| Pages in topic: < [1 2 3 4] > | 一段关于中国绘画的翻译 Thread poster: avyjiang
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Phil Hand 
China
Local time: 01:28
Chinese to English
| Very much need to get upset | Sep 10, 2011 |
Because this is the discipline to which I've chosen to devote my career.
根本搞不清楚你在想什么。你说你对loftiness有什么什么感觉，这完全是你自己的事情。作为专业翻译，我们应该考虑的问题是，作家是什么意思？读者怎么理解？你个人的感受与此毫无关系。
I find it hard to understand what you're not getting here. The use of the word "loftiness" in this context has nothing - and I repeat, NOTHING - to ... See more Because this is the discipline to which I've chosen to devote my career.
根本搞不清楚你在想什么。你说你对loftiness有什么什么感觉，这完全是你自己的事情。作为专业翻译，我们应该考虑的问题是，作家是什么意思？读者怎么理解？你个人的感受与此毫无关系。
I find it hard to understand what you're not getting here. The use of the word "loftiness" in this context has nothing - and I repeat, NOTHING - to do with the definition of the word "loftiness" in English.
This word is being used as a "stand in" for a classical Chinese word. The word "loftiness" has been selected for a reason - that its meaning is related to the meaning of the classical Chinese word; but the fact remains that this word in this passage is only - and I repeat *ONLY* - a token. It is a token which does not represent the English word loftiness. It represents a classical Chinese word.
In order to translate "loftiness" as used here, we must - I repeat, MUST - forget any ideas we have about the English word loftiness. Because the token "loftiness" as used here does not represent that English word.
To translate "loftiness" as used here, it is necessary to work out what classical Chinese word/concept it is representing. I think I've worked it out, but I could be wrong.
wherestip, if you don't get this, then you're not reading the passage right. Simple as that.
有点受不了这个中英英中翻译水平之低。我知道我这样讲可能会得罪别人，但到了这个地步我已经无所谓了。要做翻译，你的起点应该是：原文看懂了。但是每次上网，每次合作，每次与同行交流，我都要被反驳。他们说，飞儿，你的标准太高了，飞儿，你不能要求别人做到。但我就搞不明白，如果我们翻译无法看懂原文的话，你以为客户找翻译干嘛？虽然一个字一毛跟免费差不了多少，但早晚客户总会意识到，找廉价翻译与上谷歌没有差，毕竟两种都是没有保障的。
话说回来，又不是价格的问题，而是基本的行业素质的问题。看不懂还说你懂，那就是不遵守行业道德规范。我做翻译是因为我热爱翻译。看别人轻轻松松地践踏最基本的翻译规矩，哪能甘心。 ▲ Collapse
| | | | Phil Hand
China
Local time: 01:28
Chinese to English
"... refers to a perfectly balanced emotional distance ..."
"... 即完全平衡的感情距离 ..." In my opinion, it means that there's a perfectly balanced emotional attachment and emotional detachment at the same time.
这个，很可能。那句英文很简略，主要有两种潜在解释：
a (perfectly balanced) (emotional distance) - 因为保持距离，没有情感投入，所以能做到完美的平衡
a perfectly balanced (emotional) dist... See more "... refers to a perfectly balanced emotional distance ..."
"... 即完全平衡的感情距离 ..." In my opinion, it means that there's a perfectly balanced emotional attachment and emotional detachment at the same time.
这个，很可能。那句英文很简略，主要有两种潜在解释：
a (perfectly balanced) (emotional distance) - 因为保持距离，没有情感投入，所以能做到完美的平衡
a perfectly balanced (emotional) distance - 所谓的“情感距离”调节得刚刚好，不近不远
你所提的"emotional attachment and emotional detachment at the same time"体现了第二种解释
我的译文中的“平心视世，不求不急的心态”体现了第一种解释
说实话，读了很多遍，读了上下文，我还不知道哪一种解释是正确的。所以我完全同意你的提法。但是，你提议的译文我觉得是没有人看得懂的。“完全平衡的感情距离”很奇怪，因为平衡一般是个名词，"完全平衡"不太好理解，而且“距离”与distance不一样，emotional distance 直译成感情距离我觉得不太顺畅。
[Edited at 2011-09-10 17:40 GMT] ▲ Collapse
| | | | wherestip
United States
Local time: 12:28
Chinese to English
+ ...
| I'm no expert | Sep 10, 2011 |
Phil Hand wrote:
Because this is the discipline to which I've chosen to devote my career.
