拾乐园 Paradise Found  
#1【三言两语 】   古诗六首英译;Music 谈印象派             Go Back
寒夜时分,忽然来了兴致,于是选了几首尚能大致读懂,又能凑合着译成英文的冬诗,过把玩字的小瘾,只为自娱自乐。借此放松神经兼防老痴。

品味千年前诗人的心境,译时不免生出几许人生感叹,写出来则是多余的了,且瞬间感慨又在瞬间消散无痕。

译完之后,又想配张图。歌川广重的雪景甚合此时的mood。数年前看过一部日本电影《姊妹坡》,惊讶日本文化之细腻精致。

想必当时更在意电影的画面美,现在只恍惚记得雪景很美,情节几乎没印象了。从网上找来看了十来分钟,感叹杏年轻而甜美的笑。


姊妹坡
http://v.youku.com/v_show/id_XOTcyODQxNDQ=.html


Last modified on 12/22/13 02:05
        

#2  冬诗汉译英;歌川广重的画             Go Back

Evening Snow at Kanbara, Edo period (1615–1868), 1834
Ando Hiroshige (Japanese, 1797–1858)
Woodblock print; ink and color on paper; 8 7/8 x 13 3/4 in. (22.5 x 34.9 cm)
The Howard Mansfield Collection, Purchase, Rogers Fund, 1936 (JP2492)


1.
夜雪
白居易

已讶衾枕冷,复见窗户明。
夜深知雪重,时闻折竹声。

Night Snow
By Juyi Bai of Tang Dynasty

Astonished at the chill of my quilt and pillow,
I then see the bright light through the window.
I know in the deep night snow must be heavy,
As the sounds of cracking bamboo come and go.

Tr. Yuntian

2.
冬晚对雪忆胡居士家
王维

寒更传晓箭,清镜览衰颜。
隔牖风惊竹,开门雪满山。
洒空深巷静,积素广庭闲。
借问袁安舍,翛然尚闭关。

Thinking of Buddhist Hu on a Snowy Night
by Wang Wei of Tang Dynasty

In cold night the clepsydra tells the coming dawn,
In the clear mirror my own worn-out face I can sight.
I hear wind startle the bamboos outside the window,
Beyond the door the hills are all covered by snow white.
The falling snow makes the deep alley appear so quiet,
Blanketed in white the vast court in idleness does delight.
May I ask, my friend, in your cottage like Yuan An's,
Behind the closed doors are you still seeking true light?

Tr. Yuntian


3.
《梅花》
王安石

墙角数枝梅,凌寒独自开。
遥知不是雪,为有暗香来。

The Plum Blossoms
by Wang An-shi of Song Dynasty

By the wall corner some plum blossoms
are blooming alone against the cold sky.
From afar I know they are no white snow,
for the delicate fragrance is drifting by.

Tr. Yuntian


4.
逢雪宿芙蓉山
刘长卿

日暮苍山远,天寒白屋贫。
柴门闻犬吠,风雪夜归人。

Lodging in Mount Lotus on a Snowy Day
By Liu Chang-qing of Tang Dynasty

The green hills at sunset appear very far,
In the cold stands a shabby cottage of white.
At the thatched gate a barking dog is heard,
Someone is returning on a snowstormy night.

Tr. Yuntian


5.
和子由渑池怀旧
苏轼

人生到处知何似,应似飞鸿踏雪泥。
泥上偶然留指爪,鸿飞那复计东西。
老僧已死成新塔,坏壁无由见旧题。
往日崎岖还记否,路长人困蹇驴嘶。

To echo Ziyou's Thoughts about MianChi
by Su Shi of Song Dynasty

What shall our wandering life be likened to?
It resembles a goose landing on slushy snow.
Its claw prints occasionally remain in the mud,
But which direction it may fly, it doesn't know.
Upon a senior monk's death a new stupa is built,
Along with crumbled wall away old inscriptions go.
We once trudged far with a braying lame donkey,
Do you still remember the rugged journey of long ago?

Tr. Yuntian


6.
问刘十九
白居易

绿蚁新醅酒,红泥小火炉。
晚来天欲雪, 能饮一杯无?

Asking Liu Nineteen
by Bai Juyi of Tang Dynasty

Atop the newly brewed wine tiny green foams float,
From a small red-clay stove flaring flames shine.
As evening approaches the snow is about to fall,
My friend, may I entreat you for a drink of wine?

