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Wu Guanzhong’s Essay: The Sun – modern chinese literature 吴冠中《太阳》
Wu Guanzhong's "The Sun" is an essay that describes the scenery of a small park under the sun, as well as the desolate scene of the park after the sun disappears. 太阳 ◎ 吴冠中 昨天，小公园里撒满了阳光，孩子们、老人们，喜洋洋一大群[1]。今天，太阳不见了，阴冷阴冷的冬天，像要下雪了。公园里消失了人群，只有一个人裹着大衣低头独自行走，太阳的消失没有影响他独自行走，似乎他心中本来就没有太阳。 太阳与大家有关，人们跟着太阳起床，随着太阳的沉没而沉睡，等待明天的太阳。大家喜欢太阳，等着看日出，《日出的印象》是举世绘画名作，“夕阳无限好”是千古名句[2]。太阳赋大自然色彩，太阳在人间创造了阴影。没有了阴影，也就看不清光明，有了阴影才认识世界原来是立体的。总是生活在阴影里不健康，生活中没有阴影也不健康，太阳控制着人们的健康，生死存亡[3]。 人们看太阳，观赏其红、光、亮。参照太阳，人创造了灯笼。有了电灯，还爱灯笼，因为太阳永远令人膜拜，儿童画中出现最多的也就是太阳。地球上只能看到一个太阳，太阳是惟一[4]，惟一往往被尊为最伟大[5]，路易十四自称是太阳王，但路易十四还是死了，让别人去争太阳王的宝座。 太阳是热之源，是温暖的象征，悽怆之人常说失去了心中的太阳。赤日炎炎的酷暑，人们怕太阳，太阳并不总赐予幸福，它可能是伪君子，它令禾苗枯萎，荼毒生灵。当它被人畏惧时，夏夜的月色倒赢得了人们的青睐，其实月亮那点迷人的光[6]，只是太阳的反照。太阳我行我素，永远这样放光芒，它一样对待野草、鲜花、蛆虫、蝙蝠、高楼大厦与沙漠洪荒……[7] 人们终于还是离不开无比强烈的太阳。 吴冠中（1919—2010），中国当代著名画家兼散文家，1919年生于江苏宜兴，1942年毕业于杭州国立艺专，1947—1950年在法国巴黎国立高等艺术学院进修，曾任中央工艺美术学院教授。他自幼喜爱文学，作画之余，写了大量情真意切的散文，得到文艺界高度赞誉，并受广大读者喜爱。《太阳》是他写的一篇随笔。 [1]“昨天，小公园里撒满了阳光，孩子们、老人们，喜洋洋一大群”译为Yesterday, the small park was bathed in sunshine and lots of kids and elderly folks there enjoyed themselves very much，其中was bathed in sunshine意同was covered with sunshine。又，此句也可译为Yesterday, lots of kids and elderly folks enjoyed themselves very much in the sun-drenched small park。 [2]“‘夕阳无限好’是千古名句”译为“The setting sun shines with unrivalled splendor”is a celebrated line from an ancient Chinese poem，其中把“千古”译为from an ancient Chinese poem，带有解释性，交代此名句来自一句中国古诗。 [3]“太阳控制着人们的健康，生死存亡”可按“太阳与人们的健康息息相关，决定人们的生死存亡”译为The sun has much to do with our health and determines our life or death, survival or extinction。 [4]“太阳是惟一”译时应采用增词法：The sun is the sole ball of fire in the sky或The sun is the only fiery celestial body。 [5]“惟一往往被尊为最伟大”译为Anything that is the only one of its kind is often held up as great，其中把“惟一”译为the only one of its kind，也采用增词法；to hold up是成语，作“提出”、“推举”等解。 [6]“那点迷人的光”可按“那迷人的暗淡光芒”译为its enchanting pale light。 [7]“太阳我行我素，永远这样放光芒，它一样对待……”译为The sun goes on doing whatever it pleases, always shining on all alike …，其中alike意同equally。 The Sun ◎ Wu Guanzhong Yesterday, the small park was bathed in sunshine and lots of kids and elderly folks there enjoyed themselves very much. Today,… -
Wu Guanzhong’s Essay: The Green-Uniformed Girl – modern chinese literature 吴冠中《绿衣姑娘》
