人物传记翻译-中英文对照

范公子登先生，书画皆妙、格高气舒、神融笔畅、规矩谙练，入神于古韵；情愫饱蕴，冥心于造化。子登先生擅行草书法，无论是单幅书法作品还是画面题款附识，他极重气格与性灵。作者从“二王”正脉到怀素小草、孙过庭《书谱》的悟道；从六朝碑刻到明清书风的思考，会心古法又畅情个性，将返归先天的理性与现代艺术精神相融通。其书气格沉雄豪迈，笔法精到自然，可谓风姿清健、骨气洞达、仪态灿漫、遒劲铦利。显意趣逸韵不失矩度之严，技拙朴安雅又呈流畅之美。他以自然本色建立起自己的个性王国，创造在一派生机中。
Mr. Fan Zideng stands out both for his painting and calligraphy works. He incorporates high taste and freshness into his works. The smooth flow of his brushes shows his command of the skills and his understanding of the classical flavor. With strong passion he plunges himself into the pursuit of art. Mr. Fan is particularly good at running script and cursive style in calligraphy, with which he shows his great talent both in calligraphy works and quotations on paintings. From his practice with the works of Wang Xizhi and Wang Xianzhi, cursive scripts by Huai-su, Essay on Calligraphy by Sun Kuo-t’ing, to his retrospect on inscriptions on the tablets, he has gained an understanding of the ancient works and found a way to express his own feelings, resulting in the integration of the reasonable return to the nature and the modern spirits in art. His calligraphy writings feature undaunted style, natural touches, giving the audience the feeling of strength, beauty and vigor. In spite of the free style, he does not turn a blind eye to the rules creation, and achieves flow through his simplicity. He has set up his own style in reflecting nature and creating a great collection of works that manifest themselves.
范先生的画，意境特别好，是传统的一种发展。他的画机理感很强，他把它抽象化了，这是他对国画的贡献。他在这方面的探索就是证明，是可以写进美术史的。 
他的抽象水墨不比赵无极、朱德群差。他的牡丹很有个性。牡丹入俗易而出雅难。如果按照“逸、神、妙、能”四品来评价范先生的牡丹，应该介于“逸”和“神”之间。画牡丹，在这个层次上的画家很少，这是一个修养问题。
Mr. Fan’s paintings are extraordinary for their conceptual significance, as a result of his developments on the tradition. The strong mechanism and abstract conception makes up his unique contribution to the Chinese painting. His research in this aspect can make a great chapter in the history of fine arts.
While his abstract ink works can rival those by Zhao Wuji and Zhu Dequn, he is at his best in drawing peony. Not affected by the general tendency to drift into conventional patterns in drawing peony, he easily stands between outstanding and miraculous if his works are examined based on the four rules of appreciation. Few artists have similar accomplishments in drawing peony. This is obviously a matter of personal quality.
范子登先生的绘画创作兼收并蓄、交融中西，其文采郁郁的画风，既切合着这个时代的一般价值取向和审美理想，也表现出缘自天赋才情和深厚修养的鲜明艺术个性。20世纪50年代以来，范子登先生一直在探索具有现代品格的泼墨泼彩，努力在写意风格的绘画中寻求内心感受和笔墨形式的统一，取得了令世人瞩目的成就。他的写意山水画，笔法多变，笔风洒脱，长于营造别致的画境。其起伏跌宕、凝重幽深的画面，每每透着一种生动自然的韵致和清雅脱俗的气质，不媚俗，不市侩，赏来别有兴味。
The painting of Mr. Fan Zideng spans between the Chinese and Western techniques. His styles are colorful and fit the popular value and aesthetic concepts of the contemporary world. From his paintings, we can see talents and distinctive features at work. Since 1950s, Mr. Fan Zideng has engaged in the exploration of modern painting, searching for the unity of artistic feelings and expressions, and scored tremendous achievements. His landscape works excel in diversified skills, free style and the competence for novel atmosphere. The rich variances and dignified serenity in the rendition retain natural flavor and transcending manner that go beyond commercialism.
范子登先生画追求淡逸之境，重视个人在生活中的感受。他用侧锋多，不见火燥气，而保留着画家心底那一份淡泊，这在20世纪下半叶是非常可贵的。中国画是人心的艺术，它首先追求的是格，范先生在这一点上颇得中国画的精神真髓。
In his pursuit of elegant taste, Mr. Fan Zideng places a lot emphasis on his own feelings towards life. He makes a lot uses of the brush-side technique and appears to keep the tranquility at the heart of a real artist, something not common in the second half of the 20th century. Chinese painting is an art form of the heart reflecting quality in the first place. In this rendition, Mr. Fan has grasped the true essence of Chinese painting.
范子登先生在泼墨上是一位先行者，他的画像赵无极、朱德群一样，很代表中国人的趣味。他画抽象的东西，不放弃自然的意境，史学价值很高。
范先生五十年代的泼墨泼彩是很引人注意的。张大千的泼彩是流纹，先把墨泼上去，然后再收拾。而范先生的泼彩看似泼出来的，其实是用笔画的。这虽是传统的泼墨，却是大家都不敢碰的。范先生通过“画”，生动地表现了书法用笔的精神。这是范先生国画艺术中最重要的一个环节。
Mr. Fan Zideng is a pioneer in splash-ink painting. Similar to the works of Zhao Wuji and Zhu Dequn, his creation is characteristic of Chinese taste. When doing abstract presentation, he does not let go the spontaneous overflow. Therefore, his works are ranked high in artistic value.
The slash-ink and slash-color works by Mr. Fan in 1950s were quite eye-catching. While Zhang Daqian threw ink on paper before arranging it into painting, Mr. Fan paints with brush though what he does on the paper looks very much like being splashed on. Though this is quite traditional, it is also a territory most artists fear to tread. Through his painting, Mr. Fan expresses in a vivid way the fundamental skills of calligraphy, an important stage of his art.