Artfully Salacious 七情六欲都入画

January 14, 2019 2019年1月14日
Lady Chatterley's Lover

When I asked Taiwanese illustrator Phoebe Chen why so much of her art is about sex, she paused and thought for a moment, then shrugged. “Sometimes you just can’t explain why you’re drawn to something.”

The women in Chen’s drawings have all kinds of appearances and personalities: some are flirtatious, others are headstrong. Some are restless, while others give themselves over to pleasure. Yet they all accept themselves—and they especially embrace the feelings and desires that are often left unspoken.


当我问到台湾插画家 Phoebe Chen,为何选择将“性”作为自己的创作主题时,她思索了一会儿,回答“有时候你就是没办法说明自己为什么会受某些事物吸引。”

她笔下的女孩有千百种样貌和个性,挑逗、任性、不安、或是尽情享受欢愉,无论如何,她们都接受最真实的自己,尤其是关于内心那些通常不被说出口的小情绪和七情六欲。

Predator & Prey Philosophy
Dirty Talk

“As a woman, and as an artist whose work is about desire, sometimes I get people looking at my art and thinking I’m ‘easy’ or ‘loose,'” says Chen. “It’s frustrating. A lot of people in our society still think that any woman who’s in control of her sexuality is a slut.”

On paper she lets her desire run free and unbridled. These sexually suggestive—not to say explicit—illustrations are an outlet for Chen’s imagination, a way for her to strike back at society. After all, it’s a society that enforces silence around sex and desire.

“The women in my drawings are rebellious-looking, like they don’t care what others think, but that’s actually the opposite of what I’m like,” she says. “I think that in today’s society, there’s hardly anyone who hasn’t wanted to escape from their own life at some point. Luckily I can draw, and through my art I can fully express the things I love and the way I want to be. Maybe I just like naked bodies and the aesthetics of desire. What’s wrong with that?”


“身为一个女性,又是以情欲为主题的创作者,偶尔会有人只看过我的作品,就会把我和‘随便’、‘一定很骚’等印象连结在一起。这让我很挫折,社会上似乎还是有不少人把拥有自主情欲的女性和淫乱划上等号。”

她任由欲望在纸上世界悠游,放肆嬉戏,这些带点性暗示的插画,只是 Phoebe 想像力的一个出口,同时也是一种回击社会的方法,毕竟这个社会对于性和欲的讨论,总是维系着一种“保持缄默”的微妙约定。“虽然我画里的女性看来叛逆,总是一副不在乎别人看法、事不关己的样子,但这样的角色个性与我个人正好完全相反。我认为在现今的社会里,没有人不曾想过逃离自己。我很幸运地拥有绘画的能力,能通过创作充分表达我喜爱的事物和我想成为的模样。也许我就是喜欢裸体,和这些关于情欲的美学,这又有什么不好吗?”

Her Guilty Little Hobby
"WHAT?"
Salty Fantasy
Frosting
Territory
Candle
Pussy Cats
Honey Bee After Work
Noodles
Buffalo Wings
Salsa
Ice Cream

Website: www.phoebechenartist.com
Instagram: @phoebe_chen_artist 

 

Contributor: Yang Yixuan
English Translation: Allen Young


网站www.phoebechenartist.com
Instagram: @phoebe_chen_artist 

 

供稿人: Yang Yixuan
中译英: Allen Young

Wasabia Japonica 你知道芥末和山葵的区别吗?

January 11, 2019 2019年1月11日
Wasabi in its natural state / 野生山葵

This story is part of a content partnership and media exchange between Neocha and MAEKAN. To see more of MAEKAN’s content on Neocha, click here.

Around 90 minutes outside of the Tokyo metropolis, nestled deep within the mountains near Kawai, Okutama, are the wasabi plantations cared for by David Hulme. Hulme, an Australian who now permanently resides in Japan, is an avid mountaineer who discovered abandoned wasabi fields while hiking in the area. His curiosity led him to conduct further research into the culture of wasabi, and he was eventually drawn to the local forest, which was once home to a prominent sugi (Japanese cedar) and hinoki (Japanese cypress) timber industry. The timber industry intentionally introduced the non-native sugi and hinoki for their wood, but this spelled ecological disaster for local species, which were decimated in making way for them.


本篇文章来自新茶媒体合作伙伴 MAEKAN 的内容交换。在 Neocha 上阅读更多 MAEKAN 的文章,请 点击此处

离东京都约 90 分钟车程,在奥多摩町附近的深山之中,盘踞着 David Hulme 悉心照料的山葵种植园。定居日本 David 其实是澳大利亚人,他是一个狂热登山爱好者,在附近地区的一次徒步旅行时,David 发现这处荒废的山葵田。好奇心促使他进一步研究起了山葵植物文化,并且为当地林区而吸引常驻——这片森林曾是日本雪松和日本柏木的伐木场。虽然非本地物种的柳杉和丝柏才是伐木对象,但这依然是场生态灾难,当地的物种在为其他树木开路让位的过程中,也遭到了破坏。

Forest in Okutama / 奥多摩町的森林
Wasabi plantation / 山葵种植地
Protective fences around the wasabi plants / 山葵植株旁的保护栅栏

Wasabi (Wasabia Japonica) is a plant in the same family as horseradish and mustard. Real wasabi grows naturally along freshwater streams in Japanese mountain valleys and is rarely found outside of Japan. Notorious for needing very specific growing conditions—a constant stream of fresh water, indirect sunlight only, cool air temperatures (8°C – 20°C), and high humidity in the summer—it’s not exaggerating to say that wasabi is a plant that needs pampering.


