CHINESE-TO-ENGLISH TRANSLATION SAMPLES

古代教育：朱熹〈諭諸生〉
學校之官、有敎養之名、而無敎之養之之實。學者挾筴而相與嬉其閒、其傑然者乃知以干祿蹈利爲事。至於語聖賢之餘旨、究學問之本原、則罔乎莫知所以用其心者。其規爲動息、擧無以異於凡民、而有甚者焉。嗚呼、此敎者過也、而豈學者之罪哉。

Traditional Education: Zhu Xi, "Instructions for Students"
Faculty at the government schools have titles suggesting teaching and fostering students, but they do not function in this capacity. Students conceal notes on themselves and play during their time there. Outstanding students make it their business to land high-paying government positions. But when it comes to discussing the teachings of sages and worthies, to pursuing the original intent of education, all are at a total loss. Their behavior and attitude are no better than those of commoners, and some are even worse. Alas, this is the teachers' fault. How can it be the students' fault?

经济：马寅初〈新人口论〉
我们要积累资金，最好发展轻工业，因为轻工业的特点是投资少、建设易、获利多而且快，可以更有效地积累资金，用来更多更快地发展重工业。现在新建一个10万纱锭、3500台布机的棉纺织厂，共需投资3500万元。在正式投入生产以后，只要一年时间，就可收回全部投资（包括工业、商业利润和税收）。印染、毛纺织厂等收回的时间还要快一些。因此轻工业的扩大，不仅不会影响重工业的建设，而且有利于重工业的发展。

Economics: Ma Yinchu, "A New Population Theory"
We would do best to invest accumulated capital in light industry, because light industry requires small investments, its construction projects are easier, and the return on investment is greater and quicker. In this way we can more effectively raise capital to develop heavy industry more extensively and more quickly. Presently, it costs 3.5 million yuan to build a cotton textile mill with 100,000 spindles and 3,500 looms. After the start of production, only one year is needed to recoup the complete investment (including the industrial profit, commercial profit, and taxes). The recoupment period is even shorter for printing and dyeing mills and wool textile mills. The expansion of light industry not only does not affect the construction of heavy industry; it aids in the development of heavy industry.

中國古代法律：均田制度
北魏（386-534）至唐代，施行均田制度。辦法是由地方官統計戶口和土地總額，再按男丁婦口，授予口分田和永業田。其中，口分田屬於公有土地，交由私人經營耕作，不許買賣；直到60歲，田地歸還國家。另有永業田，主要為桑田之類農園，允許自有。官方規定，只有在貧瘠乏銀埋葬父母，或是需要購買房屋、商店，或是從貧瘠地區遷移到土地豐富地區居住等情況下，才得以買賣。

Traditional Chinese law: land ownership
Governments from the Northern Wei dynasty (386-534) to the Tang dynasty (618-907) followed a system of equality in land. Under this system, local officials carried out a census and tabulated the total amount of land. Distributed land and permanent business land was distributed according to the number of able-bodied men and the number of women in a household. Distributed land was considered public land and was allotted to private individuals to cultivate. They could not sell it, however, and when they turned sixty, the land reverted back to the state. Permanent business land was for manors for mulberry fields and the like. This land could be individually possessed. The government limited the sale of land to circumstances where one needed money to bury one's parents, needed to buy a house or shop, or intended to move from an infertile area to a fertile area.

中國古代繪畫：董邦達
董邦達字孚存，又字非聞，號東山，富陽（今屬浙江）人，生於清康熙三十八年（西元1699年）、卒於清乾隆三十四年（西元1769年）。董邦達于雍正元年（西元1723年）為貢生，雍正十一年（西元1733年）得中進士，被授翰林院編修；到了乾隆三年（西元1738年）董邦達奉旨出任陝西鄉試考官，不久升任翰林院侍讀學士；至乾隆九年（西元1744年）董邦達與張照、梁詩正、勵宗萬、張若靄、莊有恭、裘曰修、陳邦彥、觀保等一起參加了〈石渠寶笈〉的編纂工作；乾隆十二年（西元1747年）董邦達奉命入直南書房，並擢升為內閣學士；乾隆十五年（西元1750年）又遷侍郎，任官於戶部、工部及吏部；乾隆二十七年（西元1762年）董邦達官至左都禦史，後又擢升為工部尚書、禮部尚書；乾隆三十四年（西元1769）董邦達去世後，乾隆皇帝特賜祭葬，諡「文恪」。

Chinese painting: Dong Bangda
Dong Bangda had the courtesy name Fucun, an alternate courtesy name Feiwen, and the sobriquet Dongshan. From Fuyang (now part of Zhejiang Provence), he was born in 1699 and died in 1769. In 1723 he became a tribute student, and in 1733 he became a presented scholar as a result of success the metropolitan examination, being appointed junior compiler in the Hanlin Academy. In 1738 by imperial command he was appointed examining official for the Shaanxi Provincial Examination, and shortly thereafter he was promoted to academician reader-in-waiting at the Hanlin Academy. In 1744 he participated in the compilation of the first edition of Shiqu baoji (a catalog of paintings and calligraphy in the imperial collection), along with Zhang Zhao, Liang Shizheng, Li Zongwan, Zhang Ruoai, Zhuang Yougong, Qiu Yuexiu, Chen Bangyan, and Guan Bao. In 1747 upon imperial command he took up duties in the Southern Study and was promoted to secretary of the Grand Secretariat. In 1750 he was made a vice minister, serving in the Ministry of Revenue, the Ministry of Works, and the Ministry of Personnel. In 1762 he became left censor-in-chief and later was promoted to minister in the Ministries of Works and of Rites. After his death in 1769, the Qianlong Emperor honored him with imperial burial rites and conferred upon him the posthumous title Wenke (scrupulous in writing).