Wu Guanzhong's essay "The Green Dressed Girl" is a masterpiece that passionately praises postal workers, written in May 1981. In this article, Wu Guanzhong expressed his respect for the hard work of the postal workers by praising them. Postmans transmit information through wind and rain, bringing unknown situations and messages to people's lives. Wu Guanzhong believes that their shouts are as beautiful as music, and each postman girl displays unique beauty. 绿衣姑娘(1) ◎ 吴冠中 我住的会仙（贤）堂，曾是清末北京鼎鼎有名的大饭馆。想当年，画栋雕窗，面临什刹海，楼上楼下，文士雅集(2)，商贾交易，歌女卖唱，多少豪富人家在此举办过婚嫁喜筵！梁园日暮(3)，如今已成为六、七个单位数十户职工宿舍的大杂院，院内地震棚歪歪倒倒，小径曲折，乱石成堆，房檐碰头，不堪回首。我住的是最后院的最后两间平房，后墙外是一条小小的胡同，后墙窗高，在室内看不到胡同，但可听到胡同里磨剪刀的叫唤声(4)、汽车喇叭声、妇女吵嚷声……这些混杂的声音不时搅乱我的构思(5)。但终于我发现其中有一种声音是我所喜欢的：“信——，拿报纸——”显然，那是一位姑娘清脆嘹亮的声音，她将尾音拉得长长的，那音浪在胡同里家家庭院的上空久久荡漾，由我听来，那是音乐！ 幸运的人们在等待喜讯，分离的亲人在盼望音信。人，总生活在希望中，个人的命运，国家的前景，世界的风云……一切未来的和未知的在引人关注，谁知明天将发生什么事情！邮递员，她送来了未知的情况和消息，有情和无情的真实(6)！犹如别人，我天天盼信，墙外胡同里(7)那位邮递员姑娘的呼喊多亲切啊，日子久了，似乎我早已熟识她。 后来，我走在偏僻的小街小胡同里，便经常不自觉地留心那些骑着绿色自行车，穿着绿色制服的邮递员姑娘们，不知哪一位是我天天听着她呼喊的老相识，她们都一样的美！我青年时期曾害目疾，住在昆明一家医院里动手术，双目全被包扎了，一切生活听护士安排照料。每日早晚，一位护士姑娘清亮柔和的声音叫我：“考体温（测体温）。”我渐渐熟悉这声音，感激这声音，爱这声音(8)，偷偷地爱她了，虽然全不知她是什么模样啊！当我病愈打开双目，想在许多护士姑娘中发现谁是她，但匆匆要出院了，偏偏没有再听到她的声音，我从此同样敬爱都穿着白衣服的她们！白衣战士，洁白是美吧！绿衣的邮递员，和平的绿色也是美啊！ 一个下雪天，我正在家作画，突然前院一个姑娘的熟悉的声音在遥唤：“吴冠中，打戳——”邮递员来了！我放下画具，急急忙忙地从地震棚的夹道间冲到前院去。待我赶到大门口，看到邮递姑娘的绿色自行车上挂着一个不小的邮袋，邮袋里还装着满满的信件。她如何能离开邮袋呢！我才明白她为什么不能亲自送信入院，只能像草原牧羊女一般用高嗓门遥遥呼唤！天寒，她穿着厚厚的棉袄，套不上绿色的使者之衣了，宽大的围脖裹住了头，遮掩了一半脸面，我看不清她的真面目。待交过信，她没有意识到我还想说话，便敏捷地跨上了自行车，衬着耀眼的白雪，人和车的颜色显得格外深暗，她迅速飞去的背影仿佛是一只展翅的乌鸦，不，是喜鹊！ The Green-Uniformed Girl ◎ Wu Guanzhong The place where I live，known as Hui-xian-tang，used to be a well-known big restaurant in Beijing during the last years of the Qing Dynasty．With painted pillars and carved windows，it was then a splendid mansion facing the Shi-sha-hai Lake．The rooms downstairs and upstairs would be packed with literati enjoying a get-together，tradesmen negotiating business affairs，and singsong girls performing for a living．And it also witnessed numerous wedding feasts held by rich and influential families．But now，like a run-down royal palace，it has become a residential compound occupied by dozens of households with some of its members working at six or seven different organizations．Piled high with rubble here and there，the whole place is in a terrible mess with makeshift shacks，a narrow path running… -
Wu Guanzhong’s Essay: The Cricket – modern chinese literature 吴冠中《蟋蟀》
