全球化视角下博物馆书画展品解说词的英译研究

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　　摘 要 文物是人类文化的珍贵遗产，博物馆是人类历史文化的宝库。從全球化视角下对博物馆书画文物展览解说词翻译进行理论和实践两方面研究具有积极的现实意义，本文拟从天津博物馆书画藏品解说词英译进行理论与实践两方面研究，进而推进博物馆文物展示整体水平。
　　关键词 博物馆书画展品解说词 汉译研究 天津博物馆
　　1项目研究背景
　　博物馆是人类历史灿烂文化的宝库，从1682年诞生以来就一直承担着传承文化、记忆历史的重任。博物馆所承载的历史、文化、民俗等因素是其他国家所不具有甚至是陌生的。中华民族历史悠久，地大物博，而博物馆则则成为维系民族团结统一的精神纽带。现在，中国很多博物馆的文物名称都配有英文翻译，既方便了外国游客参观，同时也成为向他们介绍和传播中国历史文化的重要手段。但由于中英文两种语言在语言体系、文字系统及思维方式等方面存在诸多差异，因此，中国博物馆翻译，就不能以传统的等值翻译作为翻译的标准。
　　博物馆文物翻译工作是文化的组成部分，承担着传播中国文化，介绍外国文化的重任，是中国了解世界和世界了解中国的媒介。随着博物馆的全球化，中外文化交流的增多，社会对博物馆文物翻译的需求也随之增加。由于英文被国际社会普遍用于交流工具的特性，博物馆对外展览和出版物至少应该有英文翻译。
　　2研究途径
　　此研究从国际化语境下对博物馆展品解说词翻译进行理论和实践两方面研究。目前天津市共有20多家各种规模的博物馆，规模比较大的博物馆包括天津博物馆、天津市元明清天妃宫遗址博物馆、天津自然博物馆、天津戏曲博物馆、天津金融博物馆、天津邮政博物馆、天津文庙博物馆、北疆博物馆、石家大院（杨柳青博物馆）等，但是目前已经上线的天津市各类博物馆官方网站上的英语版介绍主页信息均空缺，
　　3实践过程
　　本项目通过馆藏文物解说词的英译进行具体实践。目前已经取得书画部分展品解说词英译的阶段性成果。如：
　　3.1元 边鲁 起居平安图轴
　　Hanging Scroll of Cock Crowing， by Bian Lu in Yuan Dynasty
　　边鲁，字至愚，号鲁生。元代官至南台宣使。至于他的籍贯，从他自己在画上题写的“魏郡边鲁”可看出他是河南人。工书、诗、古文奇字等，擅长水墨花鸟。这幅“起居平安图”也是众多专家公认的传世边鲁唯一的一幅作品，极为珍贵。此为纸本墨笔画，纵118.5cm，横49.6cm，描绘了溪边奇石耸立、一雉鸡俯身向水鸣啼，灌木修竹，溪水流动，生气勃勃。全画构图新颖别致，近景突出主体，远景以空白为水，视野开阔，意境幽雅，富有浓、淡、干、湿变化，层次分明，立体感强，雉鸡刻画精细，用笔工整，造型准确，姿态生动，形神兼备。
　　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.
　　此画最吸引人的地方就是图中雉鸡的画法。雉鸡，就是我们俗称的锦鸡、野鸡，身上羽毛五彩缤纷，非常耀眼。因此在中国传统绘画中，大多数画家在描绘稚鸡的时候都会使用绚丽的色彩，以便突出雉鸡全身那五彩斑斓的羽毛的颜色。但在这幅作品上，边鲁仅用一种墨色就取代了那些丰富的色彩，一旦放弃了颜色，雉鸡身上那色彩斑斓的羽毛，便只能用深浅不同、干湿相宜的墨色来表达，这就是我们常说的“墨出五彩”;而边鲁在用笔的处理上也做了些改变：虽然仍是院体的勾勒渲染，但却先以淡墨打底，再用浓墨勾勒，雉鸡身上那几根尾羽主干，一笔勾出;羽毛边缘的短促小笔既见笔力又不乏轻盈，充分地向我们展示了边鲁那极为深厚的绘画功底。同时我们还能见到描绘山水画所使用的皴法，运用在水墨花鸟画中，也是相当出色的：边鲁在此画中就利用类似牛毛皴的皴法传神地表现出了稚鸡羽毛那种毛茸茸的质感。此外，画中大石的勾勒翻转流畅，充分表现其凹凸起伏以及圆浑坚硬的质感;竹叶则是中规中矩的双钩，用笔爽利飘逸;再加上穿插其间，用淡墨写来温润惬意的枝干，使得画面于朴素中透出盎然生气。中国文人讲究“绚烂之极，归于平淡”，而朴素之极的墨笔画所体现的也正是这种返朴归真，趋于平淡的美，边鲁的这幅画作正是这种平淡美的极致体现。 　　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
　　您现在看到的这幅画卷是清初四僧（原济-石涛、髡残-石溪、八大山人-朱耷、渐江-弘仁）之首朱耷最具代表性的作品《河上花图》。这幅画卷全长1292.5cm，纵47cm。全卷以荷花为主，坂坡小草，溪水潺潺，寥寥几笔便将兰竹点缀其间。卷尾自题诗《河上花歌》37行，文采卓绝，书法极具风范。后记“蕙嵒先生属画此卷。自丁丑五月以至六、七、八月荷叶荷花落成。戏作河上花歌仅二百余字呈正。”款署：“八大山人。”丁丑即1697年，由此可知这幅图为朱耷古稀之年所作。
　　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， there’s 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，号八大山人，江西南昌人，明宁献王朱权后裔，与原济、弘仁、髡残并称为“清初四僧”。1644年，清军入关，明朝灭亡，朱耷从王孙公子沦落为流民逃犯。国破家亡的打击，让他一时难以承受，落发为僧，后又入青云谱为道。他的满腔悲愤无处宣泄，只有寄情于书画，经常以泪和墨。直到59岁，他从赵孟頫所书的《八大人觉经》中获得启迪，才逐渐解脱烦恼，并决定以“八大山人”为号，一直用到80岁去世。从60岁到80岁这20年间，他的心态由早年的失控变得异常平静，人生观也从泪眼看世界，升华到笑对人生，而这种心态的变化也形象地表现在他的落款上，常把“八大”和“山人”竖着连写，59岁到69岁时的落款特征是把“八”字写成“折角形”，“八大山人”四个字笔画相连就像“哭之”;而从70岁到80岁，“八”字写作“两点”，其笔画相连又像“笑之”。“哭之”、“笑之”的落款正是八大山人“破涕为笑”的真实写照。
　　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 Mengfu’s 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（下轉第266页）（上接第230页） 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”.
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