根本搞不清楚你在想什么。你说你对loftiness有什么什么感觉，这完全是你自己的事情。作为专业翻译，我们应该考虑的问题是，作家是什么意思？读者怎么理解？你个人的感受与此毫无关系。
I find it hard to understand what you're not getting here. The use of the word "loftiness" in this context has nothing - and I repeat, NOTHING - to do with the definition of the word "loftiness" in English.
This word is being used as a "stand in" for a classical Chinese word. The word "loftiness" has been selected for a reason - that its meaning is related to the meaning of the classical Chinese word; but the fact remains that this word in this passage is only - and I repeat *ONLY* - a token. It is a token which does not represent the English word loftiness. It represents a classical Chinese word.
In order to translate "loftiness" as used here, we must - I repeat, MUST - forget any ideas we have about the English word loftiness. Because the token "loftiness" as used here does not represent that English word.
To translate "loftiness" as used here, it is necessary to work out what classical Chinese word/concept it is representing. I think I've worked it out, but I could be wrong.
wherestip, if you don't get this, then you're not reading the passage right. Simple as that.
有点受不了这个中英英中翻译水平之低。我知道我这样讲可能会得罪别人，但到了这个地步我已经无所谓了。要做翻译，你的起点应该是：原文看懂了。但是每次上网，每次合作，每次与同行交流，我都要被反驳。他们说，飞儿，你的标准太高了，飞儿，你不能要求别人做到。但我就搞不明白，如果我们翻译无法看懂原文的话，你以为客户找翻译干嘛？虽然一个字一毛跟免费差不了多少，但早晚客户总会意识到，找廉价翻译与上谷歌没有差，毕竟两种都是没有保障的。
话说回来，又不是价格的问题，而是基本的行业素质的问题。看不懂还说你懂，那就是不遵守行业道德规范。我做翻译是因为我热爱翻译。看别人轻轻松松地践踏最基本的翻译规矩，哪能甘心。
Phil,
I'm sorry if I was mistaken.
I'm definitely no expert in classical Chinese art forms. So if the word "loftiness" is the fixed jargon for “雅”，then so be it.
However, that was truly my interpretation of the whole paragraph after reading it through. I had absolutely no intention of causing contention. In ancient times, most educated people thought of themselves as being better than others, and took pains to make their self-perceived virtues and moral superiority known. Incidentally, art and poetry were two of the mediums they used to this end. That's the "超然" quality I interpreted "loftiness" to be. Ditto with the Chinese term "境界". In Chinese culture, "境界" is typically not something that everyday folks could easily achieve, whether literarily, artistically, or in real life. The term is typically reserved for a select few. Consequently, this interpretation made the most sense to me in the entire context of the passage. I'm definitely not someone who likes to "望文生义", BTW. So I wasn't just blindly interpreting the word "loftiness" as "超然" or "境界" without giving the entire text proper consideration.
Anyway, please accept my apologies. I'll take your word for it since you are so confident of being correct. I get what you're saying: "loftiness" is a token stand-in English word for "雅". I guess that is because there is no other English word that more accurately expresses this Chinese literary/artistic concept.
Or is there?
As for your words to this effect: "这完全是你自己的事情。作为专业翻译，我们应该考虑的问题是，作家是什么意思？读者怎么理解？你个人的感受与此毫无关系。"
Don't you think this is a bit arrogant? And pardon me for saying this, but I find some of the words you used in your posts quite impolite to some of the previous posters in this thread. But that is just my opinion. Irrelevant again? ... Maybe ... Rest assured though, I'll try not to step on your toes in the future.