Wu Guanzhong's essay "Crickets" is a simple and sincere work that expresses the author's deep attachment to his hometown. 蟋蟀 ◎ 吴冠中 鬓发斑斑(1)，仍总是忙碌，城中天天忙于无穷事，未有余闲品味童年捉蟋蟀的回忆。然而(2)居室(3)里突然听到了蟋蟀的叫声，我和老伴都感惊喜，高楼里哪来的蟋蟀？那声音似乎发自厨房的一角，我想可能是老伴买蔬菜时挟带回来的。 星期天，小孙女小曲来家，吃晚饭的时候，蟋蟀又高叫起来，一声高于一声，清脆响亮，仿佛是鸣奏。小曲高兴极了，饭也不吃了，要捉蟋蟀。我找来手电，顺着叫声到厨房角落里拨开(4)扫帚、残菜(5)、剩羹、废纸、旧瓶……一直清理到自来水管道周围湿漉漉的水泥地面，果然一只肥大的蟋蟀伏在那里。用手电照准它，它一动也不动，我轻易地将它捉住了(6)。全家欢腾起来，我将蟋蟀放进装颜料用的硬纸匣里，交给小曲。小曲说她要看着蟋蟀叫，她自己找了一个半透明的小塑料瓶，将蟋蟀装入瓶里，观赏这可怜的小俘虏团团转。她奶奶怕蟋蟀窒死，用剪刀将塑料瓶戮了几个透气的小洞。 小曲将蟋蟀带回去了。 夜晚屋里特别寂静，孩子们也都关门睡觉了，我和老伴两人在自己卧室里感到分外孤独。似乎是前所未有的孤独。老伴埋怨我不该捉掉了蟋蟀(7)！ 夜半，蟋蟀又叫起来了，呵，原来不止一只！我和老伴都高兴得不想入睡了。我们不由得回忆起我们当年住在农村老家的日子：古老窗外的星空、萤火虫星星的亮光、夜莺的歌喉、自然总有蟋蟀的伴奏……我们的谈话没完没了：父老、乡亲、谁家和谁家的孩子……这一夜我们似乎远离了北京(8)。愿蟋蟀就在我家定居吧(9)！ The Cricket ◎ Wu Guanzhong Grey-templed as I'm，I still always keep myself occupied．Everyday I bustle about town having little time to indulge in pleasant reminiscences of how I used to catch crickets in my childhood．One day，however，my wife and I were pleasantly surprised by the sudden chirping of a cricket in our apartment．How did it get into this tall building？As the sound seemed to come from a corner of our kitchen，I guessed it had probably come with the vegetables my wife bought from the food market. On Sunday，when our youngest granddaughter Xiao Qu was with us，the cricket started chirping again at supper time with a rising clear and loud sound like in a performance．Xiao Qu was overjoyed and stopped eating as she was eager to catch the insect．Torch in hand，I found my way to a corner of the kitchen by tracing the sound and then cleared away everything in the way，like brooms，discarded outer leaves of vegetables，leftovers，waste paper，used empty bottles，etc．until my eyes fell on a big cricket on the damp cement floor near a water… -
Wu Guanzhong’s Essay: Shanghai as I See It – modern chinese literature 吴冠中《上海街头》
Wu Guanzhong's "Shanghai Streets" is a prose full of emotions and vivid colors, in which the author examines every aspect of Shanghai from the perspective of an artist. The article was written in 1983, and although it has been more than 20 years since then, the scenes depicted are still vivid, especially the unique feelings and descriptions of Shanghai, which have made this article widely praised in the literary and artistic circles and among readers. 上海街头(1) ◎ 吴冠中 我每次过上海，多半是匆匆三五天，只有很少几次是超过一星期的。像一个虽常见面但无深交的熟人(2)，不很了解，而其音容笑貌却是难忘的。 上海是一个神秘的地方！我在宜兴农村的童年时代，每见到上海人回乡(3)，也总爱挤在人丛中听他们讲讲花花世界的见闻，夏天，他们穿着黑色的香云纱(4)，我以为香云纱就是上海人的标志。在上海做事的人显然比乡下人高贵多了，他们似乎很有钱，带回来的整筒饼干和美女月份牌就够令人羡慕了，后来我才知道他们都是当女工、小工和保姆的，挣钱并不那么容易。