山葵(又叫山嵛菜)是一种与辣根和芥末同科的植物。山葵自然生长在日本山谷的淡水溪流中,很少生长在日本以外的地方。它以需要非常特殊的生长条件而著称——持续不断的泉水、间接照射的太阳光、较为阴凉的气温(8°C– 20°C)和夏季的高湿度环境。山葵是一种需要呵护的植物,这毫不夸张。

Wasabi takes close to two years to reach maturity. The slow growth and restrictive requirements means that the supply of wasabi almost never satisfies commercial demand. In addition, the distribution system keeps consumer costs high and producer returns very low, with middlemen taking all the profit. Purchased directly from the grower, a 50-gram wasabi stem should cost around ¥500. But at high-end restaurants, a 50-gram wasabi stem costs up to ¥1000.


山葵需要经过近两年生长期才能完全成熟。它们的成长速度和所需的生长环境意味着它在市场上完全供不应求。除此之外,产业链上还存在着一种分配制度,它让消费者需要花费很高的价格,但生产种植者的回报却很低,中间商则从中获取所有的利润。比如,从种植者直接面向消费者的山葵干价格,应为 50g/500 日元。但是在特殊的餐馆和高档餐馆,50g 的价格可能高达 1000 日元。

Natural irrigation / 自然的浇灌
Forest road in Okutama / 奥多摩町的森林小径

Because of its prohibitive cost, the “wasabi” typically encountered outside of Japan is a substitute mixture of mustard, horseradish, traces of powdered wasabi, and green food coloring, a combination commonly referred to as seiyo wasabi (Western wasabi). The recipe leads to that signature fiery feeling in the nose that is almost sinus-clearing. True wasabi is aromatic with a gentle heat and is widely believed to have anti-microbial and anti-inflammatory effects.


由于价格高得令人望而却步,在日本以外的国家,人们常见的蘸料是芥末、辣根、山葵粉和食用色素的替代品——这种组合通常被称为芥末(西芥末)。这个配方意味着,它会让你的鼻腔充满辛辣感,提神醒脑。但真正的山葵酱是芳香的,性温热,具有抗菌和消炎作用。

Fresh wasabi leaves / 新鲜的山葵叶
Washing the wasabi / 清洗山葵叶

Hulme now leads tours for those curious to learn about the cultivation of the prized plant. He hopes that through his wasabi growing efforts, he can bring awareness of the local area to help his true cause—repairing the forest and reversing the damage caused by the collapse of the timber industry, which left the forest in a sorry state, covered with sugi, hinoki, and other species that have crowded out the native trees and bushes.


现在,David 会带领游客去了解这种珍贵植物的栽培和价值所在。他希望通过他的山葵种植,可以提高当地人民的意识,以帮助他修复森林的大业,来扭转木材业崩溃所造成的破坏。因为木材业的崩溃,森林变得杂乱无章,非本地物种蔓延,比如刚才提到的柳杉和丝柏,这些物种造成了环境和经济上的破坏。

Making wasabi paste with an oroshigane grater / 用研磨板制作山葵酱

Hulme’s vision is to create a new, modern forestry industry based on native timbers. In caring for his wasabi plantations and teaching anyone eager to learn about the well-known condiment, he encourages a deeper understanding of nature and Japanese culinary culture. And along the way, he’s saving a forest.


David 的愿景是创建一个源于当地物种的现代林业。在他照料山葵种植园、给那些渴望了解山葵酱的人以讲解的过程中,他鼓励大家加深对自然和日本烹饪文化的了解,并以此,拯救整片森林。

Media Partner: MAEKAN

Contributor & Photographer: Ross Adrian Yip
Chinese Translation: Chen Yuan


媒体合作伙伴: MAEKAN

供稿人与摄影师: Ross Adrian Yip
英译中: Chen Yuan

Future Fashion 2089 年,我们应该穿什么?

January 9, 2019 2019年1月9日

Sci-fi is about more than dreaming up fictional worlds—it’s about creating a visual universe, a futuristic aesthetic for everything from sunglasses to satchels. And in an era of video-game marathons and binge-watching sessions, elements of these sci-fi-inspired styles are bound to bleed into the real world. Fashion inspired by the genre might even, like the best speculative fiction, offer subtle commentary on our technology-saturated society.

These are the roots of Guerrilla Group, a Taiwanese brand that draws inspiration from classic sci-fi games and films like Metal Gear Solid, Alien, and Akira, and then translates it into apparel for everyday use. Although some of the pieces might look more suitable for future-themed fashion editorials, most are functional for the street.   


所谓科幻世界,不仅仅是在杜撰一些虚无的幻想。它是在创造一个视觉化的世界观,一个涵盖所有——从你脸上的太阳眼镜到肩上的背包——的未来主义美学。在这一个充斥电玩游戏和追剧马拉松的时代,荧幕上的科幻元素必然会渗入现实世界。而受到此种风格启发的时尚,甚至可以说是科幻美学在现实中最理想的诠释,为科技无所不在的现代社会,提供了它细致又敏锐的见解。

这些都是吉丰重工(Guerrilla Group)的根源。这个来自台湾的时尚品牌从经典的科幻电影和电玩游戏如《合金装备》(Metal Gear Solid)、《异形》(Alien)、《阿基拉》(Akira)中汲取灵感,再转化成日常服饰。虽然部分作品看起来比较像是未来风格的装扮,但大多都是适用于现代的机能性街头穿着。

The brainchild of Andrew Chen and Anthony Bui, Guerrilla Group creates everything from detailed jackets and layered pants to form-fitting tees and cross-body satchels. The brand emphasizes distinctive but practical materials, such as high-modulus polyethylene, lyocell, and transparent leather. The last of these is so new, in fact, that the producers won’t even tell them how it’s made. It’s stuff you rarely see but want to see more of.


