"(2017Translation) 率居"의 두 판 사이의 차이

2017년 7월 13일 (목) 20:21 판

Primary Source
	Title
	English	Solgŏ
	Chinese	率居(Solgŏ)
	Korean(RR)	솔거
	Text Details
	Genre
	Type
	Author(s)
	Year
	Source
	Key Concepts
	Translation Info
	Translator(s)	Participants of 2017 Summer Hanmun Workshop (Intermediate Training Group)
	Editor(s)
	Year	2017

Original Script

Translation

Student 1 : Sanghoon Na

Solgŏ was a man of Silla kingdom. His family background was so insignificant that there was no record of his genealogy. From his birth he was good at drawing. Once on the wall of Hwangryong Temple(lit. Yellow Dragon Temple) he drew an old pine tree. Tree trunks had scaly, wrinkled barks and branches and leaves were crooked and twisted. Crows, hawks, swallows, and sparrows occasionally observed it and flew into [it]. [But when] lighting on, they slipped and fell [to the ground]. As the many years passed by, the color faded to dark gray. A monk at the temple painted it over with red and blue pigments. But the crows and sparrows never came back. And the Avalokiteśvara of Punhwang Temple in Kyŏngju and the Vimalakirti Image of Tansok Temple in Chinju are all traces of his brushes, which have been transmitted for generations as legendary paintings.

Student 2 : Younès M'Ghari

Solgô was someone from Silla. He was coming from a humble background, therefore noone had recorded his family lineage. He was born good at drawing. He had drawn old pine trees on the walls of the Hwangryong temple¹; the trunks had scaly dabings, the branches and leaves were twisted. Crows, hawks, swallows and sparrows would frequently see them and fly in, but when reaching them they would slip and fall. As years passed, the colors became dark. The monks of the temple fix it up with new colors; the crows and sparrows never came again. The Bodhisattva Guanyin³ of the Punhwang Temple² in Kyôngju and the picture of the Vimalakirti³ of the Tansok Templ⁴e in Chinju, all of these were also traces of his drawing and the generations transmitted that they were sacred paintings.

¹: 皇龍寺 ('Temple of the Yellow Dragon'), ancient buddhist temple built during the 6th century in the Silla capital Kyôngju. It was destroyed in 1238 during the Mongol invasions

²: 芬皇寺 ('Temple of the Fragrant Yellow')

³: Buddhist entities

⁴: 斷俗寺 ('Temple of the Absolute Common')

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Solgŏ [was a] a man of Silla. The place he was from was obscure, [and] for this reason [people] did not record his clan or geneaology.

[From] birth [it] pleased [him] to draw. Once [he] drew an old pine tree on the wall of Hwanglong Temple.

Its body and branches were dabbed with scales and wrinkles, its branches and leaves were coiled and crooked. Crows and kites, swallows and sparrows often saw [it from afar] and flew in, [and] suddenly arriving, scraped and smacked [against the wall and] fell.

Years passed [and the tree's] color dimmed, [so] a temple monk used pigments¹ to patch it, and birds did not again reach [it]

The Boddhisatva Kwannŭm² [painting] in Punhwang Temple in Gyŏngju and the Vimalakirti³ painting in Dansok Temple in Chinchu all also [bore] the mark of his brush, [and] the scholars of his generation took these to be legendary paintings.

¹ The colors that make up the traditional colors collectively termed tanch'ŏng (丹靑).

² A Buddhist deity (C: Guanyin; J: Kannon).

³ A Buddhist layman who is the main figure in the Vimalakirti Sutra, composed in the second century CE.

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Student 8 : Bryan Sauvadet

Solgŏ was a person from Silla state. Nobody knew his background origins, and there were any records of his family linage. From birth, he was dexterous at painting. Once, He had painted old pin trees on the walls of the Hwangnyong-sa: the monastery of the dragon emperor. The major branches and trunks cracked the little branches and leaves twisted between each others. Crows, swallows, sparrows and various birds, often times, they flew and crashed into the walls. The time pasted, and the colors had darkened. So the monks fixed it with vermillion and blue pigments, and the crows and the other birds never returned into the walls of the monastery. Moreover, [through] the bodhisattva Avalokiteśvara on the Punhwang-sa: the monastery of imperial fragrance, in Kyŏngju; and the representation of the lay practitioner Vimalakīrti at the Tansok-sa: the monastery of the Samatā, in Chinju; everybody traced his brush. Generations after generations, people transmitted that he was a holy painter

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