和百分之九十九的乡亲们一样，我的父母也从未见过上海，虽然相距并不算远，但上海对他们永远是一个遥远的天国(5)。近几年我每到北站候车，总听到地道的乡音，年迈的乡亲们常来上海观光了，他们的子女在工厂、大学及科研单位工作，他们有福气了。 外滩(6)是大上海的面貌特征吧，南京路一带的高楼大厦曾是上海人向乡下佬描述的骄傲。后来当我在伦敦过了一个暑假，发现那文艺复兴时代式样的古代楼房、那狭窄的街道，与南京路一带何其相似！不是伦敦像南京路，而是按照伦敦的某些模式捏造了南京路，让人们回忆上海滩形成的史迹吧！(7)然而南京路还是有自己的特色的：人多。这可与北京的王府井争冠军，争世界冠军去！ 有人说上海人滑头，有人说上海人聪明灵活，我同意后一种看法。从饮食烹调到糖果点心，从轻工产品到服装样式，都体现了聪明灵活(8)。最近我看到上海一家毛纺厂生产的虎皮腈纶毯，很美，虎虎有生气，是一件艺术品，在众多老式呆板花色的毛毯中，它应被评为毯中之王，我希望接着出现乱真的豹皮毛毯！我也见过滑头的上海人，白相人。我也曾以为上海人吃不了苦。然而我在井冈山中、在西双版纳的橡胶林中，在新疆阿尔太的边境，遇到过不少刻苦耐劳的青年人，只当他们暴露了“阿拉，阿拉”之后，才知原来是上海人。 三十年代的上海高楼大厦，与香港差不多，此后高楼没有再生高楼，如今比不上香港了，也比不上北京了，在上海的我的老师和同学仍大都住在拥挤不堪的里弄里，仍可体验产生三十年代文学的环境。我去年十月下旬经上海，出站时遇大雨，提着行李包，撑着雨伞排进等出租汽车的长队，没希望，转入排三轮的长队，也没希望，暂找个避雨的立足之地，没有，前后左右能容人的只是马路，大雨在横扫所有的马路。“鬼上海”！旅客们骂了。“鬼上海”！我也跟着骂。 我未曾碰到过上海的大阔佬，只在《子夜》、《陈毅市长》等文艺作品中见到资本家的豪华排场，见到老爷、太太、少爷、小姐们的神情风致。最近一次到上海，见到许多大饭店的门口排开成群西装革履、烫头发擦口红的青年男女，有的胸前佩戴着大红花(9)，他们在等待频频到来的小汽车里的贵客。满是一番灯红酒绿夜都市的气氛，这不真有点像少爷小姐们的阔绰气派(10)了吗！我好奇了，人们告诉我这个北京来的乡下佬，说这是结婚。那迎宾的队伍从大门口一直引至宴会厅，而且几家大饭店的喜宴日程已登记到八三年很晚的月份了。 任伯年和吴昌硕鬻画于上海。刘海粟先生在上海创办了中国第一所现代化雏形的美术学校。今天许多重要省市都有了较完整的美术学院，而上海没有，但上海拥有众多的画家，人才济济。凡是重要的美展，国内和国外的，北京展完便到上海，上海的展厅与上海之不相称(11)，一如那个火车站。没有吸引我的美术活动，这大概是我每过上海多半只是匆匆三五天的原由吧！ Shanghai as I See It ◎ Wu Guanzhong Whenever I passed through Shanghai，I would stay there for only three or four days，seldom more than a week．So the city，like a person who is more of a nodding acquaintance than a close friend of mine，is still rather unfamiliar to me．But its look and voice are unforgettable. Shanghai is a mysterious place！When I was a child living in the countryside of Yixing，I used to elbow my way into a big crowd so as to listen to someone lately returned from Shanghai chatting about things he had seen and heard in the dazzling city．To me，their summer wear of dark-coloured xiangyunsha[1] was characteristic of a Shanghailander．Evidently，those who had been working in… -
The Green-Uniformed Girl by Wu Guanzhong ~ 吴冠中 《绿衣姑娘》 with English Translations
作品原文 吴冠中 《绿衣姑娘》 我住的会仙（贤）堂，曾是清末北京鼎鼎有名的大饭馆。想当年，画栋雕窗，面临什刹海，楼上楼下，文士雅集，商贾交易，歌女卖唱，多少豪富人家在此举办过婚嫁喜筵！梁园日暮，如今已成为六、七个单位数十户职工宿舍的大杂院，院内地震棚歪歪倒倒，小径曲折，乱石成堆，房檐碰头，不堪回首。我住的是最后院的最后两间平房，后墙外是一条小小的胡同，后墙窗高，在室内看不到胡同，但可听到胡同里磨剪刀的叫唤声、汽车喇叭声、妇女吵嚷声……这些混杂的声音不时搅乱我的构思。但终于我发现其中有一种声音是我所喜欢的：“信——，拿报纸——”显然，那是一位姑娘清脆嘹亮的声音，她将尾音拉得长长的，那音浪在胡同里家家庭院的上空久久荡漾，由我听来，那是音乐！ 幸运的人们在等待喜讯，分离的亲人在盼望音信。人，总生活在希望中，个人的命运，国家的前景，世界的风云……一切未来的和未知的在引人关注，谁知明天将发生什么事情！邮递员，她送来了未知的情况和消息，有情和无情的真实！犹如别人，我天天盼信，墙外胡同里那位邮递员姑娘的呼喊多亲切啊，日子久了，似乎我早已熟识她。 后来，我走在偏僻的小街小胡同里，便经常不自觉地留心那些骑着绿色自行车，穿着绿色制服的邮递员姑娘们，不知哪一位是我天天听着她呼喊的老相识，她们都一样的美！