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。從國際化語境下對博物館文物展覽解說詞翻譯進(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藏品解說詞英譯進(jìn)行理論與實(shí)踐兩方面研究，進(jìn)而推進(jìn)全市博物館文物展示整體水平。

關(guān)鍵詞 博物館展品解說詞 翻譯研究 天津博物館

中圖分類號：H315.9 文獻(xiàn)標(biāo)識碼：A

1項(xiàng)目研究背景

博物館是人類歷史燦爛文化的寶庫，從1682年誕生以來就一直承擔(dān)著傳承文化、記憶歷史的重任。為了更好地向世界介紹中國的悠久歷史文化，讓全世界更好地了解中國，中國的博物館文物展品解說詞英譯是必不可少的歷史需求，在跨文化傳播中發(fā)揮著愈來愈重要的作用。為滿足這一需求，我國很多博物館都對展品使用英漢兩種文本加以介紹，一些英文版的博物館相關(guān)書籍也得以出版發(fā)行。

現(xiàn)在，中國很多博物館的文物名稱都配有英文翻譯，既方便了外國游客參觀，同時也成為向他們介紹和傳播中國歷史文化的重要手段。但由于中英文兩種語言在語言體系、文字系統(tǒng)及思維方式等方面存在諸多差異，因此，中國博物館翻譯，不能僅僅以傳統(tǒng)的等值翻譯作為翻譯的標(biāo)準(zhǔn)?！拔奈锩Q的作用是向讀者傳達(dá)信息，是一種將文化信息公示給讀者的文本，因此，就文本作用來看，它類似于街道名稱或公共標(biāo)識等公示語?！痹诠菊Z功能特色和語言風(fēng)格的基礎(chǔ)上，劉法公根據(jù)文本類型提出“公示語翻譯應(yīng)該遵循統(tǒng)一、簡潔和易懂性三原則。”

2研究途徑

此研究從國際化語境下對博物館展品解說詞翻譯進(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)站上的英語版介紹主頁信息均空缺，通過此項(xiàng)研究的開展對于天津市各類博物館對外宣傳交流的文化傳播能力提升會起到積極促進(jìn)作用。計劃對天津市各類博物館所展覽的文物英文翻譯進(jìn)行分析和研究，通過實(shí)地走訪和考察對目前文物展覽解說詞英文翻譯進(jìn)行分析、評估和修改。在翻譯過程中主要借鑒功能翻譯主義理論對博物館文物英文介紹進(jìn)行研究和分析。

3實(shí)踐過程

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

3.1明 仇英 桃源仙境圖軸

Hanging Scroll of Fairyland of Peach-Blossom Spring， by Qiu Ying in Ming Dynasty？

一提到“桃源仙境”，大家一定會聯(lián)想到東晉隱士陶淵明所寫的《桃花源記》，它描繪了人們理想中的隱居圣地，而仇英的這幅《桃源仙境圖》描繪的也正是文人雅士心目中的隱居之地。仇英是明代非常具有代表性的畫家之一，他家境貧寒，出身工匠，因擅長畫畫結(jié)識了當(dāng)時許多的文人雅士，并與沈周、文征明和唐伯虎被后世并稱為“明四家”，也稱“吳門四家”。他曾拜在唐伯虎的老師周臣門下學(xué)畫。仇英早、中期是以臨摹為主，到了晚年將大青綠山水畫推向了一個新的高峰，這幅《桃源仙境圖》就為重彩大青綠山水，圖中山石矗立，虬松盤繞，圖的下方有三位隱士臨流而坐，一人乘興撫琴，橋下溪水清澈，坡上桃樹林掩映于山石、樹木之間。白色的文人衣著在金碧輝煌的山石、林木映襯下，顯得格外鮮明。圖中的山峰畫法以石青為主，石綠輔之，展現(xiàn)出遠(yuǎn)離世俗、虛幻飄渺的人間仙境，構(gòu)圖取北宋全景式大山大水的布局特征，視野開闊清曠，境界宏大，疏密比對強(qiáng)烈。所繪山水氣象萬千，人物生動傳神，它與仇英的另一幅傳世名作《玉洞仙源圖》被合稱為“雙美圖”，是仇英被公認(rèn)的晚年傳世兩幅最好的作品。《玉洞仙源圖》現(xiàn)藏于北京故宮博物院，而這幅《桃源仙境圖》右下屬款“仇英實(shí)父制”，鈐“仇英實(shí)父”一印。畫上另有“乾隆御覽之寶”、“石渠寶笈”兩方清內(nèi)府藏印，并有“靈石楊氏珍藏”、“楊曾之印”、“燕翼堂”、“潁川懷云子圖畫”等鑒藏印，（這幅畫的上款“懷云”為明代蘇州的大地主陳觀），標(biāo)明這幅圖卷流傳有序，曾被明代陳懷云和清代安岐鑒藏，并曾入藏清乾隆內(nèi)府，后被清代工部侍郎張翼收藏，而后由張翼的兒子張叔誠先生在1981年捐贈給國家。

