was appreciated by the emperor and so was widely used. The clerical script went to its prime time in the Han Dynasty (206B.C.-220A.D.), a crucial time for the calligraphy to develop. The Han Dynasty maintained a peaceful social environment where the cultures and the arts could make a fast and steady development. Different calligraphers established their own styles at this time and the calligraphy was going towards an easier and more beautiful direction. Afterwards, the cursive script and the running script, and the regular script originated and all had their role to play in the Wei and Jin Dynasties (265-420 A.D.), which laid the foundation for the framework of the modern calligraphy. After the Jin Dynasty, the theories discussing calligraphies gradually started to build up, pushing forward the calligraphy development. The representative of this age is Wang Xizhi, honored by the posterity as the Calligraphy Sage, who was an eminent calligrapher through history. After the Tang Dynasty (618-907 A.D.) established, the society had been booming and prosperous for more than a century. The emperor of the Tang Dynasty was in deep love with calligraphy, especially revered Wang Xizhi’s calligraphy works, acclaiming that Wang’s calligraphy works reached the acme of perfection. Consequently, calligraphy developed fast during this period. The representatives of this time includes Ouyang Xun, Yan Zhenqing, Liu Gongquan, the works of the later two calligraphers were the model calligraphy for later-on calligraphy beginners. When it came to the Song Dynasty (960-1279 A.D.), the Taizu Emperor attached little importance to calligraphy, providing his subjects and people with inferior rubbings of previous calligraphy works, thus people’s writing levels were also inferior to their previous correspondents. What is more, the imperial examination system then was more severe and the exam candidates devoted almost all their vim and vigor into how to write regularly rather than pursuing their own styles. Until 1021 to 1070 when the country was reined by Renzong and Shenzong of the Song Dynasty, this recession in calligraphy was reversed. Su Shi, Huang Tingjian, Mi Fu, and Cai Xiang were the icons of that age advocating the meaning of the contents of calligraphy.
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Chapter 2 Literature Review
Calligraphy is a unique art form in China and in the world. The translation of calligraphy titles belongs to the translation of culture-loaded words, or culture-specific terms, so related theories include the functionalist approaches, cultural translation and terminology studies. Furthermore, the titles of calligraphy include many terms in the calligraphy discipline, which needs to be translated and standardized. Previous researches in the translation of the culture-loaded words, in the standardization of the terms translations, especially the direct study&nbs