漳州窑瓷器
漳州窑瓷器的种有青瓷、白瓷、青花瓷和色釉瓷（如酱釉、蓝釉、黄釉等）以及彩绘瓷（如五彩）。其中，青花瓷是最主要的品种，数量也最多。这些瓷器又可分为日常生活用器（日用器）和陈设器二类，属日用器有碗、盘、碟、盆、盅、盏、杯、罐、勺、匙等，陈设器有炉、瓶、鼎、觚以及人物佛像和动物模型等。从已有的资料来看，平和以及诏安、云霄、漳浦、南靖各县的大多数窑址大都生产日用器，器物的品种不多，陈设器种类也很少。华安县东溪窑的产品也以日用器为大宗，但品种增加了勺、匙、豆、洗、壶、水注、鼻烟壶等器物。此外，还有多种陈设器如炉、瓶、鼎、觚、笔筒、笔架、灯台、人物、佛像及动物模型等。在瓷器的品种和形式方面，都比平和等窑更加丰富了。

Chinese porcelain: Swatow ware
The porcelain of the Zhangzhou kilns includes celadon, blanc de chine, blue-and-white porcelain, and porcelain with colored glazes (such as brown, blue, and yellow glazes), as well as colored-painting porcelain (such as five-color porcelain). Among these types, blue-and-white porcelain is the main and also most common type. This porcelain can be divided into daily ware and display ware. Daily ware includes bowls, plates, small plates, basins, small cups, cups, jars, ladles, and spoons. Display ware includes burners, vases, ding (ancient cooking vessels), gu (ancient goblets), and sculptures of animals, people, and Buddhist deities. To judge from items already found, most kilns in the counties of Pinghe, Zhaoan, Yunxiao, Zhangpu, and Nanjing mainly produced daily ware, did not produce many types of ware, and produced few display items. The kiln at Dongxi in Huaan County also produced items for daily use as its main staple, but in addition to the daily-use items produced at these other kilns, it produced ladles, spoons, high-stemmed bowls, writing-brush washers, tea pots, ewers, and snuff bottles. Moreover, it also produced many items for display, such as burners, vases, ding, gu, writing-brush holders, writing-brush stands, lampstands, and sculptures of animals, people, and Buddhist deities. In terms of types and shapes, its products were much more varied than those of Pinghe and the other counties.

古詩：花卉的一首詩
淺紫深黃色
更奇金杯側
下小西施斜
陽雨腳留殘
照一點丹心
付與誰
天漁

Poetry: A Chinese poem on flowers
Some are light purple; others deep yellow.¹
More captivating is the golden tulip poppy leaning to one side.
Below, a small Xi Shi is inclined over the railing.²
The sun shines through the rain, which collects in puddles at the base,
While the sun warms the little red hearts.³
To whom should these loyal red hearts be given?
—Tianyu

Notes
1. The poem is about the flowers on the other side of the bowl.
2. That is, the stems of one plant look like the willowy figure of Xi Shi (fifth century B.C.E.). Legend has it that Xi Shi was such an enthralling beauty that when she leaned over the railing, the fish in the pond forgot to swim, the birds in the sky forgot to fly, the moon faded, and flowers closed their blossoms in shame.
3. In Chinese, a red heart is a loyal heart. Indirectly, "the little red hearts" refers to the small spherule red flowers on the other side of the bowl.

中國美術感
有謂雕蟲小道壯夫不為。此小道者，奧義存焉，請言其詳。若非形之怪巧、雕之精絕、質之纖密、色之迷目，人何能醉心凝神至不得自拔，一如投身大山巨水間竟自拋忘了我身？散於屋內諸多文玩，此一彼二，隨手取來，指膚間撫猜紋刻，繼而審其光澤，嗅其木香，特陶情養心滌慮遠俗最妙之物，亦醫壽延齡之無上妙劑，人能得此，真無量福緣也。噫，天地萬象，皆勞造化一番佈置，何處不是造物者斧痕？人固渺小，焉得不能隨時隨處取一角而消受乎？

Chinese aesthetics
There is a saying that goes, "An able-bodied man does not engage in the petty art of carving insects." There is a profound meaning hidden in the phrase "the petty art of carving insects." Let me explain in detail. Unless the shape is artfully odd, the carving is meticulously detailed, the texture is fine, and the color is entrancing, how can an objet d'art captivate the spirit and not let one go, as if one were cast on a mighty mountain or thrown into a vast ocean and thereby led to forget one's own meager self? It is the greatest source of pleasure to have in one's study many curios, one here, another there; objects that can be picked up to feel their grooves, see their luster, smell their wooden scents; objects that nurture the emotions and cultivate the mind, that wash away concerns and cause one to forget worldly affairs; elixirs that promote longevity and extend life. Behold the myriad phenomena of the world arrayed with painstaking care! Where among them are not to be found the traces of the Maker's ax? Man is insignificant indeed, yet where is it written that he cannot, at any time and any place, find some corner of space to enjoy the works of nature?

