1. 老吾老，以及人之老；幼吾幼，以及人之幼。4故天降大任于是人也，必先苦心志，劳其筋骨，饿其体肤，空乏其身，行拂乱其所为，所以动心忍性，曾益其所不能。

1. Respect your own elders and extend that respect to others' elders; cherish your own children and extend that care to others' children. Therefore, when heaven bestows a great responsibility upon a person, it must first harden their resolve, tire their muscles and bones, starve their bodies, impoverish them, and disrupt their actions. This is done to stir their hearts, strengthen their character, and enhance their abilities beyond their limits.

2. 从前书塾里读书，既要知新，又要温故。在学习过程中，匀出一段时间来温习以前读过的，这是个很好的方法。现在教学国文，应该采取它。在精读几篇文章之后，且不要上新的；把以前读过的温理一下，回味那已有的了解与体会，更寻求那新生的了解与体会，效益决不会比上一篇来得少。——叶圣陶

2. In ancient academies, students were required to both learn the new and review the old. During the learning process, it is a good practice to allocate some time to review what has been studied before. Now, when teaching Chinese, we should adopt this approach. After reading a few articles in detail, one should not move on to new material; instead, review what has been studied before, relish the existing understanding and insights, and seek new ones. The benefits will not be any less than those from the previous article. — Ye Shengtao

3. 沉湎于但愿的人和守株待兔的樵夫没有什么两样。

3. Those who are indulged in wishing and the woodcutters who wait for rabbits with their trees are no different from each other.

4. 我希望中国的有钱人穿的奇怪的要命，过非常奇怪的生活。大部分艺术是这样出来的。中国必须有这么一群怪人，过非常不真实的生活。

4. I hope China's rich people dress incredibly strangely and lead an extremely odd life. Most art comes out this way. China must have a group of oddballs leading an extremely unrealistic life.

5. 你一要肯定自己的感受，感受是很可贵的东西。画出动人的画，凭的是感受，而不是技巧。我画的那个朝圣的小姑娘，那么苦、那么好看，但她自己却不知道艺术就是这样，凭这一点点就打动人了。

5. You must affirm your own feelings, as feelings are a precious thing. The moving paintings you create come from feelings, not from skill. The little girl I painted, who is so suffering and so beautiful, doesn't even know that art is like this; it is this very bit that touches people.

6. 别人给你倒水时，不要干看着，要用手扶扶，以示礼貌。

6. When someone is pouring water for you, don't just watch passively; use your hand to gently support it as a sign of politeness.

7. 要记住，一个人要想在事业上有所建树，一定得坚持这样做卡片摘记，一发现有价值的资料，就要如获至宝，准确地摘记下来。天才是就是勤奋，知识在于积累。这样，卡片摘记积累的多了，功到自然成，你就可以在大量资料的基础上，进行归纳分类，分析研究，综合利用，创造出自己的作品来。——吴晗

7. Remember, if one wants to achieve something in their career, they must consistently do this card note-taking. When they find valuable information, they should treat it as a treasure, accurately noting it down. Talent is diligence, and knowledge lies in accumulation. In this way, as the card note-taking accumulates, success will naturally follow. You can then, based on a large amount of information, engage in summarization, classification, analysis, and comprehensive utilization, creating your own works. — Wu Han

8. 学无止境，不仅要学书本知识，更要学会怎么待人处事，社会远比你想像的要复杂。

8. There is no end to learning. One should not only learn book knowledge but also learn how to deal with people and situations, as society is far more complex than you imagine.

9. 学无止境，陈丹青想要充实一下自己。他想学习西方的绘画技术，感受西方油画的创作意向，于是，他决定移居美国。

9. There is no end to learning, and Chen Danqing wants to enrich himself. He wishes to learn the painting techniques of the West and experience the creative intentions of Western oil painting, so he decided to migrate to the United States.

10. 把阅读当成童年最重要的课，也就为一生的写作起草了最精彩的序言。——梅子涵

10. Treating reading as the most important lesson of childhood is also writing the most splendid preface for one's lifelong writing. — Meizi Han

11. 中国人大抵是惯于取巧而敷衍的，我自己也是如此。而我所见美国艺术家，一个个憨不可及，做事情极度投入、认真、死心眼儿、有韧性，即所谓持之以恒，精益求精是也。

11. The Chinese people are generally accustomed to taking shortcuts and being perfunctory, and I am the same. However, the American artists I have seen are incredibly naive, deeply engaged, serious, stubborn, and tenacious in their work, which is what is meant by perseverance and continuous improvement.