Tr. Yuntian


Japanese Music - Snow


Last modified on 01/02/14 21:39
        

#3  Re: 冬诗汉译英;歌川广重的画             Go Back
zt from http://site.douban.com/166461/widget/notes/10108479/note/291837531/

大桥骤雨,歌川广重(日本),1857年,江户时代晚期、浮世绘,木刻版画,约37x25厘米,多个地点

日本风景之中的日常生活,常会唤起诗意,在这方面的表现上,无出歌川广重(1797-1858)之右者。《名所江戸百景》是他众多系列版画中的最后作品,也是他的总结。人们能从其中看到江户(今东京)的地理和四季的全貌。当时的江户也是幕府的首府,广重对这里也最了解。

这幅版画是该系列中的翘楚,描绘夏日的倾盆大雨覆到城市之中。一些倒霉的居民在濑户桥上,用伞、斗笠和蓑衣竭力不让自己淋湿。同时,一名孤独的船夫继续向上游撑去,默默承受瓢泼大雨。

这个系列采取了垂直的创新形式,也让广重在此后的创作中力度产生新效果。大桥和右手边的河岸似乎在画面外的右边融合在一起,雨以黑色和灰色的线条表现,有一些微微倾斜的角度,各条雨线彼此不同,仿佛整个暴雨产生了很大的景深。右上方的红色色块中有系列标题,旁边是版画的标题,左下方有艺术家的签名。

日本的浮世绘对后印象派艺术家有着深远影响,这幅画是其中的典范,为凡·高的油画《雨中的桥》(1887)提供了灵感。




【说明:以上文字内容,部分译自《30,000 Years of Art》,纯属个人爱好,英文版权仍归原作者所有,转载请标明出处。by 郑柯-Bryan】


+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


上图费时,更多歌川广重的作品请看:
http://www.art.com/gallery/id--a51909/ando-hiroshige-posters.htm?ui=9C22E110CD9E4026878878F3F02E5FCC


Hiroshige (wiki):
http://en.wikipedia.org/wiki/Hiroshige

Utagawa Hiroshige (Japanese: 歌川 広重), also Andō Hiroshige (Japanese: 安藤 広重; 1797 – 12 October 1858) was a Japanese ukiyo-e artist, considered the last great master of that tradition.

Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and flowers. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular Thirty-six Views of Mount Fuji series by Hokusai was a strong influnce on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints.

......

Hokusai and Hiroshige: Great Japanese Prints from the James A. Mic




Japonaiserie (Van Gogh):
http://en.wikipedia.org/wiki/Japonaiserie_(Van_Gogh)

Van Gogh, Dreaming of Japan - Hiroshige, the Art of Travel


Last modified on 12/15/13 02:18
        

#5  后印象?             Go Back
"日本的浮世绘对后印象派艺术家有着深远影响,这幅画是其中的典范,为凡·高的油画《雨中的桥》(1887)提供了灵感。"


这是谁说的? 梵高临摹一下就影响“后印象派”了?不太可信。

凡·高临摹那些都是在他刚开始画画的时候,那个时候,他还不是什么后印象。

印象,或后印象的画法 is all about light, has little to do with rain。


云天,

这年头有人胡乱一说,七转八转就把谬误当真理转了。

因此,为了避免错误,我转贴(就像使用名人的语录一样),一般就转比较有reputation的作者或网站。
        

#6  Re: 后印象?             Go Back
Music 你的花衣裳不少哈。

“日本的浮世绘对后印象派艺术家有着深远影响”
---- 我理解,这句话只是说,浮世绘对那些后来成为“后印象派艺术家”的名家们有过影响而已,并非说浮世绘直接造就了后印象派。

“凡·高临摹那些都是在他刚开始画画的时候”--- true.


转转玩玩而已,哪有那么严重呢。 有错你就来纠正么。 多谢哦。

周末好!
        

#7  Re: 后印象?             Go Back
zt: http://site.douban.com/166461/widget/notes/10108479/note/291837531/

【说明:以上文字内容,部分译自《30,000 Years of Art》,纯属个人爱好,英文版权仍归原作者所有,转载请标明出处。by 郑柯-Bryan】

------------------------------------------------------------------------------------------------------

哦,最后一行未转, 补上。 我已在图书馆 reserve 了 30000 Years of Art。 拿到后会特意找这段读下,看看翻译的精准度。 :)
        

#9  Re: 后印象?             Go Back
印象,主要是把细节部分的颜色打散了,使得物体的边缘和背景不再清晰,而变成一个整体,形成一种印象。

后印象代主要代表是塞尚(Paul Cezanne) 后期的作品,主要是一些景物:山,石头,树(还有另一些人,但他们比起塞尚死后的荣誉和影响小了些),恢复了一些边界。后来,塞尚把人脑诠释的影响(tradition,culture)都去掉了,据说是记录了事物本来的面貌。

我的意思是,梵高临摹那些画,不过是很偶然的事情,他还是受印象派影响较深,从色彩上和边界的处理可以看出来。梵高是后印象,高更也是后印象,可是他们和塞尚都不同,但和印象派都有瓜葛。

就算郑柯没翻错,我也不会相信梵高是“日本的浮世绘对后印象派艺术家有着深远影响”这样的话。理解画派和欣赏画,是一个很大题目,我不能说自己很懂,但是我不会只听谁谁怎么说的。就算听谁谁,这个谁谁一定是大师级人物。

但是,

1,你可以看看梵高的作品,主要都是光。印象,后印象,主要是光,比较明亮的色彩。这是重点!

