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Journal of Chinese
Architecture and Urbanism Ting or Chinese pavilion

act of translating, translation studies have emerged as a the Metropolitan Museum of Art’s Bulletin. In the article,
flourishing field encompassing descriptive aspects – such the authors translated ting as “pavilion” and included a
as the styles in which literary works are translated across footnote explaining that ting is “an open structure with
various times and places – practical aspects – such as a roof supported by pillars,” alongside an image of Wang
how students learn to translate – and theoretical aspects Xizhi’s Orchid Pavilion from a handscroll by Qian Xuan
– such as what constitutes a good translation (Bassnett, (1235 – 1300) (Murck & Fong, 1980, p. 42). The Met’s
2014; Bermann & Wood, 2005; Delisle & Woodsworth, detailed footnote is not only spatially and temporally
2012). Nonetheless, research in this field has mainly specific in describing the architectural structure of ting
focused on translations within Western traditions, with but also satisfies art and architectural historians’ visual
an emphasis on literature and poetry. As observed by demands by addressing ting’s modalities in historical
Dutton (2002), area studies in academia, especially Asian representations. This serves as an exemplary attempt
studies, largely depend on methodologies derived from to render a thick translation effective for both general
other domains of Western knowledge and are burdened readers and scholars. However, this definition does not
by a patchwork of transplanted theories. Encumbered sufficiently address the confusion between ting and xie,
by a plethora of historical challenges across affiliated the latter of which has also been translated as “pavilion”
disciplines, the development of a new methodology for in prior scholarship. By adopting thick translation as a
translating architectural types remains in its nascent scholarly intervention, it becomes critical to include a brief
stages. Prominently different from translations of literature statement addressing the intertwined histories of ting and
and poetry, which revolve around various aspects of other related building types, alongside further references
textual meanings, visual and formal implications play a to relevant sources. This approach can provide clarity in
central role in the study of art and architecture. In other view of the problematic translation history of these terms.
words, while literary scholars translate texts from source
languages to target languages, architectural historians must 9. Conclusion
also translate the visual and formal qualities expressed by In transcultural scholarship, a simple translation of a
architectural terms into the target scholarly context. Just culturally specific term like ting does not adequately
as literary translators strive to preserve the full range of help English readers understand how it evolved as a
meanings within texts, a good translation in architectural building type in Chinese architectural history. In fact, a
history should comprehensively capture the visual straightforward translation based solely on the semantics
potential in architectural terminology. Consequently, a of an architectural type such as ting cannot accurately
purely literary translation of an architectural term offers capture its meaning, as this meaning arises from the
only a preliminary grasp of the textual aspects and fails to complex history of its architectural forms and functions.
address architectural historians’ visual demands. Therefore, a comprehensive review of the evolving history
Instead of coining a uniform translation of ting for of an architectural term, as well as the history of its
various contexts, one promising solution emerging in translation and historical usage, is essential for achieving
translation studies is the methodological approach known a culturally accurate translation. According to the review,
as “thick translation” (Appiah, 1993; Sun, 2017). Initially both the architectural form and function of ting underwent
applied to the translation of culturally specific idioms and significant changes from the pre-Qin period to the Ming
expressions, thick translation “seeks with its annotations and Qing dynasties. Structurally, ting evolved from a tall
and its accompanying glosses to locate the text in a rich building during the Warring States period to a geographical
cultural and linguistic context,” thereby facilitating an landmark and venue for literati activities during the
academic translation that can be deeply understood, Northern and Southern dynasties, and ultimately became
meaningfully interpreted, and, more importantly, inspire a flexible, open structure in gardens during the Ming and
original imagination in the target language (Appiah, 1993, Qing dynasties, which aligns most closely with its modern
p. 817). More specifically, in the context of translating the definition in the Oxford Dictionary of Architecture and
Chinese language, Sun highlights that thick translation – Ciyuan.
incorporated through paratexts that embed the translated Functionally, ting transitioned from a compound with
portions in the main text and through side notes, such military and civic purposes during the Eastern Han dynasty
as the translator’s annotations and comments – can be to a space for comfortable stays and banqueting during the
helpful, though it must strike a balance with the efficacy Tang dynasty. By the Northern Song dynasty, ting became
of cross-cultural communication (Sun, 2017). A notable a structural form in Yingzao Fashi used in conjunction
example of thick translation is found in the 1981 article with other building types such as xie, and eventually, it
on the history and theory of Chinese private gardens in evolved into a simple, open, freestanding structure. Its

Volume 7 Issue 2 (2025) 11 https://doi.org/10.36922/jcau.4107