12. 性痴，则其志凝：故书痴者文必工，艺痴者技必良。——世之落拓而无成者，皆自谓不痴者也。

12. If one is passionate about sex, their will is focused: therefore, a person who is passionate about studying will undoubtedly excel in writing, and a person who is passionate about art will undoubtedly have a good skill. — Those who are wandering in the world without achieving anything all claim that they are not obsessed.

13. 王华祥的评价苛刻，言语犀利，把陈丹青说成了一个一无是处的伪文人。对于这些言论，陈丹青没有正面回应。

13. Wang Huaxiang's evaluation was harsh, his words sharp, portraying Chen Danqing as a pseudo-intellectual with no merit. To these remarks, Chen Danqing did not respond positively.

14. 1976年时，陈丹青的才华被人发掘，调他去西藏搞创作，由此他开始了西藏之旅。

14. In 1976, Chen Danqing's talent was discovered, and he was assigned to Tibet to engage in creative work, thus commencing his journey to Tibet.

15. 我一回来，还在美国的不少中国同行就忧心忡忡诚心诚意追问我：适应么？习惯么？后悔么？那意思，就是怕我回来又受苦。

15. As soon as I returned, many of my Chinese colleagues in the United States were worried and sincerely asked me: "Are you adapting? Are you getting used to it? Do you regret it?" They meant that they were afraid that I would suffer again after coming back.

16. 开拓者的足迹是历史前进的起点；奋斗者的肩头是科学登高的阶梯。——佚名

16. The footsteps of pioneers are the starting point of historical progress; the shoulders of奋斗ers are the ladder for scientific advancement. - Anonymous

17. 如果是弹簧门，不管是拉还是推，请先出后进。如果身后有人应主动把门扶好，防止门弹回拍到别人。别人为自己开门一定要说谢谢。

17. If it's a spring door, whether pulling or pushing, please exit first and then enter. If there's someone behind you, take the initiative to hold the door steady to prevent it from bouncing back and hitting someone else. Always say "thank you" when someone opens the door for you.

18. 早知今日读书是，悔作从前任侠非。作者：李欣

18. If I had known that reading books today is so important, I would regret having been a chivalrous man in the past. Author: Li Xin

19. “王华祥院长说我是个混混，我先承认我无知好了。”

19. "Wang Hua祥 President said I was a hooligan, so I'll first admit my ignorance."

20. 一个人可以无师自通，却不可无书自通。——闻一多

20. One can learn without a teacher, but one cannot learn without books. — Wen Yiduo

21. 不好的书也象不好的朋友一样，可能会把你伤害。出处：英国谚语

21. Bad books are like bad friends; they may hurt you. Source: English Proverb

22. 不随地吐痰扔东西，如果没有垃圾箱，就拎回家扔垃圾筒里。

22. Do not spit or throw things on the ground. If there is no trash bin, please take it home and throw it in the trash can.

23. 但愿我是完全胡说纵向比较，80后、90后的表达欲望和空间，不如**初年的50后，50后当年的表达空间，则远不如五四前后的年轻人。

23. I hope I am completely wrong about making a longitudinal comparison; the desire and space for expression among the post-80s and post-90s generations are not as great as that of the early post-50s generation. However, the expression space of the post-50s generation in their time was far less than that of the youth during the May Fourth Movement era.

24. 不学习的人总以后悔而告终。 作者：（土耳其）谚语

24. Those who do not learn will always end in regret. Author: (Turkish) Proverb

25. 后来一直到14岁时，他才正式跟着专业老师学习绘画。

25. It was not until he was 14 years old that he formally began studying painting under a professional teacher.

26. 这种成就感让陈丹青喜由心生，对绘画的自信心愈发强大。

26. This sense of achievement brought joy to Chen Danqing from the bottom of his heart, and his confidence in painting grew stronger.

