MTI翻译硕士专业笔译翻译实践
翻译实践001:原文
唐代妇女服饰三百年
陕西省历史博物馆
公园7-10世纪的中国唐代是中国封建文化的巅峰时代,也代表着当时世界文明发展的最高水平。唐的疆域辽阔,国力雄厚,文化繁荣,人才辈出,又能广交邻邦,大胆吸收外来文化,因此成就了辉煌的大唐文化。在这样的社会环境下,唐代妇女的生活也呈现出空前绝后的活跃,开放,丰富多彩。当时的妇女,尤其是都城长安的贵族妇女,从容出入街市,大胆显示了自身的美丽。骑马,观灯,宴饮,围猎,常着男服,喜打马球,相当广泛地参与男性社会的多种活动。女诗人,女画家,女音乐家,女舞蹈家脱颖而出,以至于登峰造极产生了中国历史上唯一的女皇帝武则天。
唐代妇女服饰同样是一派生机,其众多的款式,艳丽的色彩,创新的装饰手法,典雅华贵的风格,处处让人感受到当时大胆追求,兼收并蓄,意兴飞扬,崇尚华美的时代精神。唐代妇女的服饰大致经历了三个阶段的发展:初期承汉魏北朝遗俗,小衣长裙,多着深色,少施粉黛,配饰简约;中期则衣裙鲜艳,胡服盛行,簪钗耀眼,丽人簇簇;晚期体丰服艳,广袖博衣,配饰繁缛,华而无趣。
风采照人
1956年西安市东郊王家坟唐墓出土的三彩梳妆女俑端坐在藤编的束腰圆形绣墩上,头梳单刀半翻髻,身穿酱色袒胸窄襦,外罩白锦绣花半臂,前胸半露,嫩绿色绫罗长裙,裙腰高束胸际,裙裾宽舒,长曳至地,裙褶上遍绣柿蒂纹,脚穿云头履,左手持镜照面,右手食指伸出似刚刚粘好额头上的梅花形花钿,姿态典雅雍容。“晓日穿隙明,开帷理装点”,朝霞透射进房内,拉开窗帘开始化妆是她(们)一天美好生活的开端。这件三彩女俑的神情透露了这位妇女对自身美丽的自信,和对美好生活的大胆追求与憧憬。
唐代乐舞艺术繁荣,乐舞表演者的服饰更是璀璨夺目。著名的“霓裳羽衣舞”我们今天虽无从得见,但是从唐代诗人的咏叹中也能想象其神话般的情景。陕西长武县出土的彩绘双鬟髻女俑,塑造的即是表演乐舞的妇女。女俑髻绾双鬟,舞裙长垂,服饰华丽,姿态生动,似乎正在以舞传情。
峨峨发髻
中国古代人们视头发为身体的精华,认为头发中蕴含人的精力与生命。唐代妇女对于秀发的钟爱可谓甚矣,见诸于文献记载的唐代妇女发髻名目繁多,辞义美好。有云髻,半翻髻,双鬟望仙髻,回鹘髻,愁来髻,归顺髻,惊鹄髻,倭堕髻,百合髻,圆鬟髻,双丫髻,双垂髻,椎髻,乌蛮髻,反绾髻,抛家髻,盘桓髻等近百种,其中以各式高髻为主。在传世的唐代绘画,墓室,石窟壁画以及众多出土文物中,梳各式高髻的唐代妇女形象随处可见。倭堕髻的原型是汉代即已出现的堕马髻。传说杨贵妃骑马时不慎摔下,所绾高髻偏向一侧,有髻鬟下堕欲解之状,十分美丽。宫女见后,竞相仿效,于是倭堕髻名传四方。由此可见,同服饰一样,唐代宫廷妇女总是领时代风骚,开风气之先。唐太宗时期,曾有官吏…
翻译实践001: 译文
Women’s Costume During the Tang Dynasty
Shaanxi History Museum
The Tang Dynasty (618-907 A.D.), at the peak of the Chinese feudal society, represents the highest level of civilization in the world at that time. It was the vast territory, flourishing culture, a galaxy of talents, friendly relations with neighboring countries, and open attitude to foreign cultures that contributed to the brilliance of the Tang culture. Under such social circumstances, Tang women enjoyed a life unprecedentedly open, lively, and colorful. They, especially the noble women in Chang’an, the imperial capital (on the site of the modern-day Xi’an, Shaanxi Province), went out to the streets leisurely, flaunting the beauty in them. Tang women also took part in a wide range of activities in a male society such as riding horses, viewing lanterns, attending banquets, hunting, dressing men’s clothes, and playing polo. Female poets, painters, musicians, and dancers emerged in large number, and there even appeared the only empress in Chinese history, Wu Zetian (625-705 A.D., reigned 690-705 A.D).
Likewise, the Tang women's costume also displayed exuberant vitality. With varied styles, bold colors, creativity in decoration, and elegant designs, it gave full expression to the time spirit: courage to pursue beauty, enthusiasm for gorgeousness, openness in learning, and imaginative romanticism. Generally, three trends can be discerned over the period. First, there was the style inherited from the previous Han (206 B.C.-220 A.D.), Wei (220-265 A.D. & 386-556 A.D.), and Northern Dynasty (386-581A.D.). Women wore light make-up, brief adornments, short close-fitting bodices, and long skirts, mostly in dark colors. Later, it was popular to wear heavy make-up, shining ornaments, and bright-colored clothes. Among others, the Hu-style clothing prevailed and picked up momentum. When it came to the third stage, women loved to keep full figures. Their accessories were elaborate and showy, and their clothes had rich colors and wide sleeves.
Fineries
A Sitting Woman, the tri-colored glazed pottery figure, unearthed in a tomb of the Tang Dynasty in Wangjiafen Village in the eastern suburbs of Xi’an in 1956, was in the image of a woman sitting erect on a decorated cattail hassock with tightened waist. Her hair done in a half-folded bun, she wears inside a reddish brown low-cut blouse with narrow sleeves, which half exposes her breast, outside a white brocade embroidered jacket with short sleeves, a long tender green silk skirt with carefully-embroidered kaki calyxes, and a pair of shoes with cloud-shaped toecap. Secured below her chest is a wide and long skirt naturally touching the floor. Holding a mirror in her left hand, seeming to have just stuck on her forehead a plum-flower-shaped huadian (decoration of the forehead, a patch cut out mostly in the