我青年时期曾害目疾，住在昆明一家医院里动手术，双目全被包扎了，一切生活听护士安排照料。每日早晚，一位护士姑娘清亮柔和的声音叫我：“考体温（测体温）。”我渐渐熟悉这声音，感激这声音，爱这声音，偷偷地爱她了，虽然全不知她是什么模样啊！当我病愈打开双目，想在许多护士姑娘中发现谁是她，但匆匆要出院了，偏偏没有再听到她的声音，我从此同样敬爱都穿着白衣服的她们！白衣战士，洁白是美吧！绿衣的邮递员，和平的绿色也是美啊！ 一个下雪天，我正在家作画，突然前院一个姑娘的熟悉的声音在遥唤：“吴冠中，打戳——”邮递员来了！我放下画具，急急忙忙地从地震棚的夹道间冲到前院去。待我赶到大门口，看到邮递姑娘的绿色自行车上挂着一个不小的邮袋，邮袋里还装着满满的信件。她如何能离开邮袋呢！我才明白她为什么不能亲自送信入院，只能像草原牧羊女一般用高嗓门遥遥呼唤！天寒，她穿着厚厚的棉袄，套不上绿色的使者之衣了，宽大的围脖裹住了头，遮掩了一半脸面，我看不清她的真面目。待交过信，她没有意识到我还想说话，便敏捷地跨上了自行车，衬着耀眼的白雪，人和车的颜色显得格外深暗，她迅速飞去的背影仿佛是一只展翅的乌鸦，不，是喜鹊！ 英文译文 The Green-Uniformed Girl The place where I live, know as Hui-xian-tang, used to be a well-known big restaurant in Beijing during the last years of the Qing Dynasty. With painted pillars and carved windows, it was then a splendid mansion facing the Shi-sha-hai Lake. The rooms downstairs and upstairs would be packed with literati enjoying a get-together, tradesmen negotiating business affairs, and singsong girls performing for a living. And it also witnessed numerous wedding feasts held by rich and influential compound occupied by dozens of households with some of its members working at six or seven different organizations. Piled high with rubble here and there, the whole place is in a terrible mess with makeshift shacks, a narrow path running zigzag across it, and eaves so low as to hit the head of passers-by. I live in a one-story two-room house in the rearmost backyard backed by a small lane. As the window is high up in the wall, I can’t see anything in the lane, but I can hear a lot of noises therefrom, such as the cries of itinerant knife sharpeners, the blaring of car horns and the… -
Scrapping My Paintings by Wu Guanzhong ~ 吴冠中 《毁画》 with English Translations
作品原文 吴冠中 《毁画》 二十年前我住在前海北沿时，附近邻居生了一个瞎子婴儿，我看着这双目失明的孩子一天天成长，为他感到悲哀，他将度过怎样的一生！我想，如果这孩子是我自己，我决不愿来到人间，但父母总是珍惜自己的小生命，千方百计养育残疾的后代。作者对自己的作品，当会体会到父母对孩子的心情。学生时代撕毁过大量习作，那是寻常情况，未必总触动心弦。创作中也经常撕毁作品，用调色刀戳向画布，气愤，痛苦，发泄。有时毁掉了不满意的画反而感到舒畅些，因那无可救药的“成品”不断在啮咬作者的心魂。当我在深山老林或边远地处十分艰难的条件下画出了次、废品，真是颓丧之极，但仍用油布小心翼翼保护着丑陋的画面背回宿处，是病儿啊，即使是瞎子婴儿也不肯遗弃。 数十年风风雨雨中作了大批画，有心爱的、有带缺陷的、有很不满意但浸透苦劳的……任何一个探索者都走过弯路和歧途，都会留下许多失败之作，蹩脚货，暴露真实吧，何必遮丑，然而，换了人间，金钱控制了人，进而摧毁了良知和人性。作品于今有了市价，我以往送朋友、同学、学生、甚至报刊等等的画不少进入了市场，出现于拍卖行。五十年代我作了一组井冈山风景画，当时应井冈山管理处的要求复制了一套赠送作为藏品陈列，后来我翻看手头原作，感到不满意，便连续烧毁，那都属于探索油画民族化的幼稚阶段，但赠管理处的那套复制品近来却一件接一件在佳士得拍卖行出现。书画赠友人，这本是我国传统人际关系的美德，往往不看金钱重友情。 艺术作品最终成为商品，这是客观规律，无可非议。但在一时盛名之下，往往不够艺术价值的劣画也都招摇过市，欺蒙喜爱的收藏者，被市场上来回倒卖，互相欺骗。我早下决心要毁掉所有不满意的作品，不愿谬种流传。开始屠杀生灵了，屠杀自己的孩子。将有遗憾的次品一批批，一次次张挂起来审查，一次次淘汰，一次次刀下留人，一次次重新定案。