"(Translation) 2019 率居"의 두 판 사이의 차이
(Entry with translation of the Solgŏ passage.) |
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| (다른 사용자 한 명의 중간 판 2개는 보이지 않습니다) | |||
| 31번째 줄: | 31번째 줄: | ||
==='''Student Translation : Hector Sanchez'''=== | ==='''Student Translation : Hector Sanchez'''=== | ||
| − | Solgŏ was a man from Silla. His place of origin is insignificant. Thus, [we] do not record his family history. Since birth, he was good at painting. In the past, at the walls of Hwangnyong temple, he painted an old pine. The trunk was scaly and chapped. The branches and leaves were entwined and twisted. Crows, kites, swallows, and sparrows often looked at it and entered [the temple] flying. When they arrived, flouncing and floundering they fell. After a long time had passed, the colors faded. Monks from the temple, by means of cinnabar and ch’ŏng [pigments,] restored it. Crows and sparrows did not come afterwards. Moreover, the Kwanŭm bodhisattva at Punhwang temple in Kyŏngju and the image of Vimalakīrti at Tansok temple in Chinju, were both painted by his brush. Generations passed down [the practice of] taking them to be divine paintings. | + | Solgŏ was a man from Silla. His place of origin is insignificant. Thus, [we] do not record his family history. Since birth, he was good at painting. In the past, at the walls of Hwangnyong temple, he painted an old pine. The trunk was scaly and chapped. The branches and leaves were entwined and twisted. Crows, kites, swallows, and sparrows often looked at it and entered [the temple] flying. When they arrived, flouncing and floundering they fell. After a long time had passed, the colors faded. Monks from the temple, by means of cinnabar and ''ch’ŏng'' [pigments,] restored it. Crows and sparrows did not come afterwards. Moreover, the ''Kwanŭm'' bodhisattva at Punhwang temple in Kyŏngju and the image of ''Vimalakīrti'' at Tansok temple in Chinju, were both painted by his brush. Generations passed down [the practice of] taking them to be divine paintings. |
| − | From the Samguk sagi, fascicle 48. | + | From the ''Samguk sagi'', fascicle 48. |
---- | ---- | ||
| − | *Discussion Questions: | + | *Discussion Questions:<br /> |
| − | |||
| − | |||
| + | (YO) Since 'place of origin' for 所出 may be a bit misleading--it is more likely the circumstances from which he came from, not exclusively the physical place, how about 'background'? <br /> | ||
| + | Also for 飛入, I might translate it 'fly into(the painting)'. Sometimes, 出 and 入 can be rendered in English as prepositions 'from' and 'into' or adverbially as 'out' and in'.<br /> | ||
| + | I don't think we need to italicize Kwanŭm for 觀音 (the same goes for Vimalakīrti), for they are proper names; one may consider adding the Chinese name 'Guanyin' after Kwanŭm, since it is the better known name: Kwanŭm (Ch. Guanyin). | ||
[[Category:2019 JSG Summer Hanmun Workshop]] | [[Category:2019 JSG Summer Hanmun Workshop]] | ||
[[Category:Intermediate Training Group]] | [[Category:Intermediate Training Group]] | ||
2019년 7월 6일 (토) 17:22 기준 최신판
| Primary Source | ||
|---|---|---|
 |
Title | |
| English | Solgŏ | |
| Chinese | 率居 | |
| Korean(RR) | 솔거(Solgeo) | |
| Text Details | ||
| Genre | ||
| Type | ||
| Author(s) | 金富軾(Kim Busik) | |
| Year | 1145 | |
| Source | 三國史記(Samguk sagi) | |
| Key Concepts | ||
| Translation Info | ||
| Translator(s) | Participants of 2019 JSG Summer Hanmun Workshop (Intermediate Training Group) | |
| Editor(s) | ||
| Year | 2019 | |
Original Script
Translation
Student Translation : Hector Sanchez
Solgŏ was a man from Silla. His place of origin is insignificant. Thus, [we] do not record his family history. Since birth, he was good at painting. In the past, at the walls of Hwangnyong temple, he painted an old pine. The trunk was scaly and chapped. The branches and leaves were entwined and twisted. Crows, kites, swallows, and sparrows often looked at it and entered [the temple] flying. When they arrived, flouncing and floundering they fell. After a long time had passed, the colors faded. Monks from the temple, by means of cinnabar and ch’ŏng [pigments,] restored it. Crows and sparrows did not come afterwards. Moreover, the Kwanŭm bodhisattva at Punhwang temple in Kyŏngju and the image of Vimalakīrti at Tansok temple in Chinju, were both painted by his brush. Generations passed down [the practice of] taking them to be divine paintings.
From the Samguk sagi, fascicle 48.
- Discussion Questions:
(YO) Since 'place of origin' for 所出 may be a bit misleading--it is more likely the circumstances from which he came from, not exclusively the physical place, how about 'background'?
Also for 飛入, I might translate it 'fly into(the painting)'. Sometimes, 出 and 入 can be rendered in English as prepositions 'from' and 'into' or adverbially as 'out' and in'.
I don't think we need to italicize Kwanŭm for 觀音 (the same goes for Vimalakīrti), for they are proper names; one may consider adding the Chinese name 'Guanyin' after Kwanŭm, since it is the better known name: Kwanŭm (Ch. Guanyin).
