation of "heroically making up your mind." In my opinion, Mr. Li's direct translation of "heroism" is more appropriate, "heroism" does not seem to be enough, not "heroism", is mrs. Locksel not a hero at this moment? In fact, it was a "false" word—if Mr. Lee had translated it as "false"—to the shock of critics and readers, like a thunderbolt on a sunny day, and in an instant a blank space burst out of their minds, and the chain of contemplation was broken. In the original text, it was directly said that the necklace was "fake", and Mr. Li Qingya adopted a paraphrase and translated it as "this is a synthetic diamond", if he insists on the literal translation, it would be good. Moreover, ten years later, Mrs. Locksell "became a bold and courageous woman in a poor family, strong and rough" (Zhao Shaohou translation), which Mr. Li translated as: "She has become a strong, rough and hard-working lady of a poor family." Again, the result of not insisting on a literal translation, the effect of "la femme forte, et dure, et rude" ("strong, rough") was not translated. If critics and readers notice the author's talk about Mrs. Locksell, who has paid off her debts, decides to explain the truth to her friends and then says, "Why not?" And after explaining the truth, "she smiled with a conceited and innocent sense of happiness", didn't the words contain a wealth of thoughts?
Mr. Li Qingya "translated sentence by sentence" and clearly expressed the meaning of Maupassant. He didn't use clichés such as crispy breasts, slim hands, show feet, jade arms, and vermilion lips, which were already valuable. Zola said it best: "Reading his works, you can laugh, you can cry, but it is always thought-provoking." In any case, Mr. Li Qingya's translation can be "always thought-provoking."
For more than a hundred years, Maupassant has firmly held the laurels of the "King of the Short Story", not only in the sheer number of more than three hundred, but also in the fact that "among the writers of his time, he created more typical than anyone else, and he described subject matter more colorful than anyone" (Francis), and even more so because it brought the art of the short story to a peak that has not yet been surpassed. The so-called "peak" does not mean that his short stories have "stopped at the highest good", and that later novelists must follow him, but that all novelists who think they have surpassed him will eventually find that they are either too arrogant, too reckless, and too ignorant.
As the earliest and most powerful person to introduce Maupassant's works, Mr. Li Qingya is indispensable, and it cannot be overemphasized. As he put it:
The novelist, who wants to give us the truth of life, should be careful to avoid the connection between all events that appear to be exceptional. His purpose is not to tell us a story that pleases us, or moves us, but to force us to think, to understand the profound and hidden meaning of the event.
In the novel "On the Water", he said: "I have this second vision, which is both the strength of the writer and the total suffering of the writer. The so-called "second sight" is a force that sees the essence through phenomena, and it is said to be "power" because it allows the writer to grasp both the appearance of things and penetrate deep into them; it is "suffering" because it makes the writer no longer satisfied with showing the "mediocre photography" of life.
The power of Maupassant's novel lies in the fact that he tells the reader what he sees, and also lets the reader see it, provided that the reader does not think that everything is exposed at a glance. People often think that Maupassant's novel is a flood of clear water, but in fact, most of it is a deep pool under the dark clouds, the sky is cloudy, the fish and dragons change, and one foot will fall into it if you are not careful.
Maupassant himself had poor eyesight, having suffered from an eye disease when he wrote his first novel, The Ball of Mutton Fat, and later being unable to see things normally, so he became not only an indefatigable observer, but also a passionate dreamer, and memories and imagination supplemented the lack of vision and achieved a combination of fine and profound. Seeing through phenomena, seeing essence, this is the profound meaning of what he calls "second vision." Mr. Li Qingya's translation captured the essence of Maupassant's novels and successfully expressed them in the popular vernacular of the time, expanding its influence and leaving Chinese readers with a joy that has not yet passed away.
Charles Baudelaire's approach to detail varies, but the spirit of criticism is consistent, i.e., the point of his criticism is the "general body" of the object. After casually pointing out that Dekon "let the ducks swim on the stones," he wrote: "I think how easily we can take comfort from the excellent paintings of Decom that adorn the gallery, and I really do not want to analyze their shortcomings anymore." That would be a childish business, and anyone could do a good job anyway. This is really a kind of criticism of everyone's demeanor, and he is not afraid of being accused of "not seeing the problem", because he has actually taken all the flaws in his eyes, but he has left the "childish livelihood" of talking about shortcomings to critics who are afraid of not showing sensitivity. The translation of Mr. Li Qingya seems to be viewed in this way.
October 2021, Beijing
Author: Guo Hong'an
Editor: Wu Dongkun
Editor-in-Charge: Shu Ming
*Wenhui exclusive manuscript, please indicate the source when reprinting.