吉丰重工的创办人 Andrew Chen 和 Anthony Bui 将创意发挥在几乎所有穿得到的用品上,从富含细节的夹克、分层裤、到合身 T 恤和斜背包。该品牌强调使用有特点但实用的材料,如高模量聚乙烯、Lyocell 纤维,或是透明皮革——一种太过新兴的材料,以至于制造商甚至不愿意告诉他们制作方法。这是一个你几乎看不到、但渴望看到更多的东西。

Beyond their affinity for unusual materials, Guerrilla Group sets itself apart from other brands through its “storytelling” approach to fashion. Every new collection starts with a concept that’s then fleshed out with a story and visualized in a lookbook.


除了常用不寻常的材料,吉丰重工的特别之处还有通过“讲故事”的方式,将自己与其他时尚品牌区分开来。每一个系列都会从一个概念出发,然后用故事去充实其内容,最终视觉化呈现在品牌书中。

The stories crafted by Chen and Bui are rooted in fiction but take cues from the real world, and more often than not, they contain implicit social critique that confronts issues such as military fetishization and invasive authority. “A lot of our collections are actually trying to send a message of warning,” Chen says. “Like our End Of Secrecy line, which is based on PRISM, the American internet surveillance program. We’re addressing how governments control your information.”


Andrew 和 Anthony 创造的故事通常是虚构的,但之中隐含着他们从现实中获取的线索,并悄悄植入批判社会的暗喻,比如说军事狂热化、或威权体制的入侵等问题。 “事实上我们有很多作品是在试图发出警告。” Andrew 说。“像是《End of Secrecy》系列是发想自美国互联网监控计划‘棱镜门’(PRISM)。我们想诉求的对象是正在控制你的信息的政府。”

As of late, the brand is starting to move away from the sci-fi aesthetics that defined its early years. One of its recently released satchels was based on Buddhist monk sling bags—though since it’s made of an experimental transparent material made by Ecco Leather, it still resembles something extraterrestrial.


最近,吉丰重工的设计风格开始驶离早期的科幻美学。品牌最近发布的一个背包的原型是僧侣的吊带包——并由 Ecco Leather 生产的实验性透明皮革材料所制成,外观容易让人联想到异星世界的产物。

A more significant departure from the brand’s sci-fi and techwear roots is a new line based on street racing. Inspired by old auto magazines, Japanese car mods, and manga comics, this collection revolves around a fictional auto body shop called Silent Works. Their campaign even includes three real-life customized cars, including a Nissan 240SX.


一个基于街头赛车的新系列,更让该品牌远离了其科幻与机能的设计根源。灵感来自于旧的汽车杂志、日本汽车改装和漫画,此系列围绕着一个名为 Silent Works 的虚构汽车车身店。他们甚至还设计了三款真实定制车型,包括一辆 Nissan 240SX。

Guerrilla Group’s elaborate concepts and graphics-heavy designs hint at Chen and Bui’s ambitions beyond fashion. “Neither of us studied fashion design,” Chen notes. “Anthony was a graphic designer and I studied Art Design. This brand was actually my graduate thesis topic.” The duo ultimately hopes to operate a full-fledged creative agency under the banner Guerrilla Foundation for International Recon Media Group, or GFIRMG. They plan on expanding into film, product design, and visual design, and no matter the medium, they want to tell stories that meaningfully engage with a changing world.


吉丰重工精心设计的概念和图像暗示着 Andrew 和 Anthony 超越时尚的野心。 “我们都没有学过时装设计。”Andrew 说。 “Anthony 是一名平面设计师,而我学的是艺术设计。这个品牌实际上是我的毕业论文题目。”二人最终希望在吉丰重工(Guerrilla Foundation for International Recon Media Group, 简称 GFIRMG)的旗帜下运营一个成熟的创意机构。他们还计划扩展到电影、产品和视觉设计。无论媒介为何,他们都想继续讲述有意义的、与这个不断变化的世界互动的故事。

Website: www.guerrilla-group.co
Facebook: ~/guerrilla-group.co
Instagram: @guerrillagroup_co

 

Contributor: Mike Steyels
Chinese Translation: Yang Yixuan


网站: www.guerrilla-group.co
脸书: ~/guerrilla-group.co
Instagram: @guerrillagroup_co

 

供稿人: Mike Steyels
英译中: Yang Yixuan

Cinematic Colors 给你的电影加点潘通色

January 7, 2019 2019年1月7日
Léon: The Professional (1994) /《这个杀手不太冷》

If you had to describe each of your favorite movies with a color, what colors would you choose?

It’s a question that’s often on Chu Sin-hang’s mind. As a serious movie buff, this Hong Kong-based illustrator enjoys reimagining her favorite movies as Pantone colors. Then, using these colors as canvases, she recreates iconic scenes with strokes of black and white. The project began in 2017, when she put Léon: The Professional (1994) on a backdrop of Apple Green, and it’s kept growing ever since. As of today, Chu’s FILMTONE series features over 100 charming illustrations of movies across all genres.“The FILMTONE series is basically just my way of sharing the movies that I love with others,” she says.

We caught up with Chu one afternoon and asked her to recommend some of her favorite films for different moods and occasions in the hopes of uncovering some hidden gems that might have slipped under our radar.


如果要为你喜欢的电影挑选一种颜色,那会是什么颜色呢?作为一位资深的电影迷,香港插画家朱倩珩Chu Sin-hang)细细地品味每一部自己喜欢的电影,从中“感受”出一种出自 PANTONE(潘通)色卡的颜色。再加上黑与白,每一幅作品都只运用三种颜色,描绘出那些电影里的经典画面。从 2017 年画下的第一部电影《这个杀手不太冷》开始,至今她已经创作了一百多部电影插画,成为了这个可爱的作品系列《FILMTONE》。

“《FILMTONE》只是一个我单纯向大家分享喜欢电影的方式。” 她这样说道。于是我们带着想探究更多的好奇心找到了她,花了一个下午,用以下这十个关于电影的问题,和她聊了聊心中珍藏的电影清单,希望能拯救你最近的电影荒。


What’s your favorite movie of all time?

