全球化視角下博物館書畫展品解說(shuō)詞的英譯研究

孟艷

摘 要 文物是人類文化的珍貴遺產(chǎn)，博物館是人類歷史文化的寶庫(kù)。從全球化視角下對(duì)博物館書畫文物展覽解說(shuō)詞翻譯進(jìn)行理論和實(shí)踐兩方面研究具有積極的現(xiàn)實(shí)意義，本文擬從天津博物館書畫藏品解說(shuō)詞英譯進(jìn)行理論與實(shí)踐兩方面研究，進(jìn)而推進(jìn)博物館文物展示整體水平。

關(guān)鍵詞 博物館書畫展品解說(shuō)詞 漢譯研究 天津博物館

1項(xiàng)目研究背景

博物館是人類歷史燦爛文化的寶庫(kù)，從1682年誕生以來(lái)就一直承擔(dān)著傳承文化、記憶歷史的重任。博物館所承載的歷史、文化、民俗等因素是其他國(guó)家所不具有甚至是陌生的。中華民族歷史悠久，地大物博，而博物館則則成為維系民族團(tuán)結(jié)統(tǒng)一的精神紐帶?，F(xiàn)在，中國(guó)很多博物館的文物名稱都配有英文翻譯，既方便了外國(guó)游客參觀，同時(shí)也成為向他們介紹和傳播中國(guó)歷史文化的重要手段。但由于中英文兩種語(yǔ)言在語(yǔ)言體系、文字系統(tǒng)及思維方式等方面存在諸多差異，因此，中國(guó)博物館翻譯，就不能以傳統(tǒng)的等值翻譯作為翻譯的標(biāo)準(zhǔn)。

博物館文物翻譯工作是文化的組成部分，承擔(dān)著傳播中國(guó)文化，介紹外國(guó)文化的重任，是中國(guó)了解世界和世界了解中國(guó)的媒介。隨著博物館的全球化，中外文化交流的增多，社會(huì)對(duì)博物館文物翻譯的需求也隨之增加。由于英文被國(guó)際社會(huì)普遍用于交流工具的特性，博物館對(duì)外展覽和出版物至少應(yīng)該有英文翻譯。

2研究途徑

此研究從國(guó)際化語(yǔ)境下對(duì)博物館展品解說(shuō)詞翻譯進(jìn)行理論和實(shí)踐兩方面研究。目前天津市共有20多家各種規(guī)模的博物館，規(guī)模比較大的博物館包括天津博物館、天津市元明清天妃宮遺址博物館、天津自然博物館、天津戲曲博物館、天津金融博物館、天津郵政博物館、天津文廟博物館、北疆博物館、石家大院（楊柳青博物館）等，但是目前已經(jīng)上線的天津市各類博物館官方網(wǎng)站上的英語(yǔ)版介紹主頁(yè)信息均空缺，

3實(shí)踐過(guò)程

本項(xiàng)目通過(guò)館藏文物解說(shuō)詞的英譯進(jìn)行具體實(shí)踐。目前已經(jīng)取得書畫部分展品解說(shuō)詞英譯的階段性成果。如：

3.1元 邊魯 起居平安圖軸

Hanging Scroll of Cock Crowing， by Bian Lu in Yuan Dynasty

邊魯，字至愚，號(hào)魯生。元代官至南臺(tái)宣使。至于他的籍貫，從他自己在畫上題寫的“魏郡邊魯”可看出他是河南人。工書、詩(shī)、古文奇字等，擅長(zhǎng)水墨花鳥。這幅“起居平安圖”也是眾多專家公認(rèn)的傳世邊魯唯一的一幅作品，極為珍貴。此為紙本墨筆畫，縱118.5cm，橫49.6cm，描繪了溪邊奇石聳立、一雉雞俯身向水鳴啼，灌木修竹，溪水流動(dòng)，生氣勃勃。全畫構(gòu)圖新穎別致，近景突出主體，遠(yuǎn)景以空白為水，視野開闊，意境幽雅，富有濃、淡、干、濕變化，層次分明，立體感強(qiáng)，雉雞刻畫精細(xì)，用筆工整，造型準(zhǔn)確，姿態(tài)生動(dòng)，形神兼?zhèn)洹?/p>