2,我琢磨过塞尚的后印象,再看另一些画家的后印象,感觉到大家不过都是在印象派后面各自加以发挥,着眼不同,侧重点也不同。

3,虽然没有认真琢磨过梵高,但梵高那些后印象的作品和他临摹的日本人的画我看起来不是一个回事儿,我宁愿相信梵高的后印象是从印象的影响而来,而不是从临摹日本画的内容(重点在景色)而来。

4,日本画的写实和会意从中国画而来,基本上还是文化和传统。后印象很有个性和想象力。

5,ai,别听日本人瞎说。

这是我最近对画的认识(刚才随便浏览了一些梵高,没有太多时间),不一定能回答你的问题,更重要的是写出来加强记忆。


Last modified on 12/15/13 17:44
        

#7  后印象?             Go Back


Last modified on 12/15/13 16:33
        

#8  Re: 后印象?             Go Back
后印象都是在印象派的基础上,自己独特的发挥。每个人都开创了自己不同的风格。

我总的印象是:

高更避开难题,另选文化角度。

梵高比较聪明,感应灵敏(他只活了37年,留下一堆作品。要是塞尚那个年龄去世,可能是一事无成)。

塞尚比较认真,实干,他打的是硬仗。他画了一辈子把大家都画,画了几百年的题材,画出自己的风景。因此,他的画目前是拍卖最高价$230迷恋。



高更




塞尚




梵高



Last modified on 12/15/13 17:42
        

#12  Re: 后印象?             Go Back
Music 认真。

所谓印象,我个人理解,就是不是像摄影那样准确地复制人物景色,而是以自己的感官感觉主观地去表现客观。到了超现实主义就更加主观了。

关于郑柯所译的那段,我想不会有什么大差的。我说看看翻译的精准度,玩笑而已。那本书,你发帖前一天我就已reserve 了。

事实上,浮世绘对印象派的影响这个说法,并非引文首创。一般认为当时画家普遍追求三维立体效果,而印象派从浮世绘的二度空间的创作理念受到了启发。

日本浮世繪對印象派的影響
http://bee1955.blogspot.com/2012/06/blog-post_16.html



拿到书了。

from page 883 of 30000 years of art:

Utagawa Hiroshige (1797-1858) stands without equal when it comes to the poetic evocation of daily life amid the Japanese landscape. One Hundred Famous Views of Edo, the last of his many series of woodblock prints, acts as a great summing up, for it offers a geographic and seasonal panorama of Edo (modern Tokyo), the shogun's capital city and the locale that Hiroshige personally knew best.

This print, a highlight of the series, depicts a summer storm unleashing a torrent of rain upon the city. A few unlucky townspeople caught o Ohashi Bridge attempt to stay dry under umbrellas, hats and straw raincoats. A lone raftsman meanwhile continues poling his craft upstream, silently enduring the downpour.

The innovative vertical format of this series led Hiroshige, late in his career, to attempt striking new effects. The bridge and the far (eastern) shore of the river appear to converge somewhere beyond the right edge of the print, and the rain is printed in lines of black and grey set at slightly different angles, as though the storm were viewed through deep distance. The red cartouche at top right contains the series title; the cartouche beside it contains the title of the print; and the cartouche at bottom left contains the artist's signature.

Another example of the deep influence exercised by ukiyo-e prints on Post-impressionist artists ( see also Courtesan, p. 864), this print inspired Vincent van Gogh's oil painting Bridge in the Rain (1887).


Sudden Shower over Ohashi Bridge and Atake by Utagawa Hiroshige



Courtesan by Keisai Eisen


Last modified on 12/23/13 20:48
        

      View All Pictures in Slide Show


相关话题
BBB: 十九世纪早期的意大利美声歌剧(罗西尼,贝利尼,多尼采蒂) 01/14/18
BBB: 西贝柳斯的交响曲和管弦乐 01/05/18
Smithd60: John 01/05/18
reader86: 哎,和谈该读读这篇! 01/01/18
BBB: 王羽佳迈阿密音乐会 12/21/17
BBB: Katy Perry2017巡回演唱会,坦帕音乐会 12/21/17
BBB: 2017年十一月东京音乐会 12/09/17
Smithd721: John 11/19/17
章凝: 千古流芳一大公 10/21/17
BBB: 106 All-Stars: Opening Gala Concert – Jaap van Zweden Conducts Mahler 5 10/10/17
BBB: 马勒第五交响曲 10/08/17
BBB: 梵志登指挥纽约爱乐乐团演奏马勒第五交响曲 10/07/17
namdog: 纽约的川菜馆 09/27/17
章凝: 英雄的终曲 09/08/17
BBB: 佛罗里达的交响乐团和歌剧院 09/03/17
BBB: 今年三月的纽约音乐会和歌剧《费德里奥》《伊多梅纽斯》《茶花女》 09/02/17
thesunlover: 贝多芬的天鹅之歌《第16弦乐四重奏》》(Op.135) 08/17/17
lyz23: Beethoven Symphony No. 9 08/09/17
章凝: 秋虫颂 08/06/17
BBB: 罗斯特罗波维奇:海顿C大调第一大提前协奏曲 07/25/17