It’s too difficult to pick a particular movie, but Wes Anderson’s films are undoubtedly my favorites.


你最喜欢的电影

只选一部最喜欢的电影太难了,但韦斯·安德森的系列绝对是我最喜欢的电影,毫无疑问!

  • Fantastic Mr. Fox (2009) / 《了不起的狐狸爸爸》

  • Moonrise Kingdom (2012) / 《月升王国》

  • The Grand Budapest Hotel (2014) / 《布达佩斯大饭店》

  • The Darjeeling Limited (2007) /《穿越大吉岭》

  • Isle of Dogs (2018)《犬之岛》


What movie do you never hesitate to watch again, no matter how many times you’ve seen it?

I’ve watched and re-watched countless Hayao Miyazaki’s animated films since I was a little kid. I can always pick up something new on each viewing.


你已经看了好多次、但绝对会毫不犹豫再看一次的电影

从小时候到现在,我看了无数次宫崎骏的动画电影。每一次我都可以从中获得一点新的东西。

  • Spirited Away (2001) / 《千与千寻》

  • Howl’s Moving Castle (2004) / 《哈尔的移动城堡》

  • Princess Mononoke (1997) / 《幽灵公主》


What have you seen recently that you’d recommend to all your friends?

Searching (2018). The creative use of texting, webcams, and FaceTime videos was really cool and made it a worthwhile watch.


一部你最近刚看完,想分享给身边所有朋友的电影

《网络谜踪》运用了非常有创意的叙事手法,电影全由手机短信、网络摄像机、视讯画面等 “荧幕” 所见画面组成,我觉得实在太酷了,很值得一看。

Searching (2018) / 《网络谜踪》

What Hong Kong film would you recommend to someone who’s never seen any?

I’d recommend Chungking Express (1994) by Wong Kar-wai. It’s about the melancholy and loneliness of living in a large metropolis. The film was shot in locations with frenetic urban energy, like Lan Kwai Fong and Tsim Sha Tsui, so the audience can get a taste of Hong Kong’s hustle and bustle, as well as its beauty.


为从来没有看过香港电影的朋友,推荐一部香港电影

我会推荐王家卫的《重庆森林》。它描述了人身处在大城市中,感到忧伤和寂寞的故事。电影在香港相当热闹的兰桂坊和尖沙咀拍摄,你可以从中撷取到香港这座城市的匆忙和美丽。

Chungking Express (1994) / 《重庆森林》

What’s the perfect movie for a first date?

I think Once (2007) is one of the best movies for a first date. First dates are about finding out if you can connect with someone and how you connect with them. Once is a movie that talks about these subtle connections.


推荐一部適合第一次約會的電影

《曾经》是我认为最适合第一次约会看的电影!对我来说第一次约会是在寻找自己与对方是否有内心连结的过程,这部电影就是在描述这种微妙情感的故事。

Once (2007) / 《曾经》

What’s a good movie to watch on sleepless nights?

I’d pick Lost in Translation (2003). Watching Bob (Bill Murray) and Charlotte (Scarlett Johansson) deal with ennui and culture shock in Tokyo always pulls me into a state of jet-lag-like dreaminess. This mood makes me feel out of place and exhausted—and hence, cures my insomnia.


推荐一部適合失眠漫漫長夜的電影

当我看着《迷失东京》两位主角,在异地体会到种种文化冲击和生存倦怠感时,我总是深陷在一种像是在经历时差的梦幻氛围里。这种梦境般的心情让我感到从现实中抽离,渐渐地开始疲倦,我的失眠也就减轻了。

Lost in Translation (2003) / 《迷失东京》

What movie would you recommend for someone with a broken heart?

Eternal Sunshine of the Spotless Mind (2004) by Michel Gondry is about a couple who decide to undergo a medical procedure to erase each other from their memories after their relationship turns sour. Although the ending is sad, the movie reminds us there’s plenty of joy along the way. I think this movie might, to a certain extent, soothe a broken heart.


推荐一部适合失恋的人观赏的电影

《美丽心灵的永恒阳光》是一部关于一对恋人在感情变质后决定抹去记忆的电影。虽然结局是痛苦的,但故事却不断地提醒我们快乐和喜悦的存在。我认为这对于一个心碎的人,或许能起到一些治愈心灵的作用。

Eternal Sunshine of the Spotless Mind (2004) / 《美丽心灵的永恒阳光》

What movie would you recommend to cheer up someone who’s down in the dumps?

Amélie (2001) by Jean-Pierre Jeunet always helps me when I’m feeling my lowest. There’s something beautiful about the character Amélie. If you’re depressed, the comedic scenes will help perk you up.


如果有一部电影,能够把一个悲伤的人变成最快乐的人,你觉得会是哪一部?

《天使爱美丽》总是帮助我度过难过的时候。主角艾蜜莉好像有一种魔力,能把你从悲伤拯救出来。

Amélie (2001) / 《天使爱美丽 》

Has a movie ever left you so stunned that you couldn’t get up from your seat even after the credits?

Yes, The Truman Show (1998). The film explores the idea of surveillance and takes it to an extreme. The plot seems ridiculous at first, yet there’s quite a lot to reflect on. It messed with my head and made me question myself. What if every moment of my life was being monitored for public entertainment? What if my existence was a lie? What if the society I lived in was a conspiracy?


如果有一部电影能在放映完毕,把你留在位子上最久的时间好好品味电影的余韵,你觉得会是哪一部?

