I。 Introduction

Nowadays, scholars from home and abroad lay great emphasis on the literary translation。 Among its different categories, poetry translation has a unique charm of its own。 Ancient poetry is a perfect representation of the ancient Chinese culture in terms of its format and implication。 It serves as a window through which Chinese people could establish its unique cultural identity and further promote the spread of Chinese culture。 With increasingly more close exchange among academic scholars, the poetry translation reaches its climax。 There are two characteristics of poetry translation in China。 One is the combination of musical beauty, formal beauty and meaning beauty put forward by Xu Yuanchong。 The other is persified interpretation of translated poetry from various perspectives, such as linguistics, sociology and religion。 论文网

For reasons known to all, image is the soul of ancient Chinese poetry, thus it is of tremendous significance for translators to elucidate as clearly as possible。 Ancient poems, full of image beauty, are always considered to be worth analyzing in terms of its aesthetic beauty and the cultural significance。 However, several problems remain unsolved in the process of poetry translation including the creation of corresponding linguistic form, the reappearance of the mood and atmosphere and so on。 In fact, it is an arduous task for translators to maintain the consistency of the content and form with the original text。 Moreover, traditional poetry translation attaches excessive importance to the equivalence of the format and meaning while it overlooks the beauty of poetry ideorealm。 

To tackle this problem, many scholars attempt to use the theory of Image-G Actualization to guide the poetry translation, which was first put forward by Jiang Qiuxia。 This theory requires the cognitive reconstruction as well as the aesthetic actualization of Image-Gestalt during the process of poetry translation。

As a great cultural treasure of China, the translation of Chinese ancient poetry has aroused the interest of many scholars。 Among various guiding theories for poetry translation, Gestalt psychology has become a new perspective for researchers and scholars to engage in studies related to poetry translation。 Compared with other theories, this method used for translating poetry is quite unique since it is linked with psychology。 The key principle of Gestalt psychology rests with its totality, by which it means that the whole is not the simple combination of its constituting parts。 Based on this core principle, scholars have put forward different opinions。

In 2002, Jiang Qiuxia first brought up the Image-G Actualization theory, which refers to using a holistic view to perceive images in the literary work。 She attempts to integrate the Gestalt psychology with the literary translation by means of mental actualization and linguistic actualization。 

Zhang Qi (2007) points out that in translation, we should not put too much emphasis on the single word or a single sentence and hence we need to take a holistic view of the poem。 Based on the understanding of the whole poem, it can be translated in a sound way。 The Image-G theory requires that translators should prioritize the translation of the core image instead of being restrained to single words。

Wang Yalin (2012) contends that ideorealm is the organic combination of inpidual images。 Image-G considers all images as a whole, which tallies with the ideorealm of traditional poetry。 Given that translation is the switch between two different languages, sometimes the partial correspondence might be achieved while compromising the construction of the whole images。 Therefore, it is strongly recommended that rebuilding images based on the image-G would contribute to the natural harmony of the translation work。

Guan Zhenbing (2012) wrote that Gestalt Image is the combined outcome of original language and target language。 Also, the aesthetic quality of gestalt image is largely dependent on the selection, judgment and reflection because artistic image is not restrained in a fixed frame, but in a dynamic one。 Through experiencing the gestalt quality of specific images or scenes, the translator will evoke the artistic concepts, thus realizing the Image-G actualization。