[Edited at 2011-09-11 02:38 GMT]
| | | | kenny2006woo (X)
Local time: 01:28
English to Chinese
翻译之难，诸位同仁都非常明白，论坛的许多同仁水平都相当高，但无论是谁，即使中英翻译泰斗杨宪益夫妇和David Hawkes，英中翻译一等一的高手杨必，译文也非无可挑剔，甚至还有错误的地方。人毕竟是人，一是水平所限，二也难免有时疏漏，否则我们就可以省去校对这一程序了。话虽如此，我绝无意为错译开脱。译者应竭力译好每句话。
我想这里的很多同仁对译事都是很尽责的，至于理解有分歧，也应该不是态度的问题。
读完Wheretip的帖子，我认为loftiness一字翻译成“超然”或“境界”比“雅”要好些，因为原文讲loftiness是“a perfectly balanced emotional distance”，也即Wheretip所说的“a perfect balance of emotional attachment and emotional detachment at the same time”。
希望大家多多讨论。:-)
[Edited at 2011-09-10 23:47 GMT]
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Donglai Lou (X)
China
Local time: 01:28
English to Chinese
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经验不足者、一时糊涂者、混水摸鱼者、意见相佐者等等，飞儿兄您的价值如何得以体现呢？水平再高，也要同仁帮衬。无参照的话，也就不存在高与低。更何况，很多人也都是从“低手”阶段一步步走出来的。能做的或许只有做好自己的，善待别人，允许存在成长的时间。
loftiness与雅要搭上边，还是有些牵强的。不过，俺是外行，无知无畏的外行。
| | | | nigerose
China
Local time: 01:28
Chinese to English
+ ...
原文：
The quality called loftiness in literati painting theory refers to a perfectly balanced emotional distance, an art achieved through suggestion and not domination; implication and not explication. The artist reveals himself intuitively, but this self, however eccentric or individualistic, is rarely primal, raw, or messy, but instead is the result of conscious cultivation of character and knowledge. The ability to sail effortlessly through the administration of mundane, if importan... See more 原文：
The quality called loftiness in literati painting theory refers to a perfectly balanced emotional distance, an art achieved through suggestion and not domination; implication and not explication. The artist reveals himself intuitively, but this self, however eccentric or individualistic, is rarely primal, raw, or messy, but instead is the result of conscious cultivation of character and knowledge. The ability to sail effortlessly through the administration of mundane, if important, affairs, showing the world only the cool essence of one's personality, is a fundamental part of the scholar-official's cultivation and survives in the literati aesthetic.
这段话适合做GRE试题了。loftiness的意思即使不参考词典也要参考上下文。
出题：这段话那些关键词语能有助于解释loftiness的含义？
参考答案：The ability to sail effortlessly through the administration of mundane, if important, affairs, showing the world only the cool essence of one's personality
仅供参考！！！
[修改时间: 2011-09-11 10:48 GMT] ▲ Collapse
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昨天与朋友外出中秋聚餐，一夜未上论坛。居然讨论如此。呵~。就一词之争，大家尽可和气探讨。对与错，其实不影响实际做事的，请大家不要太在意才是。切不论我们江湖中人，即便周恩来身边的国翻***也有把邓颖超译为周之lover。看看可口可乐、宝马、奔驰商标，能全部列出它们真实姓名的翻译人员也是不多的，对于用户而言更是如此。
正式翻译的最终版本是经过反复商讨定下，而日常生活中的这些非正式译名，大可不必挂怀，多种译法的探讨至最后定夺的过程其实是轻松、愉快的。少有人因为一名之立而名垂青史，也不会有人因一译不当而威名扫地。文章不是数学题，好的译文远不止一种。我们来自天涯海角，东西南北，以朋友相聚相处于此，实属不易，值得珍惜这么专业、友好的学术氛围。我们都算是作文章的人，天天都在考究翻译用词。无论同意不同意，反对赞成与否，请大家讨论时发贴用词都请婉转一些，好吗？ ：）
| | | | Shaun Yeo
Local time: 01:28
English to Chinese
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ysun
United States
Local time: 12:28
English to Chinese
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wherestip wrote:
我的理解在此是 "超脱"、"境界"、"意境" ...