《楚門的世界》讲述了监视的概念,并把它推到极致。这个情节乍看之下似乎很荒谬,但是当我深入思考时,发现有很多东西值得反思。它让我感到混乱,并开始怀疑如果我生命中的每个时刻,都被监看并视为娱乐?如果我的存在只是一个谎言?如果我生活的现代社会是一个阴谋,该怎么办呢!?

The Truman Show (1998) / 《楚门的世界》

If you were stranded on a desert island and could pick just one movie to keep you company, what would it be?

You’ve reminded me of a film I enjoyed a lot but haven’t drawn yet! I’d probably bring Cast Away (2000) by Robert Zemeckis. If I were stuck on a desert island, Chuck Noland (Tom Hanks) and Wilson the volleyball would definitely be my best companions. This movie would be a lifesaver. It would also help me deal with loneliness and mental anguish.


如果你到了一座无人的荒岛,只能有一部电影陪伴你最寂寞的时候,你会选哪一部?

这个问题让我想起一部我很喜欢的电影,但还没有画成作品。如果我被困在荒岛上,《荒岛余生》的主角和那颗排球绝对会是我很好的陪伴。这部电影也许可以作为生存指南,也可以帮助我度过孤独的痛苦时光。

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Facebook: ~/thesamuraibun

 

Contributor: Yang Yixuan
English Translation: David Yen


Instagram: @thesamuraibun
Facebook: ~/thesamuraibun

 

供稿人: Yang Yixuan
中译英: David Yen

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Faithful Ambiguity 何当共剪西窗烛,却话巴山英语时

January 4, 2019 2019年1月4日
Calligrapher: Wei Qilin / 书法:魏棋林

Can a voice from over a thousand years ago speak to us in our language? Chloe Garcia Roberts makes a persuasive case that it can. Her new translation of Li Shangyin’s selected verse, published in a bilingual edition by NYRB Poets, has made one of the titans of China’s literary tradition freshly available in English. A poet in her own right and managing editor of the Harvard Review, Garcia Roberts has published a book of verse titled The Reveal, as well as an earlier chapbook of Li Shangyin’s minor poems called Derangements of My Contemporaries. She reaches across the centuries to bring Li startlingly close, and the figure that emerges is contemporary but irreducibly enigmatic, always withdrawing beyond our grasp.


千百年前的诗句,还能和我们隔空对话吗?

Chloe Garcia Roberts 觉得是可以的,她给出了一个有说服力的例子。由 Chloe 新译、NYRB Poets 出版的双语版诗选,向世人介绍了中国文学传统中最重要的诗人之一:李商隐。作为译者的 Chloe 在任《哈佛评论》(Harvard Review)的执行主编,并且她自己就是诗人,已有出版著作《The Reveal》和一本李商隐的小诗册《Derangements of My Contemporaries》(意为“我同时代人的烦恼”)。在她笔下,早已作古的诗人李商隐,仿佛就立于我们面前,充满魅力,却又神秘莫测。

Li Shangyin (813-858), also known by his literary name, Yi Shan, lived toward the end of the Tang dynasty. Over the course of his short life, he penned a series of strikingly beautiful compositions regarded as enigmatic even by the standards of his day. Tang poets such as Wang Wei, Li Bai, and Du Fu—to name the three most familiar to Western readers—prized suggestion and evocation; Li Shangyin, writing nearly a century after them, pushed this tendency to an extreme, and added a sensuality and allusiveness all his own. If poetry from this tradition is always hard to render in English, Li Shangyin poses unique challenges.

Garcia Roberts identifies two: “The first challenge is the language itself. The divide between poetic Classical Chinese and modern English is vast, particularly in sentence structure, the sparsity of pronouns, the layered symbolism and allusion,” she explains. “The second is Li Shangyin’s particular poetics. He is not by any means a poet who moves completely in tandem with the currents of his tongue. Instead he is constantly playing with, pushing against, subverting the language he writes in.” Translating him entails capturing not only the meaning, but also the occasional strangeness of his words.


李商隐(813 – 858),字义山,生于中唐,其诗作风格成于晚唐,虽然生命未足半百,却产出了惊人的作品,即使按当时的评判标准,这些作品也算是深奥莫测在晚唐,李商隐算是最具代表性的诗人之一,与另一同时期的诗人杜牧合称“小李杜”。

而西方读者最为熟悉的三位诗人:王维、李白和杜甫,皆出自盛唐时期,各具风格,把唐诗推向了前所未有的盛名之巅;晚他们一个世纪后出现的诗人李商隐,则将唐诗又推向一个高峰,他的诗作富含典故,且更具感官冲击。如果说唐诗这一传统的题材,已经很难用英语来诠释,那么义山诗更是一个极大的挑战。

Chloe Garcia Roberts 也认同这个观点:第一个挑战就是语言本身。古汉语诗歌和现代英语的分野很大,尤其是在行文结构、代词使用、层层递进的象征和典故等方面。她解释道。其二,就是李商隐独特的诗学思想。他决不是个随波逐流的诗人。相反,他不断地斟酌、反驳、颠覆他所写的字句。因此要译他的诗,不仅要抓住他的意思,而且要突出他的奇文瑰句。

Even readers who don’t understand Chinese will be struck by how different the two versions look. The original poems are compact blocks of text, often just a few lines in length, with a uniform number of characters per line (five or seven). The translations, by contrast, typically run twice as long and have shaggily uneven verses.

Classical Chinese has a conciseness that’s nearly impossible to replicate in English, and this poses a dilemma for the translator: do you try to capture the brevity through a string of isolated monosyllables, or fill in the spaces with explanation that’s absent in the original? Garcia Roberts seeks to steer a course between the two extremes. “Where I could, I tried to shave down the English to its sparest possible form,” she says. “However, I did try to maintain a balance, to avoid veering into a parody of the economy of language on one side or over effusion in rendering the lushness of Li’s images on the other.”