Bian Lu， with the style name Zhi Yu and alternative name Lu Sheng， was a native of He Nan province which can be judged from the inscription “Bian Lu of Wei County （most of which is in the present-day He Nan province）”. He worked on calligraphy， poems， ancient prose and grotesque characters and was talented in ink flowers and birds. This painting is the only one that was recognized by most experts as the masterpiece of Bian Lu handed down from the ancient times. It is ink on paper with the height of 118.5cm and width of 49.6cm， depicting grotesque stones rising straight up besides the stream which rills softly， a pheasant standing on the stone， bending towards the stream crowing and some bushes and tall bamboos around them， full of vitality. The composition is exquisitely designed with nearby view （close shot）highlighting the principal part， and the distant view （long shot）using white space as the stream， which makes the vision wide and it consists of changing ink shades and wet and dry ink， which makes the layers distinct， the whole painting stereoscopic the artistic conception elegant. The pheasant is meticulously depicted with neat and orderly brushstrokes which results in precise depiction and vivid posture， achieving the uniform of form and spirit.

此畫最吸引人的地方就是圖中雉雞的畫法。雉雞，就是我們俗稱的錦雞、野雞，身上羽毛五彩繽紛，非常耀眼。因此在中國(guó)傳統(tǒng)繪畫中，大多數(shù)畫家在描繪稚雞的時(shí)候都會(huì)使用絢麗的色彩，以便突出雉雞全身那五彩斑斕的羽毛的顏色。但在這幅作品上，邊魯僅用一種墨色就取代了那些豐富的色彩，一旦放棄了顏色，雉雞身上那色彩斑斕的羽毛，便只能用深淺不同、干濕相宜的墨色來(lái)表達(dá)，這就是我們常說(shuō)的“墨出五彩”;而邊魯在用筆的處理上也做了些改變：雖然仍是院體的勾勒渲染，但卻先以淡墨打底，再用濃墨勾勒，雉雞身上那幾根尾羽主干，一筆勾出;羽毛邊緣的短促小筆既見筆力又不乏輕盈，充分地向我們展示了邊魯那極為深厚的繪畫功底。同時(shí)我們還能見到描繪山水畫所使用的皴法，運(yùn)用在水墨花鳥畫中，也是相當(dāng)出色的：邊魯在此畫中就利用類似牛毛皴的皴法傳神地表現(xiàn)出了稚雞羽毛那種毛茸茸的質(zhì)感。此外，畫中大石的勾勒翻轉(zhuǎn)流暢，充分表現(xiàn)其凹凸起伏以及圓渾堅(jiān)硬的質(zhì)感;竹葉則是中規(guī)中矩的雙鉤，用筆爽利飄逸;再加上穿插其間，用淡墨寫來(lái)溫潤(rùn)愜意的枝干，使得畫面于樸素中透出盎然生氣。中國(guó)文人講究“絢爛之極，歸于平淡”，而樸素之極的墨筆畫所體現(xiàn)的也正是這種返樸歸真，趨于平淡的美，邊魯?shù)倪@幅畫作正是這種平淡美的極致體現(xiàn)。

The most appealing part is the painting methods of the pheasant. Pheasant， commonly known as golden pheasant， is with dazzling colorful feather. Hence in the Chinese traditional paintings most painters would use gorgeous colors to depict the pheasant to highlight its colorful feather. However， in this artwork， Bian Lu just used one single color of ink to show those rich colors. Under this circumstance， the gorgeous colors in the shiny feather can only be described by the different ink shades and the proper handle of dryness and wetness. This is what we commonly referred as “rich colors out of ink”. Besides， Bian Lu made some changes in the drawing techniques. Although he used the outlining and dropping of the court style， he used the light ink to make the base and then the thick ink to outline. The main part of the tail feather was made by only one brushstroke. The short strokes depicting the fringe of the feather was full of vigor but at the same time no lack of lightness. All of those can show us his solid painting foundation. In the meantime we can see that the texturing method which is commonly used in the landscape painting works fairly well too in the paintings of ink flowers and birds since in this painting， Bian Lu used one of the texturing methods similar to the ox hair texturing， which vividly represents the hairy texture of the pheasant feather. In addition， the rolling outlining of the giant stones is full of ease and grace， which fully represents the undulating sags and crests and the rounded and stiff texture of them. The bamboo leaves are composed by the standard method of integrating two clean and elegant outlining strokes. Besides， those mild and relaxed leaves interspersed on the bamboos are depicted by the light ink so that the painting offers the sense of simplicity with full vitality. Chinese literati stress that “what is extremely gorgeous is what is the most plain”. The extremely plain ink painting precisely represents that-the beauty of returning to nature and simplicity and such beauty is exactly presented in this painting.

