全球化视角下博物馆书画展品解说词的英译研究.doc

全球化视角下博物馆书画展品解说词的英译研究
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ighlighting 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 dep