我在这方面是外行，但翻译水平孰高孰低，多少还是能看出的。你俩都是难得的高手。
| | | | wherestip
United States
Local time: 12:28
Chinese to English
+ ...
多谢各位出面劝解。 I can understand Phil's frustration, but IMO it was probably a little misplaced yesterday.
Shaun 说的实在不敢当，不过非常感谢你。 我文言不行，但也凑合着能看懂，特别是有英文对照的情况下。 你翻得非常好。 别的不多说, "... but this self, however eccentric or individualistic ..." 中的 however 译为 "然纵有", 我认为非常贴切。
英文转换一下理解:
No matter how eccentr... See more 多谢各位出面劝解。 I can understand Phil's frustration, but IMO it was probably a little misplaced yesterday.
Shaun 说的实在不敢当，不过非常感谢你。 我文言不行，但也凑合着能看懂，特别是有英文对照的情况下。 你翻得非常好。 别的不多说, "... but this self, however eccentric or individualistic ..." 中的 however 译为 "然纵有", 我认为非常贴切。
英文转换一下理解:
No matter how eccentric or individualistic this self could be...
To whatever extent or degree eccentric or individualistic this self could be ...
In other words, there's a range of possibilities, including not being so eccentric or individualistic. ▲ Collapse
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讨论但不争论，理性思辨式的辩论也是很有益的，一旦变成争论，最后收效甚微，其实不值得。
| | | | wherestip
United States
Local time: 12:28
Chinese to English
+ ...
Libin PhD wrote:
讨论但不争论，理性思辨式的辩论也是很有益的，一旦变成争论，最后收效甚微，其实不值得。
Dr. Li,
你好！ 好久不见你来论坛。 这几天承蒙 pk 辛劳，把好些论坛老将召回。 很是令人兴奋。
你说得对，讨论问题并不是在一拼高低，反正我是没有这样想、 这样做的。 我个人不喜欢洋洋千言，所以说得不清楚时，不妨问问。我说错了也是不怕别人指出的。 以前论坛里由于意见分歧吵得不可开交也不是没有试过的， 结果往往是搞得不欢而散，大家都躲起来。 ...
[Edited at 2011-09-11 14:44 GMT]
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wherestip wrote: Libin PhD wrote:
讨论但不争论，理性思辨式的辩论也是很有益的，一旦变成争论，最后收效甚微，其实不值得。 Dr. Li, 你好！ 好久不见你来论坛。 这几天承蒙 pk 辛劳，把好些论坛老将召回。 很是令人兴奋。 你说得对，讨论问题并不是在一拼高低，反正我是没有这样想、 这样做的。 我个人不喜欢洋洋千言，所以说得不清楚时，不妨问问。 以前论坛里由于意见分歧吵得不可开交也不是没有试过的， 结果往往是搞得不欢而散，大家都躲起来。 ... [Edited at 2011-09-11 14:38 GMT]
Steve，你说得的很对，我也是深有体会，现在想想真的不值得。
[Edited at 2011-09-11 14:42 GMT]
| | | | | 换个话题，还是绘画，贴一篇以前的译文，请大家修改提高 | Sep 11, 2011 |
这篇是我90年代中期准备转行开始兼职做翻译是帮客户做的，十几年了，看到大家谈绘画，不揣浅陋，贴出来，大家如果愿意花时间修改，相信自己肯定会有很多收获。罗氏三兄弟是罗卫东、罗卫国、罗卫兵。
文中涉及到89年的一些评论，我没有贴出来，以免让Moderator为难，有兴趣的朋友可访�... See more 这篇是我90年代中期准备转行开始兼职做翻译是帮客户做的，十几年了，看到大家谈绘画，不揣浅陋，贴出来，大家如果愿意花时间修改，相信自己肯定会有很多收获。罗氏三兄弟是罗卫东、罗卫国、罗卫兵。
文中涉及到89年的一些评论，我没有贴出来，以免让Moderator为难，有兴趣的朋友可访问下面的连接看全文：
http://www.asiana.com/samples/Human3_enu.pdf
http://www.asiana.com/samples/Human3_chs.pdf
High Art, Luo Art
罗氏绘画、高低艺术