3.2清 朱耷 河上花圖卷

Handscroll of Lotus on River by Zhu Da in Qing Dynasty

您現(xiàn)在看到的這幅畫卷是清初四僧（原濟(jì)-石濤、髡殘-石溪、八大山人-朱耷、漸江-弘仁）之首朱耷最具代表性的作品《河上花圖》。這幅畫卷全長(zhǎng)1292.5cm，縱47cm。全卷以荷花為主，坂坡小草，溪水潺潺，寥寥幾筆便將蘭竹點(diǎn)綴其間。卷尾自題詩(shī)《河上花歌》37行，文采卓絕，書法極具風(fēng)范。后記“蕙嵒先生屬畫此卷。自丁丑五月以至六、七、八月荷葉荷花落成。戲作河上花歌僅二百余字呈正?！笨钍穑骸鞍舜笊饺?。”丁丑即1697年，由此可知這幅圖為朱耷古稀之年所作。

This handscroll of Lotus on River was composed by Zhu Da， the head of “the Four Monk Painters of the early Qing Dynasty （1644-1911）”. They are “Shi Tao with the Buddhist monk name Yuan Ji”，“Shi Xi with the Buddhist monk name Kun Can”， “Zhu Da with the Buddhist monk name Bada Shanren” and “Hong Ren with the Buddhist monk name Jian Jiang”. This is his most representative artwork with the overall length of 1292.5cm and width of 47cm. The main subject is the lotus with the grass softly swinging and stream rilling and Nandina domestica interspersed with a few brushstrokes. At the end of the painting， theres a poetry of 37 lines written by Zhu Da himself named “the chant of lotus on river” which is of stylish writing and calligraphy. The postscript with the signature of “Bada Shanren”says “Hui Yan， who is the discipie of him， was involved in the composition. The work began in the year of “Xin Chou”-1697 on May and lasted to August till the work of lotus leaf and lotus flower was completed. The poem of “the chant of lotus on river” was playfully composed to show the content of the painting”. The year of “Ding Chou” is that of? 1697， which can indicate that this artwork was composed in his age of seventies.

朱耷，號(hào)八大山人，江西南昌人，明寧獻(xiàn)王朱權(quán)后裔，與原濟(jì)、弘仁、髡殘并稱為“清初四僧”。1644年，清軍入關(guān)，明朝滅亡，朱耷從王孫公子淪落為流民逃犯。國(guó)破家亡的打擊，讓他一時(shí)難以承受，落發(fā)為僧，后又入青云譜為道。他的滿腔悲憤無(wú)處宣泄，只有寄情于書畫，經(jīng)常以淚和墨。直到59歲，他從趙孟頫所書的《八大人覺經(jīng)》中獲得啟迪，才逐漸解脫煩惱，并決定以“八大山人”為號(hào)，一直用到80歲去世。從60歲到80歲這20年間，他的心態(tài)由早年的失控變得異常平靜，人生觀也從淚眼看世界，升華到笑對(duì)人生，而這種心態(tài)的變化也形象地表現(xiàn)在他的落款上，常把“八大”和“山人”豎著連寫，59歲到69歲時(shí)的落款特征是把“八”字寫成“折角形”，“八大山人”四個(gè)字筆畫相連就像“哭之”;而從70歲到80歲，“八”字寫作“兩點(diǎn)”，其筆畫相連又像“笑之”。“哭之”、“笑之”的落款正是八大山人“破涕為笑”的真實(shí)寫照。