27. 读书之于精神，恰如运动之于身体。作者：爱迪生

27. Reading is to the mind what exercise is to the body. Author: Thomas Edison

28. 不读书的人，思想就会停止。人都向往知识，一旦知识的渴望在他身上熄灭，他就不再成为人。作者：南森

28. A person who does not read has their thoughts come to a halt. All humans yearn for knowledge, and once the desire for knowledge is extinguished in them, they no longer become human. Author: Nansen

29. 世界上的重要艺术家都不是研究生学历，也不是本科、美院附中，有的连高中都没上。凡？高就是个病人，毕加索也没有大学文凭。当今中国，需要文凭，为了就业，得到社会的认可，你就得拿个文凭。

29. None of the world's important artists have a postgraduate degree, nor do they have a bachelor's degree or an affiliated high school of an art academy; some haven't even attended high school. Van Gogh was a patient, and Picasso didn't have a university diploma either. In contemporary China, you need a diploma to secure employment, gain social recognition, and you have to obtain a diploma.

30. 受过小学教育而能做成一些事情的人，太多了；受了大学教育而一事无成的人，也太多了。学历与成就应是正比，不是这样的。

30. There are too many people who have received primary education and have been able to accomplish something; there are also too many people who have received university education but have achieved nothing. Education level and achievement should be positively correlated, but it's not like that.

31. 我一点不关心中国学生的英语如何。我看见大家的中文一塌糊涂。我们千千万万的好萝卜如今是英语也不好，中文也不好。

31. I'm not at all concerned about how Chinese students speak English. I see everyone's Chinese is a mess. Our countless good radishes are now not good at English, and not good at Chinese either.

32. 中国不是没有思想家，不是读书人没脑子，只是有的人被扼杀了，有的人被吓傻了，有的人将自己那一点才学拿去换了别的好处。要说悲哀，这才是一个民族最大的悲哀。作者：胡发云

32. China is not without thinkers, nor are scholars devoid of intelligence. It's just that some have been suppressed, some have been frightened into stupidity, and some have exchanged their little bit of talent for other benefits. If we talk about sorrow, this is the greatest sorrow of a nation. Author: Hu Faying

33. 中国人奢华的名堂太多了。你去看看古董铺，什么小玩意儿都有更小的玩意儿配套，奢靡到极点。

33. There are just too many extravagant ways for Chinese people. Go take a look at the antique shops, where there are all sorts of small trinkets with even smaller accompanying items, reaching the peak of luxury.

34. 中国连真正的公共空间还没出现，哪里来的公共知识分子？进入公共事务时，偶尔有像我这样的傻子出来说几句真话大家就很愿意听，这是一件很可怜的事情。

34. China hasn't even seen the emergence of genuine public spaces, where does that leave public intellectuals? When entering public affairs, it's a sad thing that occasionally there are fools like me who speak the truth, and people are very willing to listen.

35. 中央美院院长王华祥最先忍不住，顶着舆论的压力批判陈丹青。

35. The director of the Central Academy of Fine Arts, Wang Huaxiang, was the first to break down under the pressure of public opinion and criticize Chen Danqing.

36. 本想着到国外找寻灵感，可是国外就有不一样的创作吗？事实证明，全世界的绘画水平都差不多。

36. I had thought of going abroad to seek inspiration, but is there really different creativity to be found overseas? The facts have proven that the level of painting is roughly the same worldwide.

37. "我扑在书籍上，像饥饿的人扑在面包上一样。"

37. "I fling myself upon the books as a starving man upon bread."

38. 赛会虽然不象现在上海的旗袍，北京的谈国事，为当局所禁止，然而妇孺们是不许看的，读书人即所谓士子，也大抵不肯赶去看。

38. Although the event is not as prohibited as the Shanghai cheongsam or Beijing's discussion of state affairs by the authorities, women and children are not allowed to see it, and scholars, or so-called scholars, are mostly unwilling to go and watch.

39. 我们今天出了个所谓五讲四美，层次很低，不过是要有礼貌，守规矩，走横道线，别随便吐痰，说明什么呢？无非说明我们的社会五不讲，四不美。

39. Today, we have what is所谓的 "Five Lectures and Four Beauties," which is of a very low level. It's just about having good manners, following the rules, crossing the zebra crossing properly, and not spitting at will. What does this show? It merely indicates that our society lacks the five unspoken principles and the four unattractive aspects.