When first confronted with one of the Luo Brothers’ trademark compositions—apple-cheeked toddlers floating above a field of saturated red, yellow, and pink rays emanating from the Gate of Heavenly Peace—Union College students with no special knowledge of the artists unerringly homed in on the recognizably American consumer goods cradled in the arms of babes. The familiar icons of the hamburger and Coca-Cola shaped their interpretation of the work as commentary on China’s reaction to the West, as “the imposition of capitalist consumerism on Asians,” as “a critique on Western consumption,” with the Chinese “unknowing babies…preyed on by money-hungry American corporations.”1 Perhaps in the wake of September 11th Americans have become far more sensitized to perceptions of the United States abroad, and so the students here have construed these as emblems of global hegemony. But these emblems constitute only one element of the Luo Brothers’ carnivalesque fantasies, where distortions of scale, extravagant color, and absurd juxtapositions of iconography clash in both celebration and mourning of an anarchic utopia. Their paintings could not convey more vividly the dizzying dislocation and anomie afflicting Chinese society today.
当第一次看到罗氏兄弟的商标作品的一幅画——苹果脸的幼童浮动在一片从天安门中射出的深红色、黄色和粉红色的射线时——以前没见过罗氏兄弟作品的联合大学学生都会立即注意到这些幼童怀中所抱的很容易辨认的美国消费品。汉堡包和可口可乐的熟悉图符使他们将该作品解释为中国对西方反应的评论，即“将资本主义的消费观强加给亚洲人”以及“对西方消费的批评”，“毫无察觉的中国幼童……被一心想赚钱的美国公司所掠夺。”1也许911之后，美国人对外国人对美国的感受比以前敏感多了，因此这里的学生把这些理解为全球霸权的象征。但是，这些象征仅构成罗氏兄弟欢乐狂想的一个因素，这里，尺度的扭曲、颜色的夸张以及图像并置的荒唐相互冲突，是对无政府的乌托邦之庆祝和哀悼。他们的画作最生动地表现了影响当今中国社会的一些令人眼花缭乱的位错和混乱。
Like American Pop Art, Political Pop in China promised instant accessibility and sensory gratification in the manner of commercial art, marked by bold outlines, collage effects, bright colors, and pithy slogans. The inclusion of recognizably Chinese iconography drawn from revolutionary propaganda and other forms of Communist visual culture lent a sharp ironic twist to an increasingly vague political commentary. However, in terms of artistic practice, it offered little intellectual or technical challenge to either the maker or the viewer. In a relatively short span of time, Political Pop came to be seen as repetitive, cannibalizing, and, in the end, selfserving, especially given its success overseas.