一次次，一批批毁，画在纸上的，无论墨彩、水彩、水粉，可撕得粉碎。作在布上的油画只能用剪刀剪，剪成片片。作在三合板上的最不好办，需用油画颜料涂盖。儿媳和小孙孙陪我整理，他们帮我展开六尺以上的巨幅一同撕裂时也满怀惋惜之情，但惋惜不得啊！我往往教儿媳替我撕，自己确乎也有不忍下手的隐痛。画室里废纸成堆了，于是儿媳和阿姨抱下楼去用火烧，我在画室窗口俯视院里熊熊之火中飞起的作品的纸灰，也看到许多围观的孩子和邻居们在交谈，不知他们说些什么。画室里尚有一批覆盖了五颜六色的三合板，只能暂时堆到阳台上去，还不知能派什么用场，记得困难时期我的次品油画是用来盖鸡窝的。 生命末日之前，还将大量创作，大量毁灭，愿创作多于毁灭！ 作品译文 Scrapping My Paintings Wu Guanzhong Twenty years ago, when I was living on the northern side of the Qianhai Lake, Beijing, one of my neighbors gave birth to a blind baby. I felt sorry for him as he grew up. What would become of it for life? Personally, I would have refused to come into this world disable. Nevertheless, all parents love their own babies and will do whatever they can to rear them even though they are born disabled. A work of art is to the creator what a baby is to its parents. When I was a schoolboy, I used to tear up a lot of exercises I did. That was a common practice, and I never regretted it. Now I am doing the same thing with my paintings. I will often use a palette knife to cut into a canvas so as to let off my pent-up anger or anguish. Sometimes, it will bring me ease of mind to scrap my own substandard works, which were my lasting agony. Sometimes, I will feel extremely dejected when a painting I have done under hard conditions in remote mountains… -
On the Verge of Tears by Wu Guanzhong ~ 吴冠中 《哭》 with English Translations
作品原文 吴冠中 《哭》 那年，我坐夜车去朝拜圣地——到茂陵瞻仰霍去病墓前的雕刻。 夜车到了终点站，霍去病墓还老远。在那满天星斗的西北原野上，我时而顺着大车道，时而踏着羊肠小径往前赶路，及至霍去病墓地，天色才开始曙明。附近没有行人，我迫不及待地扑向墓前那几座庞然巨物的伟大雕刻作品。我十分激动，它们永远是活着的，并一直是我精神上的支柱。当我在异国遭到歧视的时候，当世界上其他国家的杰出艺术品令我敬仰的时候，当我气馁的时候，痛苦的时候……这几座气势磅礴的永恒的石头雕刻便总会呈现在我的眼前。 我久久徘徊于霍墓雕刻间，远看，浑然一体；近看，耐人寻味，在粗犷的斧凿中行走着蜿蜒的线。斯是顽石，却生意盎然，全世界的艺术家到此不能不肃然起敬！"我们的祖先比你强得多！"我也许是继承了阿Q精神胜利的一面吧，但有了这样矗立在世界艺术史上的先祖爷爷，确实得天独厚。这总是值得欣慰的！ 1989年我重返巴黎，感慨万千。返回后，我怀着一种极其复杂的心情又一次去了西安，再一次瞻仰霍墓雕刻。在霍去病墓前，在秦俑坑前，在碑林博物馆的汉唐石雕前，我只想嚎啕痛哭。老伴跟随我，还有那么多观众，我不敢哭。哭什么？哭它太伟大了，哭老鹰的后代不会变成麻雀吧？ 作品译文 On the Verge of Tears Wu Guanzhong Years ago, I went by night train to Mao Ling, a sacred place in Shaanxi Province, to pay homage to the sculptures standing before Huo Qubing's1 tomb. As it was a long way from the terminal station to Huo's tomb, I had to hurry on with my journey on foot under the starry sky of Northwest China, sometimes along a broad road, sometimes on a narrow footpath. The day was just dawning when I arrived at Huo's tomb. Not a pedestrian in sight. I lost no time in presenting myself before the majestic carved works of great magnitude before