即使是不懂中文的读者,看到原诗和译文后,想必也会为这两个版本所震撼。原诗是对仗整齐的五言或七言诗,常见为四句(绝句)和八句(律诗)。而相较之下,英译诗的长度则通常是原来的两倍,而且长短不一。

古汉语的简明性,英语几乎不可能原样复制,这就给译者带来了一个两难的问题:是要用一串孤立的单音节词来重塑简洁,还是加入原文中所没有的释义?Chloe 试图在两者之间找到平衡点。如果可以的话,我试着把英语尽可能精简了。她说,不过我确实努力保持中立,一方面避免陷入对古文‘惜字如金’的拙劣模仿,一方面避免过度渲染义山诗的靡丽幽婉。

An example of her approach is “Retirement,” a short meditation on yearning for home. Here’s the original, followed by her translation.

端居

远书归梦两悠悠
只有空床敌素秋
阶下青苔与红树
雨中寥落月中愁

Retirement

Distant letters, dreams of returning
Both are few and far away.

All I have: an empty bed
Set against a pale autumn.

Down the steps:
Green moss, red trees.

Inside the rain: sinking emptiness.
Inside the moon: anguish.

The English version expands the original’s four lines into four stanzas, yet it still feels pared-down. Garcia Roberts achieves this not by using shorter words or being overly clipped, but by eliminating verbs: the poem consists of sentence fragments linked by colons. In this, she finds a clever substitute for the original’s succinctness, a sort of mirror that obliquely reflects a feature with no obvious equivalent in English.


例如《端居》一诗,抒发诗人滞留异乡,远别亲故之情。下为中英两版对照:

端居

远书归梦两悠悠
只有空床敌素秋
阶下青苔与红树
雨中寥落月中愁

Retirement

Distant letters, dreams of returning
Both are few and far away.

All I have: an empty bed
Set against a pale autumn.

Down the steps:
Green moss, red trees.

Inside the rain: sinking emptiness.
Inside the moon: anguish.

 

英文版将原文的四行扩展为四小节,但依然感觉篇幅精简。Chloe 此举的成功,并不是因为使用了较短的、或是删减的单词,而是因为剔除了动词:这首译诗,通篇都由冒号连接的句子片段组成。在这一点上,她找到了一个巧妙替代原著简洁性的方法:即通过“:”这个简单的标点符号,代替原文中的隐喻方式,在英语中反映古诗词里并没有直接说明的意象。

If brevity is one challenge Li Shangyin poses, ambiguity is another. Often his poems are open to multiple readings—not just differing interpretations, or even various translation possibilities, but distinct ways of parsing the text. Take the first two lines of one of his many untitled pieces:

来是空言去绝踪
月斜楼上五更钟

Come is a hollow word.
Go severs all traces.
Moon slants over building roofs.
Bells of the fifth watch.

This is a literal rendering of the Chinese, almost a gloss, yet it’s not necessarily the most self-evident translation. Compare the very different lines by A.C. Graham, in one of many alternate versions of various poems included in an appendix:

Coming was an empty promise, you have gone, and left no footprint:
The moonlight slants above the roof, already the fifth watch sounds.

Graham starts from a very different understanding of the poem: you said you’d come but didn’t, now you’ve disappeared without a trace. By adding “you” and putting the verbs in the past tense, he sketches out a miniature narrative. Garcia Roberts, by contrast, takes come and go to refer to the words themselves, not actions taken by anyone in particular. She avoids creating an explicit backstory, trusting readers to draw their own connections.

The difference between these translations doesn’t lie in their fidelity: both are plausible readings of the poem. It’s a question of how explicit they make what’s implicit, and which aspects of the original they seek to convey—the meaning of the lines, or their brevity, their elusiveness.


如果说保持“简洁性”是对翻译者的一大挑战,那么对李商隐诗中似是而非的“歧义性”就是另一座大山。他的诗被反复阅读——不仅沿伸出对其内容的不同阐释、不同译本,还有对文本进行解析的不同方式。在他众多名为“无题”的作品中,此诗的前两行就可视为佐证之一:

来是空言去绝踪
月斜楼上五更钟

Come is a hollow word.
Go severs all traces.
Moon slants over building roofs.
Bells of the fifth watch.

这四行字句是汉语的直译,几乎是注解,然而解读含义却尚不明确。比较 A.C. Graham 的译本,在他的附录中,对这句诗就有不同的翻译:

Coming was an empty promise, you have gone, and left no footprint:
The moonlight slants above the roof, already the fifth watch sounds.

A.C. Graham 的翻译,源于对这首诗截然不同的理解,即:你说你会来,但却没有来,现在你消失得无影无踪。通过添加主语、用动词的过去时态,A.C. Graham 把简单的两句话勾勒出了一个微型故事。相比之下,Chloe 则着重诗中的“来”“去”二字本身,而没有特指任何人。Chloe 避免构建一个明确的故事背景,她信任读者,让他们和词句产生自己的联系。

这些译本之间的区别,并不在于它们是否忠实于原作:他们都是对原作合理的解读。区别在于,翻译的人想要揭示多少背后的隐喻,想要侧重对哪一方面的阐释——是语句的含义,还是它们的简洁性,或是其朦胧的妙处。

This “elusive and haunting quality” is what first drew Garcia Roberts to Li’s poetry. His lines are often tantalizingly hard to pin down, even with China’s long tradition of exegesis. “Maybe similar to the exercise of taking apart an engine to see how it works, my translations at first were simply attempts to better learn, from the inside out, how his poetry could be at once so moving and so unknowable.”

Her versions don’t dispel that unknowability but instead bring it admirably into English. This is no simple task, as a vague sentence is often much harder to render than one whose meaning is precise. “The cryptic nature of his work was an element that I wanted to recreate in the English,” she explains. “There are certainly instances where ambiguity of meaning made my job easier, but there were also instances where the task of rebuilding such ambiguity in an approximation of the exact way it exists in the Chinese cost me a lot of anguish.”