40. 不论何时，凡为大多数读者所欢迎的书，切勿贸然拿来读。 [德]叔本华

40. At any time, do not dare to read any book that is welcomed by the majority of readers. [German] Schopenhauer

41. 申办奥运会哪里是为了体育，而是不折不扣地超级**任务，可是没有这项**任务，钱拨不下来，事办不起来，所以我有保留地谢谢天，谢谢地。

41. The bid for the Olympics is not solely for the sake of sports, but it is an all-out super task. However, without this task, the funds cannot be allocated and the affairs cannot be carried out, so I am reservedly thankful to heaven and the earth.

42. 读书并不为了写作，写作则非要读书不可。我在构思某一部较为重大题材的作品时，在生活的感受和积累以外，也参阅有关的书刊。例如人文历史和地理等等。——何为

42. Reading is not solely for the sake of writing, and writing necessarily requires reading. When I am planning a work of significant subject matter, in addition to life's experiences and accumulation, I also refer to relevant books and periodicals. For example, humanities, history, geography, etc. — What is it?

43. 他像是被禁锢一样，他深爱绘画，想要突破它，却遭遇瓶颈；想要放弃，却又不舍。

43. He felt as if he were confined, deeply in love with painting and wanting to break through it, but he encountered a bottleneck; he wanted to give up, yet he couldn't bear to let go.

44. 我们没资格谈历史，谈文化。老北京可以谈，但他只能谈他的记忆，不是谈文化。再过十年二十年，老北京全死光了，谁谈？

44. We have no资格 to talk about history or culture. Old Beijing can talk, but he can only talk about his memories, not about culture. In another ten or twenty years, all the old Beijingers will be gone, who will talk then?

45. 读书有三到，谓心到，眼到，口到。心不在此，则眼看不仔细，心眼既不专一，却只漫浪诵读，决不能记，久也不能久也。三到之中，心到最急，心既到矣，眼口岂不到乎？——朱熹

45. There are three essentials to reading: the mind must be present, the eyes must be attentive, and the mouth must read. If the mind is not focused, the eyes will not see carefully; if the mind and eyes are not focused, one will only read aimlessly, and cannot remember anything, nor can one maintain it for long. Among the three essentials, the mind's presence is the most crucial; once the mind is there, how can the eyes and mouth not be? — Zhu Xi

46. 我没有素描基础，不是照样画创作？中国传统绘画从来就不画素描，难道就是没基础。

46. I don't have a foundation in sketching, so why can't I still create paintings? Traditional Chinese painting has never used sketching, does that mean there's no foundation?

47. 4年之后，他再一次踏进西藏，这次比上一次更有感觉，灵感源源不断，创作了七幅油画以及一沓速写。这七幅油画被人们称为《西藏组画》。

47. Four years later, he stepped into Tibet again, this time with a stronger sense and a continuous stream of inspiration. He created seven oil paintings and a stack of sketches. These seven oil paintings are collectively known as the "Tibet Series."

48. 相较于曾流浪漂泊的陈丹青，王华祥则是四平八稳的在自己的创作世界里，他只知道绘画的对他而言，是传统，是一代一代延续的传承。

48. Compared to Chen Danqing, who had wandered and drifted, Wang Huaxiang is stable and settled in his own world of creation. He knows that painting is a tradition for him, a heritage passed down from generation to generation.

49. 50后当年的焦虑不是升学和饭碗，而是去哪个省份的农村、干哪家工厂的工种。去是非得去的，苦是一定苦的，恐慌也没用，全认了。部分60后与我们命运相似，部分70后的际遇和80后相似，50后的青春期堵在非常时期，不好跟今天比。

49. The anxiety of those who were born in the 1950s was not about college admission or securing a job, but rather about which rural province to go to and which type of work in a factory to do. It was necessary to go, the hardship was certain, and panic was useless; they accepted it all. Some of the 1960s generation share a similar fate with us, while some of the 1970s generation have experiences similar to those of the 1980s generation. The adolescence of the 1950s was blocked during a very special period, which is not comparable to today.

50. 读书触类旁通博古通今，实践举一反三立异 标新。

50. Reading enables one to generalize from the known and understand the past and present, while practice encourages thinking in multiple directions and creates new standards and innovative methods.