the tomb, I was beside myself with agitation. The immortal art treasures will be my permanent spiritual prop. Whenever I am discriminated against in a foreign country, whenever I stand in awe before a foreign outstanding work of art, whenever I am disheartened, whenever I suffer agony…, these imperishable stone carvings of amazing grandeur will inevitably appear in my mind's eye. I loitered for quite a long while among the sculptures, which were an integrated mass when viewed from afar and very intriguing… -
More on Packaging (Excerpt) by Wu Guanzhong ~ 吴冠中 《再说包装》 with English Translations
作品原文 吴冠中 《再说包装》 包装的本质是伪装。 为了美观，略施装饰，无可厚非，斥之伪，有点刻薄。商品离不开包装，离谱的包装，岂止伪，存心欺蒙顾客。日本人很讲究包装，一个漂亮的大匣里面藏着精致的小匣，小匣里还有更小的匣，一层层的包装待你剥到底，最后裸露的往往只是一块小小的糖果。 我们进入了包装的时代，这恰好提醒我们进入了伪劣假冒的时代。“豪华精美”包装的礼品满天飞，送这种豪华礼品的人与被送者之间绝无真诚的友情，聪明的包装者是明悟这一实际的，所以工夫用在礼品之外，包装之上。外国也包装，也走人情，也行贿，但以包装作欺蒙则我们传统中早有提示：金玉其外，败絮其中。 包装歌星、包装书画家、包装著作……包装早已是堂而皇之的事业，不怕社会讥讽了。书籍装帧应让人一目了然著作的内涵与品位，是极深奥的艺术创作工作，但今日书店书摊上琳琅满目，一片花里胡哨，连书名都认不出来。印一张白底黑字的封面吧，在作着媚态的美女之林中只自道家门。 伪装是个人的野心，也适应社会的需求。官吏的乌纱、皇帝的蟒袍用以吓唬老百姓，他们退堂退朝后便恢复本来面目，毋须衣冠沐猴了。西装、革履、领带，这种包装在西方已定型几百年，并早已成为全世界公认的正式服饰，而且居然在不断更新的时装流变中岿然不动。但休闲服的兴起，不知是否会冲垮这端着架子的西装传统，因人们最终要追求自在与舒适，一切架子与伪装都将被抛弃。 作品译文 More on Packaging (Excerpt) Wu Guanzhong Basically, packaging means false embellishment. Nevertheless, a little embellishment for the sake of nice appearance is not altogether inadvisable, and it is a bit harsh to denounce it as falsehood. Merchandise can never do without packaging, but going too far with it means something worse than falsehood—it is deliberate cheating. Japanese are very particular about packaging. Hidden inside one beautiful big box will be a number of gradually smaller delicate ones placed one inside another. You have to tear them off one by one until you finally hit on nothing but a tiny piece of candy. We have entered the age of packaging, or rather the age of counterfeit and shoddy merchandise. Attractively-packaged gifts can be found everywhere. Aware of the complete absence of real friendship between sender and receiver of a gift, shrewd businessmen have been racking their brains trying to beautify the packing design rather than improve the commodity itself. People in foreign countries are also particular about packaging, and also bribe with gifts, but we have a longer tradition of hoodwinking customers by means of packaging, as witness… -
Shanghai as I See It by Wu Guanzhong ~ 吴冠中 《上海街头》 with English Translations