如同美国的波普艺术一样，中国的政治波普以商业艺术的方式提供瞬时可及性和感官满足性，其特点是轮廓粗犷、拼贴效应、色彩明快、口号简练。加入取自革命宣传的中国插图以及其他形式的共产主义视觉文化为越来越模糊的政治评论添加了犀利、富于讽刺意味的手法。但是，从艺术实践方面来看，这对于作者和观众，无论从智慧上或技巧上都不能构成多少挑战。在相对较短的时期内，政治波普就被认为是一种重复、残忍的表现形式，到头来还被看作是一种自私的表现形式，尤其是考虑到其在海外获得的成功。
This alternate trajectory was dubbed “Gaudy Art,” translated from the Chinese phrase yansu — yan meaning “garish or brightly colored” and su meaning “common, base, or vulgar.”9 Whereas its Pop Art antecedents played with combinations of high art and low, i.e., popular media, Gaudy Art altogether dispensed with high art and its pretensions of tradition, connoisseurship, and taste. Critic Liao Wen has called Gaudy Art the “Romance of the New” and the “New Ugliness”:
这一不同的路径被称为“艳俗”艺术，艳表示艳丽或颜色鲜艳夺目，俗则表示平常、粗俗或俗气。9尽管先前的波普艺术结合了高低艺术，如大众化的媒体，艳俗艺术则完全抛弃了高尚艺术及传统、鉴赏和趣味上的矫饰做作。批评家廖雯曾称艳俗艺术为“新文化的浪漫”和“新的审美趣味”：
Magnificent kitsch appears everywhere in contemporary China: multi-storied concrete “mansions” built over the rubble of seventeenth-century dwellings; flanking every doorway, stone lions and gilt dragons, the bigger the better; and yards of Christmas lights strung in front of businesses all year round. The architects of China’s phenomenal drive towards economic modernization somehow left out a coherent “modern” Chinese art in the planning process.
当代中国到处可见华丽的艳俗：建筑在17世纪房屋废墟上的多层水泥“大厦”；大门两旁的石狮和金龙，而且越大越好；一年到头挂在公司门前的长长圣诞灯。中国经济现代化的高速发展在建筑计划过程也留下了一个相关的“现代”中国艺术。
In fact, the party line regarding the arts has changed little since Mao’s 1942 Yan’an Forum Talks on Art and Literature. Art had to mobilize the masses, to reflect the struggle of the masses, and to adopt techniques and styles familiar to the masses. Poetry, calligraphy, and painting, the triumvirate of traditional elite arts, were either repudiated or transmuted into a vernacular for the masses. In other words, low art—Soviet-style socialist realism, primitivist peasant paintings, and colorful woodblock-printed calendars—became official art. In their Welcome the World Famous Brand series, the Luo Brothers have gleefully fetishized all these forms of the low, throwing in for good measure the logos of global corporate culture as the official art of a rapidly modernizing China.
实际上，艺术方面党的路线从1942年延安文艺座谈会以来很少有变化。艺术必须能够调动群众、反映群众的斗争并采用群众喜闻乐见的技巧和风格。诗歌、书法和绘画，传统高雅艺术的三个主要分支，则受到摒弃或被转变为大众能够接受的通俗形式。换句话说，低级艺术——苏联风格的社会现实主义艺术、原始的农民绘画以及木版印刷的日历——变成了官方的艺术。在他们的《欢迎世界名牌》系列，罗氏兄弟愉快地迷恋所有这些低级艺术，并加入全球公司文化的徽标，使之成为迅速现代化的中国官方艺术。
The Luo Brothers have also chosen a medium, lacquer, associated with the applied and decorative arts (as opposed to painting, sculpture, or printmaking grouped under “fine arts”). The impenetrable gloss of lacquer perfects the relentlessly cheerful and euphorically consumerist subject matter. In addition, the prevailing “red, shiny, and bright” palette, once a national style designed to energize the masses, becomes the fitting focal point for China’s new “get-rich-quick” values.11 Like other Gaudy Art practitioners, the Luo Brothers wield technical mastery over a material that accords with the fundamentally cheap, tacky, machine-made quality required of kitsch.12 It is this very obsessive attention to detail and craftsmanship, at odds with the banality of the objects depicted, that distance Gaudy Art from the snap wit of early Political Pop.