Speaking of the “Fairyland of Peach-Blossom Spring”， people would think of the well-known essay “Peach-Blossom Spring” written by the eremite TAO Yuanming of the Eastern Jin Dynasty （317-420）. It depicts the Holy Land for living in seclusion， which is exactly the literati and refined scholars pursue in this painting. QIU Ying is one of the most representative painters of Ming Dynasty since he came from a poverty-stricken family， used to be a craftsman and got acquainted with lots of literati and refined scholars thanks to his talents in painting. He together with SHEN Zhou， WEN Zhengming and TANG Bohu is known as “the four masters of Ming Dynasty” which is also referred as “the four masters of Wu School”. He once learned from TANG Bohus teacher-ZHOU Chen. He concentrated on coping in his early and middle course and pushed the dark green landscape painting to a new height in his later years. This artwork is such heavy-colour dark green painting of landscape. The mountain stones stand upright； the pine trees twine like dragons； at the bottom are three eremites sitting beside the stream， one of whom is playing the zither while he is in high spirit； there is a bridge not far from them， below which the stream is clear； on the slope， the peach-blossom trees nestle among the mountain stones and pines trees. The splendid and magnificent mountain stones and trees throw the white-clothing literati into bright scene. The color applying of this painting takes the mineral blue as the principal color， supplemented by the mineral green. By doing so， the scene of imaginary and ethereal fairyland on earth where one can live far away from the secular world is presented. The composition features the panoramic view of huge mountain and vast waters of styles of Northern Song Dynasty with extensive view， grand state and sharp contrast of sparsity and density， which makes the landscape majestic and grand and the figures vivid. This painting together with his another artwork （“Fairyland in the Jade Cave”） is collectively named “Pairs of Beautiful Paintings”， which is generally acknowledged as the best artworks handed down of his later years. “Fairyland in the Jade Cave” is now collected in the Palace Museum in Beijing. On the right bottom there is the inscription of “made by QIU Ying with style name SHI Fu” and the seal of “QIU Ying with style name SHI Fu”. In addition， there are two official collection seals of imperial storehouse of Qing Dynasty-one is “oval relief” and the other is “Shiqu Baoji”. Besides， there are connoisseurship and collection seals of “collected by YANG in Lingshi County”， “Seal of Yang Zengzhi”， “Swallow Wings Hall” and Huai Yunzi （who is the squire in Ming Dynasty） in Ying Chuan”and so on， indicating this painting has been well handed down and successively collected by CHEN Huaiyun in Ming Dynasty， imperial storehouse of Qing Dynasty， and later the assistant minister of Ministry of Works in feudal China， ZHANG Yi. His son， ZHANG Shucheng donated it to our country in 1981.endprint

3.2清散秩大臣喀喇巴圖魯阿玉錫像軸

Hanging Scroll of the Portrait of Minister of Imperial Guard， Kharatsin Baturu Ayuxi in Qing Dynasty

（Manchu： baturu） is a title from the Qing Dynasty for commanders and soldiers who fight bravely in a battlefield. In Manchu， baturu means warrior or brave.

這幅圖所繪的是散秩大臣喀喇巴圖魯阿玉錫的畫像，這是一幅立軸像，縱185.3cm，橫94.7cm。在這幅畫的上方有乾隆皇帝的親筆題贊，“格登山賊據(jù)險守，率24人間道襲后，諸賊大潰，爰以成功”，漢文、滿文和御璽。而乾隆皇帝所寫的內(nèi)容是說阿玉錫率領(lǐng)了24名騎兵，乘夜幕直搗敵營，取得大勝，為平定達(dá)瓦齊叛亂立下了不朽的功勛。功臣像是由皇家畫院的畫師繪制，繪制之前宮廷畫家先要畫出草圖，在乾隆皇帝御覽批準(zhǔn)之后才能正式繪制。每幅畫像都畫得惟妙惟肖，栩栩如生?？赡屑?xì)看一下畫面，您會發(fā)現(xiàn)這幅畫像上人物莊重威嚴(yán)，五官顯得格外立體，表情細(xì)膩，使整個人物更加生動真實(shí)，這是因?yàn)楫?dāng)時西洋畫師帶來的西洋畫法在清朝非常盛行，筆法非常的細(xì)致。您看到的這身鎧甲，又叫“鎖子甲”，是一種軟鎧甲，鎧甲上是環(huán)環(huán)相扣的，非常精細(xì)，鎧甲里的花紋也是清晰可見的，裙擺上的花紋像是繡上去的一樣。

This painting is the portrait of Minister of Imperial Guard， Kharatsin Baturu Ayuxi in Qing Dynasty. It is a hanging scroll with the height of 185.3cm and the width of 94.7. On the top is the inscription by Emperor Qianlong of his own handwriting in both Chinese and Mongolian and the Great Seal. To put briefly， the meaning of the scripts is that Ayuxi commanded 24 cavalrymen to directly attack the enemy camp when the night fell and won a landslide victory， making a great triumphant in putting down the rebellion of minority group Davatchi. Portraits of persons who have rendered outstanding service to Qing Dynasty were draw by the painters of royal art academy. They should make a draft first and have it checked by the emperor Qianlong. Only if they got the approval can they start to formally compose it. You can see every painting is lifelike and vivid. If you observe it carefully， you can see that the figure is solemn and dignified and the features appear to be three-dimensional with delicate expression， which makes the figure lifelike. That is the result of the popularity of western painting skills in Qing Dynasty brought in by the western painters whose techniques of painting are meticulous. The armor on the person is also called chain-armor or mail. It is of soft quality and the parts are all lined with one another with exquisite composition. The decorative design is clearly visible and the patterns on the pepla are seemed to be embroidered.

參考文獻(xiàn)

[1] 王娟萍.全球化語境下中國博物館翻譯策略研究——以中國絲綢博物館為例[J].湖北函授大學(xué)學(xué)報，2012（04）.

[2] 酈青，胡雪英.博物館文物展品英譯研究——以浙江省博物館為例[J].中國科技翻譯，2011（03）.

[3] 王建榮，郭海云，孫倩.文化預(yù)設(shè)視角下的文物英譯策略研究[J].東岳論叢，2010（06）.

[4] 建榮，郭海云.文化軟實(shí)力視閾下文物文化對外傳播策略分析——以博物館語境為例[J].北京交通大學(xué)學(xué)報（社會科學(xué)版），2010（02）.endprint