作品原文 吴冠中 《上海街头》 我每次过上海，多半是匆匆三五天，只有很少几次是超过一星期的，像一个虽常见面但无深交的熟人，不很了解，而其音容笑貌却是难忘的。 上海是一个神秘的地方！我在宜兴农村的童年时代，每见到上海人回乡，也总爱挤在人丛中听他们讲讲花花世界的见闻。夏天，他们穿着黑色的香云纱，我以为香云纱就是上海人的标志。在上海做事的人显然比乡下人高贵多了，他们似乎很有钱，带回来的整筒饼干和美女月份牌就够令人羡慕了，后来我才知道他们都是当女工、小工和保姆的，挣钱并不那么容易。和百分之九十九的乡亲们一样，我的父母也从未见过上海，虽然相距并不算远，但上海对他们永远是一个遥远的天国。近几年我每到北站候车，总听到地道的乡音，年迈的乡亲们常来上海观光了，他们的子女在工厂、大学及科研单位工作，他们有福气了。 外滩是大上海的面貌特征吧，南京路一带的高楼大厦曾是上海人向乡下佬描述的骄傲。后来当我在伦敦过了一个暑假，发现那文艺复兴时代式样的古代楼房、那狭窄的街道，与南京路一带何其相似！不是伦敦像南京路，而是按照伦敦的某些模式捏塑了南京路，让人们去回忆上海滩形成的史迹吧！然而南京路还是有自己的特色的：人多。这可与北京的王府井争冠军，争世界冠军去！ 有人说上海人滑头，有人说上海人聪明灵活，我同意后一种看法。从饮食烹调到糖果点心，从轻工产品到服装样式，都体现了聪明灵活。最近我看到上海一家毛纺厂生产的虎皮晴纶毯，很美，虎虎有生气，是一件艺术品，在众多老式呆板花色的毛毯中，它应被评为毯中之王，我希望接着出现乱真的豹皮毛毯！我也见过滑头的上海人，白相人。我也曾以为上海人吃不了苦，然而我在井冈山中，在西双版纳的橡胶林中，在新疆阿尔泰的边境，遇到过不少刻苦耐劳的青年人，只当他们暴露了“阿拉，阿拉”之后，才知原来是上海人。 30年代的上海高楼大厦，与香港差不多，此后高楼没有再生高楼，如今比不上香港了，也比不上北京了，在上海的我的老师和同学仍大都住在拥挤不堪的里弄里，仍可体验产生30年代文学的环境。我去年10月下旬经上海，出站时遇大雨，提着行李包，撑着雨伞排进等出租汽车的长队，没希望，转入排三轮的长队，也没希望，暂找个避雨的立足之地，没有，前后左右能容人的只是马路，大雨在横扫所有的马路。“鬼上海”！旅客们骂了。“鬼上海”！我也跟着骂。 我未曾碰到过上海的大阔佬，只在《子夜》、《陈毅市长》等文艺作品中见到资本家的豪华排场，见到老爷、太太、少爷、小姐们的神情风致。最近一次到上海，见到许多大饭店的门口排开成群西装革履、烫头发擦口红的青年男女，有的胸前佩戴着大红花，他们在等待频频到来的小汽车里的贵客。满是一番灯红酒绿夜都市的气氛，这不真有点像少爷小姐们的阔绰气派了吗！我好奇了，人们告诉我这个北京来的乡下佬，说这是结婚。那迎宾的队伍从大门口一直引至宴会厅，而且几家大饭店的喜宴日程已登记到1983年很晚的月份了。 任伯年和吴昌硕鬻画于上海。刘海粟先生在上海创办了中国第一所现代化雏形的美术学校。今天许多重要省市都有了较完整的美术学院，而上海没有，但上海拥有众多的画家，人才济济。凡是重要的美展，国内和国外的，北京展完便到上海，上海的展厅与上海之不相衬，一如那个火车站。没有吸引我的美术活动，这大概是我每过上海多半只是匆匆三五天的原由吧！ 作品译文 Shanghai as I See It Wu Guanzhong Whenever I passed through Shanghai, I would stay there for only three or four days, seldom more than a week. So the city, like a person who is more of a nodding acquaintance than a close friend of mine, is still rather unfamiliar to me. But its look and voice are unforgettable. Shanghai is a mysterious place! When I was a child living in the countryside of Yixing, I used to elbow my way into a big crowd so as to listen to someone lately returned from Shanghai chatting about things he had seen and heard in the dazzling city. To me, their summer wear of dark-colored xiangyuansha was characteristic of a Shanghailander. Evidently, those who had been working in Shanghai enjoyed a much higher status than their fellow villagers. They seemed to be quite rich. The tins of biscuits and wall calendars with pinup girls on them they had brought home were the envy of all country folks. Later, I learned, however, that they had been earning money the hard way by becoming factory workers, old jobbers…
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