Zhu Da with the style name of Bada Shanren was a native of Nanchang in Jiangxi province. He， who was the descendant of Zhu Quan， is a kinsman of the Emperor of the Ming Dynasty （1368-1644）. He together with Yuan Ji， Hong Ren and Kun Can was known as “the Four Monk Painters of the early Qing Dynasty （1644-1911）”. In the year of 1644， the troops of Qing Dynasty took on the Shanhai Pass and the Ming Dynasty perished. He， then from the descendant of the nobility was reduced to a refugee and escaped prisoner. At that time， he was so depressed on the fact that he lost his home and country that he had his hair shaved and became a Buddhist monk and later became a monk in Qing Yunpu. He could not get off the unutterable grief and indignation and had to resolve to painting and calligraphy with the tear in the ink. He did not gradually free himself from the sadness when he was 59 until he was enlightened by Zhao Mengfus calligraphy work of the “Sutra on the Eight Realizations of the Great Beings”. He then determined to take the “Bada Shanren”as his style name all the way to his death at the age of 80. Over the twenties years from the age of 60 to that of 80， his mentality became exceptionally calm compared to what was uncontrollable in his early poor years. His outlook on life was transformed from what was pessimistic to optimistic. His transformation can be reflected by his inscription of his signature. The characters of “Bada Shanren” were usually composed in the vertical way with（下轉(zhuǎn)第266頁(yè)）（上接第230頁(yè)） the strokes of those characters flowing together. The feature of his signature at age 59 to 69 is that the left-falling stroke （丿） and right-falling stroke （乀） of the character “八（ba）eight”were composed like the dog ears. That with characters executed swiftly and with strokes flowing together of his style name “Bada Shanren” was compared to characters “Ku Zhi”，which represents the meaning of shedding tears because of sadness. However， at age 70 to 80， the two strokes of the character“八（ba）”were shown by the dot stroke （、），which together with the characters executed swiftly and with strokes flowing together can be compared to characters “Xiao Zhi”，representing the meaning of smiling at all the miserable matters. This transformation is the real reflection of his “turning tears into smiles”.

參考文獻(xiàn)

[1] 林華.論博物館文物解說(shuō)詞的文化信息及翻譯策略——以上海博物館文物解說(shuō)詞為例[J].江漢大學(xué)學(xué)報(bào)（社會(huì)科學(xué)版），2013（04）.

[2] 鄭佳.從翻譯目的論看博物館解說(shuō)詞的英譯——以中國(guó)文字博物館為例[J].華中師范大學(xué)研究生學(xué)報(bào)，2011（01）.

[3] 黃春梅.旅游牌示解說(shuō)詞翻譯雜合研究——接受美學(xué)的視角[J].長(zhǎng)江師范學(xué)院學(xué)報(bào)，2014（02）.

[4] 任寧.從德國(guó)功能理論的視角談博物館解說(shuō)詞的英譯[J].太原城市職業(yè)技術(shù)學(xué)院學(xué)報(bào)，2012（07）.

[5] 陳媛.試論鄭家大屋解說(shuō)詞的英譯技巧[J].武漢交通職業(yè)學(xué)院學(xué)報(bào)，2014（04）.

[6] 顧毅.博物館書法展品解說(shuō)詞中審美術(shù)語(yǔ)的翻譯——以“平正”為例[J].天津外國(guó)語(yǔ)大學(xué)學(xué)報(bào)，2013（05）.

[7] 李家元.景點(diǎn)解說(shuō)詞中文化預(yù)設(shè)信息的翻譯——以成都市溫江區(qū)為例[J].雞西大學(xué)學(xué)報(bào)，2013（12）.

[8] 邸菲.博物館電子語(yǔ)音解說(shuō)詞翻譯策略研究——以陜西歷史博物館為例[J].遼寧工業(yè)大學(xué)學(xué)報(bào)（社會(huì)科學(xué)版），2013（03）.

[9] 焦碳，張輝.旅游景點(diǎn)解說(shuō)詞翻譯方法與策略——以亳州市旅游景點(diǎn)解說(shuō)詞英譯為例[J]. 中國(guó)民航飛行學(xué)院學(xué)報(bào)，2019（03）.

[10]? 肖莉.茶藝表演中英語(yǔ)解說(shuō)詞的翻譯研究[J].福建茶葉，2016（10）.