罗氏兄弟还选择了一个媒体，漆画，漆画属于应用和装饰艺术（与“美术”类别下的绘画、雕塑或版画相对）。漆画无法穿透的光泽使无穷的欢乐和令人欣快的消费主题达致完美。此外，设计用来激发大众的、曾经流行全国的“红火与花哨”的调色板成了中国新的“暴发”价值观的一个适当的着重点。11和其他艳俗艺术家一样，罗氏兄弟娴熟地利用技术手段处理那些艳俗艺术所要求的便宜、俗气、机器制造质量的材料。12他们的艺术非常着迷地注重细节和技能，与所描绘物体的平凡性不相一致，使得艳俗艺术和早期政治波普一蹴而就的机智有所不同。
By transporting their repertoire to paper, the Luo Brothers might be construed as having abandoned the hard-edged precision and escalation of irony provided by lacquer. Although the motifs are familiar—Cultural Revolution propaganda, Coca-Cola cans, and pigs and babies signifying wealth and prosperity—the overall effect diverges sharply from the lacquer-coated collages. These compositions of aqueous paint on paper resemble, and thus parody, the hanging scroll format associated with elite art production. Red-inked seal impressions, a convention of this Chinese literati painting, are sprinkled throughout, often placed unconventionally in the center of the picture plane. Icons have been magnified exponentially and arrayed more prominently and symmetrically on the longer central vertical axis.
由于将他们的画作移植到纸上，人们也许会认为罗氏兄弟放弃了漆画所提供的硬边精确性和讽刺升级。虽然主题都是所熟悉的——文化革命宣传、可口可乐罐、象征财富和繁荣的猪和幼儿——但整体效果与漆画拼贴大相庭径。这些水彩作品类似于并模仿高雅艺术制作中的卷轴画格式。作为中国绘画艺术的一个传统，红色的印章在作品中随处可见，它们通常不遵守传统的位置，而是盖在绘画平面的中央。图符则被大大地放大了，并被显目地对称安排在纵向中轴上。
The more absorbent paper demands a controlled application of ink, in much the same way an experienced brush-and-ink painter would judiciously stroke the surface to form a bamboo leaf or a flower petal in the “boneless” style. Here, however, this delicate technique, applied repetitively, bludgeons the viewer with overtones of distortion and decay. The softer, more impressionistic treatment imparts a romantic gauziness to the icons, while deliberate splotching and evenly wavering outlines project a languid energy. Coupled with the persistently intense coloration, this new presentation conjures up a disorienting but still achingly gorgeous acid trip, or, alternately, the ironic premeditated repackaging of psychedelia in the promotion of consumer products.
吸收性更强的纸张则要求对用墨精确控制，就像一位有经验的笔墨画家在画竹叶或花瓣时细致入微的柔和运笔风格一样。但是，这一精细的技术在这里被反复采用，向观众突显了扭曲和脱变的色调。更柔和、更接近印象派的处理方法对这些图符赋予一种浪漫的缥缈，同时，故意添加的斑点以及均匀摇摆的轮廓则投射出一种无精打采的氛围。与强烈的色彩相结合，这一新的展示法使人联想到一种令人迷惑而又痛苦的迷幻经历，或者也可以说，为推销消费产品而预谋设计的对迷幻药具有讽刺意义的再包装。
As for those searching earnestly for commentary on contemporary Chinese culture in these works, it would be as easy as hunting for the soul of America in a velvet Elvis painting. With these new pieces, the Luo Brothers continue to turn the concept of "fine art" on its head. Although mounted elegantly in silk brocade and protected by Plexiglas in an art gallery, each rough-edged and sometimes ripped sheet of paper resembles nothing so much as an old poster left tacked to a wall, mottled and stained. This is not a precious handscroll to be rolled up and High Art, Luo Art Page 4 of 4 treasured. On the contrary, the principles of kitsch demand its constant display, if only to mock our own tastelessness.
对于那些认真地想在这些作品中搜寻当代中国文化评论的观众来说，这就像在一个丝绒埃尔维斯绘画中寻找美国灵魂一样容易。随着这些新作品的推出，罗氏兄弟继续不断地玩赏“美术”的概念。尽管优雅地用真丝花缎装裱并在画廊中以树脂玻璃保护，每幅毛边以及有时候撕裂的画作倒是更像钉在墙上的带有斑杂污点的旧招贴。这不是贵重的手轴，需要卷起来珍藏的。相反，艳俗艺术的原理要求将之始终展出，即便仅仅是为了嘲讽我们缺少鉴赏力的话。
[Edited at 2011-09-11 18:29 GMT] ▲ Collapse
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