Chloe 说,李商隐诗中的只可意会不可言传”之感,就是最初吸引她的原因。义山的措辞往往让人感觉难以诠释,即使文言中早已着悠久的训诂传统。我的翻译起初只是试着更好地学习他的诗,从内而外地学习,这些又动人肺腑又难以言喻的诗句,他究竟怎么做到的。就像拆开一个引擎来看看它是如何工作的那样。

她的翻译没有消除李商隐诗中的朦胧感,反而将这点充分体现在英文中。这并不简单,因为模棱两可的语句,往往比意义明确的句子更难翻译。他诗作的神秘性,正是我想用英语来重现的一个元素。她解释说,在某些情况下,暧昧的意义确实让翻译更容易一些。但也有一些情况,要重现文言文中模糊的词义,简直让我绞尽脑汁。

Calligrapher: Wei Qilin / 书法:魏棋林
Calligrapher: Wei Qilin / 书法:魏棋林

The hardest poem to translate, she says, was “Night Rain Sent North.” Not coincidentally, it’s also one of the simplest. “I’ve always thought of this poem as a perfect Möbius strip of time. It is typical of Li Shangyin in his poetry to move his reader across vast distances, both temporal and physical, but in the last line of this poem he does this so quickly as to almost give us whiplash.” Once again the original is a short block of text, while the English version unwinds into several lines.

夜雨寄北

君问归期未有期
巴山夜雨涨秋池
何当共剪西窗烛
却话巴山夜雨时

Night Rain Sent North

You ask the date of my return.
No date is set.
The autumn pools on Ba Mountain
Welling with night rain.

How will that moment ever be: Together,
Trimming a candle at the west window,
And me, recounting
This rainy spell on Ba Mountain?

In just a few short lines, poem seems to flip time upside down: the speaker, on a rainy night on Ba Mountain, longs to return to a loved one—often understood to be the poet’s wife—and is carried away by that longing to imagine a future moment when they’ll both be together and looking back, not without nostalgia, on this same rainy night. Longing bleeds into memory, and the poem ends where it began.


而 Chloe 说最难翻译的诗,就是《夜雨寄北》。好巧不巧,它也正是最简单的一首之一。我一直认为这首诗是像完美的莫比乌斯连环,环环相扣。通过诗句,李商隐会带着读者穿越时空的距离,这很典型。但在这首诗的最后一行,他又把人们拉回了现实,短短几行,时速之快,几乎像是鞭挞驱赶着人们在时空中穿行。原文又是一小段文字,而英文版则再次分成了几个小节。

夜雨寄北

君问归期未有期
巴山夜雨涨秋池
何当共剪西窗烛
却话巴山夜雨时

Night Rain Sent North

You ask the date of my return.
No date is set.
The autumn pools on Ba Mountain
Welling with night rain.

How will that moment ever be: Together,
Trimming a candle at the west window,
And me, recounting
This rainy spell on Ba Mountain?

寥寥的几行诗,却似乎颠倒了时间框架:在巴山的一个雨夜,倾诉者切切地盼望着,想要回到爱人——也许是友人——的身边,这种情感如此深切,以至于他想象出一个未来的场景:他终于回到故地,两人重聚,一起回首这个雨夜。这种渴望渗透记忆,而诗结尾的地方,又与开头相连。

Li Shangyin has found a distinct and compelling voice in Garcia Roberts. Rather than explaining away his ambiguities, she presents him in all his seductive, suggestive charm. The fragments of meaning she offers, like shards of a glass for the reader to piece together, reflect a flitting, disarmingly beautiful light.


通过 Chloe Garcia Roberts 的译诗,李商隐的作品在当下仍然引人入胜,别具一格。她的译本没有过度诠释诗的幽隐意蕴,反而将这种诱人的魅力完全呈现出来。她提供了一些有意义的碎片,却像是吉光片羽,让读者试图把它们拼凑在一起,反射出一种瞬息即逝的、令人无法抗拒的美丽光芒。

Websitechloegarciaroberts.com

 

Contributor: Allen Young
Photographer: Xu Anrong


网站chloegarciaroberts.com

 

供稿人: Allen Young
摄影师: Xu Anrong

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Times New Romance 台上走秀,台下刺绣

January 2, 2019 2019年1月2日

Best known as the Malaysian winner of the second season of Asia’s Next Top Model who now walks runways around the world, Sheena Liam has also crafted a name for herself as an embroidery artist. Her delicate, minimalist art is sewn through with images of freedom and self-care.

She first picked up needlework from her mother in childhood, but only later on in her modeling career did she revisit the old-fashioned craft. It started out as a peaceful, expressive activity to keep herself occupied during downtime between jobs, but she slowly began taking it more seriously, and before she knew it she’d made a series.


人们记得 Sheena Liam 这个名字,是在她荣获了第二季超级名模大赛Next Top Model)马来西亚赛区冠军之后。她在追求全职模特生涯的同时,也为自己打造了一个刺绣艺术家的名号。她手下精致的极简艺术刺绣,一针针缝进了自由和自爱的女性形象。

小时候,在母亲的影响下,Sheena 第一次拿起针线。但直到后来她开始了模特生涯,才重新拾起了这门工艺。一开始,刺绣只是一种令人平静而又富有表达力的手工,Sheena 目的是让自己在工作间隙中保持忙碌。但渐渐地,她开始更认真地对待刺绣,不知不觉中一个系列的作品已经完工了。

“I was never really drawn to it as a practice until I started seeing all these other artists breaking boundaries with embroidered work, and I realized we weren’t bound to tradition and stagnant designs,” Liam says. Like the carefree movement of the hair detail, each piece is open to interpretation. “I’m not pushing any agenda on anyone.”  