印章：玉玺
此宝为谥宝，即按照谥号制造的玉玺。谥号是嗣皇帝根据大行皇帝或皇后生前事迹所上以示褒扬的称号。每当新帝继位或大典都要累加徽号和谥号，每次二个字。清帝谥号不超过25字，皇后不超过19字。这件青玉谥宝至咸丰、同治朝累加谥为“孝和恭慈康豫安成钦顺仁正应天熙圣睿皇后”，计十九字。

Chinese royal seal
This is Empress Xiaohe's posthumous seal, that is, her royal seal containing her full posthumous name. A reigning emperor would give a recently deceased emperor or empress a posthumous name according to the deceased's deeds in order to show praise for that person. Whenever a new emperor ascended the throne or a grand ceremony took place, an honorary name or posthumous name of two characters would be added to what preceded. In the Qing Dynasty, the posthumous names of emperors could not exceed twenty-five characters, and those of empresses could not exceed nineteen characters. Empress Xiaohe attained her full complement of nineteen characters during either the Xianfeng period (1851-1861) or the Tongzhi period (1862-1874). Inscribed on this green-jade seal is her full posthumous name: Xiaohe Gongci Kangyu Ancheng Qinshun Renzheng Yingtian Xisheng Rui Huanghou, or the filial and harmonious, respectful and kind, healthy and content, calm and capable, respectful and obedient, benevolent and upright, responsive-to-heaven, cheerful yet august, penetrating empress.

乾隆御玺：八徴耄念之宝
关于为什么要用“八徴耄念之宝”这几个字刻制宝玺，乾隆帝自己在《八徴耄念之宝记》中是这样解释的：“思有所以副八旬开袠之庆，鐫诸玺，以殿诸御筆，盖莫若《洪範》‘八徴’之念。且予夙立愿八十有五，满乾隆六十之数，即当归政。今虽八十，逮归政之岁尚有六年。一日未息肩，万民恒在怀。庶徴之八，可不念乎？念庶徴即所以念万民。《曲禮》‘八十曰耄’，老而智衰之謂。兹逮八十，幸赖天佑，身体康强，一日万机，未形智衰，不可不自勉也”。可以说，八徴耄念之宝的刻制既是乾隆对八十万寿的纪念，也是对自己的戒勉。

Qianlong imperial seal: "Treasure of Concern over Phenomena at Eighty"
As to why he chose to use the phrase “Treasure of concern over phenomena at eighty” for a seal, the emperor himself offers this explanation in Ba zheng mao nian zhi bao ji (Note on the Treasure of Concern over Phenomena at Eighty): “When I think of the purpose of having an eightieth birthday celebration, engraving a seal, and impressing it at the end of imperial documents, no phrase is more suited than the ‘phenomena’ phrase, number 8, in the ‘Great Plan’ chapter of the Classic of History. Moreover, I have already indicated a desire to pass on the throne at eighty-five, the sixtieth year of my reign. Though I am now eighty, there are still six years till I retire from the throne. I have not rested my weary shoulders for one day and have always cherished the people. How can I not be concerned about number 8, the common phenomena? Being concerned about the common meteorological phenomena is being concerned about the people. The Book of Rites says, ‘Eighty is called mao,’ referring to the fact that the mind becomes feeble with advanced age. I am now eighty, and, relying on Heaven’s protection, I am still in good health. Though in one day there are a thousand affairs of state, my mind is still up to the task, but I must exhort myself to do better.” One can thus say that this seal not only commemorates the emperor’s eightieth birthday but is also a warning not to let his guard down.

青銅器：芮公鼎

Chinese bronzes: The Duke of Rui tripod
The Duke of Rui made this tripod to accompany one to Zhu. May it be forever treasured in its use.

Notes
1. Rui: a state during the Shang, Zhou, and Spring and Autumn periods.
2. Zhu: a vassal state of Zhou.
3. This tripod was formerly in the Qing Palace collection.
4. The inscription appears in the following works:
Xiqing gu jian (The Xiqing Mirror of the Past). 1749–1751.
Kezhai jigu lu (The Ke Library Record of the Collected Past). Compiled in 1896.
Xiaojiao jingge jinshi wenzi (Bronze and Stone Inscriptions from the Xiaojiao Library). 1935.
Sandai ji jinwen cun (Bronze Inscriptions to 221 B.C.E.). 1936.
Jinwen zongji (A General Collection of Bronze Inscriptions). 1983.
Yin Zhou jinwen jicheng (Complete Collection of Bronze Inscriptions of the Later Shang and Zhou Dynasties). 1984.