直到我看到那些用刺绣来打破界限的大批艺术家们,我才真正为它吸引,我意识到我们并不受制于传统和死板的设计了。”Sheena 说。就像一针一线穿引发丝的动作,每一个细节都可以被细细解读。我不会催促任何人做任何事情。

The figures in her works are often based on Liam herself, stitched with dark-green thread that stands out against the off-white linen. They can take anywhere from four days to a month to complete, depending on their size and complexity. “Sometimes I’m doing something completely new, so it takes some trial and error before I have a finished product I’m okay with,” she explains.


她作品中的人物通常是以自己为原型,用深绿色的线缝制,与米色的亚麻布形成鲜明的对比。根据大小和复杂程度的不同,完成一幅作品可能需要四天到一个月的时间。有时候我正在做一些全新的尝试,所以在我完成一个作品之前,我需要一些反复试验。

Each piece explores a moment in a woman’s life, from simple daily routines, like changing clothes or getting ready for a girl’s night out, to subtle moments of empowerment, like independently braiding or cutting off one’s hair for the first time. Just as she does in her modeling, her figures convey a mood or feeling through posture and pose. The free-flowing hair adds a gentle movement to contrast with the static figure, making the whole piece come alive. Though the style is minimalist, the figures are rich in detail.

“The actual embroidering is my favorite part of the process, so I try to prolong it by adding as much detail as possible,” she says. “The hair can be frustrating because I don’t have a set formula or technique. Every piece is different, and sometimes at the hair stage, which I usually do last, I might ruin a piece I’ve spent hours on.”


每一件作品都探讨了女性生活中的一些时刻,从简单的日常事务:比如换衣服或为“女生之夜”做准备的时候,到女性的微妙时刻:像是第一次自己梳长辫或剪头发的时候。就像她在当模特时做的那样,通过女性的姿势和姿势,传达出一种情绪或感觉。自由飘逸的头发增加了形象的柔和度,与静态的刺绣形成对比,使人整个活了起来。虽然风格极简,却不乏丰富的细节。

着手刺绣是我最喜欢的部分,所以我尽量增加细节,以延长这个时刻。头发可能会困难一点,因为我没有固定的公式或技巧。但每一件作品都是不同的。我通常会最后再做头发的部分,因为很有可能我可能会毁掉之前用了几个小时做的作品。

Inspiration comes from anything: a song, a general mood, or even a feeling. Liam compiles images from the internet onto her mini mood board and has even sought inspiration in life drawing classes. “You get to explore other different types of bodies and poses through the models,” she explains.

As someone who’s made a career out of being someone else’s canvas, here she has the freedom to express her own creativity.


对 Sheena 来说,灵感来自任何东西:一首歌,一种心情,甚至一种感觉。她把互联网上的图片编辑到自己的迷你心情板上,甚至还在绘画课上寻找灵感。“你可以通过模特来探索其他不同类型的身体和姿态。”她解释说。

作为一个模特,这个以身体作为他人“画布”为职业的人,Sheena 在刺绣上得以自由地表达自己的创造力。

In April 2017, Liam decided to share her work on Instagram under the handle @times.new.romance, a play on the name of the popular font. The handle suggests a romantic feeling of viewing peaceful modern moments fleeting by, in keeping with her art—but perhaps this writer has put too much thought into it. “I just thought it was a nice name for an account,” Liam says. The account eventually gained widespread attention from media, art-lovers, and fans, leading to her first solo exhibition, a milestone in any artist’s career.

In October, the embroidery works were presented at Item Gallery in Paris in a show also titled Times New Romance. As it happens, Liam dismissed the idea of a solo show when she was first approached about it. “I didn’t think too much of my embroidery to start with,” she says. “Honestly, it was a lot of people putting a huge amount of faith in me from the start that propelled me to work on a body of cohesive work. I had collectors and other artists who took care of me, so I could work in the capacity that I did.”


2017 4 月,Sheena 决定在 Instagram 帐号 @times.new.romance 上分享她的作品。这个名字让人联想到一种浪漫的感觉,当下平静的瞬间飞逝而过,与她的艺术同出一辙——但也许这是笔者过虑了。我只是觉得这是个很好用户名。” Sheena 说。这一说法引起了媒体、艺术爱好者和粉丝的大批关注,也让她开办了首次个展,这对任何一位艺术家的职业生涯来说,都算是一个里程碑。

今年 10 月,这些刺绣作品在巴黎 Item Gallery Times New Romance”的展览上展出。在 Sheena 第一次听说要办个展时,她却拒绝了。我一开始就没有想太多我的刺绣。老实说,很多人从一开始就对我抱有很大的信心,这促使我创作了一系列的作品。有一些收藏家和其他艺术家对我很是照顾,所以我可以充分发挥我的能力。

So what’s next for Sheena Liam’s art?  

“I’m not sure. I’ve held out on a lot of projects because I wanted to be focused on creating pieces for my show. But maybe now I can relax a little and have more fun with it. If offered the right space and gallery, I’d consider a show in Malaysia. But I don’t have any pieces anymore, so it’ll probably take a few more years.”


那么对作为艺术家的 Sheena Liam 来说,下一步又是什么呢?

我不确定。我做了很多项目,因为我想把精力集中在展览上。但或许现在我可以放松一下,去玩得更开心。如果我有合适的空间和画廊我想去马来西亚看场演出。但现在我没有更多刺绣作品了,可能还需要几年的时间来酝酿吧。

Website: www.timesnewromance.net
Instagram: @times.new.romance

 

Contributor: Joanna Lee


网站: www.timesnewromance.net
Instagram: @times.new.romance

 

供稿人: Joanna Lee