{"meta":{"id":"https:\/\/api.iclient.ifeng.com\/ipadtestdoc?aid=ucms_7yAxOanM6VD","type":"doc","o":"1","documentId":"ucms_7yAxOanM6VD"},"body":{"newStatus":"1","documentId":"ucms_7yAxOanM6VD","staticId":"ucms_7yAxOanM6VD","title":"处女翻译·644《中国艺术》(442)","shareTitle":"处女翻译·644《中国艺术》(442)","thumbnail":"http:\/\/d.ifengimg.com\/w150_h106_q100\/x0.ifengimg.com\/ucms\/2020_29\/9B9917713CF715F0A3229361F6D0EBD43DC099E0_w698_h392.jpg","source":"观复博物馆","author":"","editorcode":"weMedia","editTime":"2020-07-17 08:58:32","updateTime":"2020\/07\/17 08:58:32","wapurl":"http:\/\/\/\/history.ifeng.com\/c\/7yAxOanM6VD","introduction":"","wwwurl":"http:\/\/\/\/history.ifeng.com\/c\/7yAxOanM6VD","commentsUrl":"ucms_7yAxOanM6VD","commentCount":0,"hasVideo":"Y","text":"
编者按:《中国艺术》(Chinese Art)是西方早期研究中国艺术的重要文献,1958年在纽约出版,上下两卷。作者William Willetts(魏礼泽)(汉学家、西方艺术史家)从中国的地理特色着手,系统梳理了玉器、青铜器、漆器、丝绸、雕塑、陶瓷、绘画、书法、建筑等中国艺术的各个门类。他坚持客观描述作品的方法,“并不对所讨论器物给予美学价值论断,而是让器物自己说话”。<\/p>
“让器物自己说话”,与观复博物馆“以物证史”的理念有异曲同工之妙。这也是我们选择翻译此书的原因。此次我们邀请到美国CCR(Chinese Cultural Relics《文物》英文版)翻译大奖获得者对此书进行正式专业的翻译,译者也是MLA(Modern Language Association International Bibliography美国现代语言协会国际索引数据库)和AATA(国际艺术品保护文献摘要)收录的美国出版期刊Chinese CulturalRelics的翻译团队成员。<\/p>
本着尊重原著的原则,此次翻译将存疑处一一译出,其后附有译者注。现在就让我们跟随本书,在绚烂璀璨的器物中,感受中华文明的博大辉煌。<\/p>
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其最基本的形式,以日本的Tenjikuyo为例,时代与宋代末期同时,昂头被用作柱间的支撑,完全独立于柱的系统。或许人们对其最初的概念和功能的地位就是这样。柱间的榫卯还在最初发展期时,这种榫卯只是在墙面内支撑,支撑过道檩条和屋檐檩条的问题变得突出。由于两种檩条距离墙面很远,所以需要使用悬臂梁加以固定。日本Hyogo-ken的Jodoji寺(时代为12世纪晚期),柱间的昂头是一种坚固有韧性的杠杆,架在更短更低的两个支撑杆上,整体上有一个支撑点位于墙梁之上。<\/p>
图103b展示了苏州保圣寺的大厅的斗拱图,精妙而完美,年代大概为1013年以后。<\/p>
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图103b<\/p>
这座寺庙当时重建,后来被毁。这里的臂被夹入一个层-踩柱系统。其支点有一个更短的辅助杠杆提供,一端顶住墙面,由两层纵向臂固定。杠杆两段平衡了过道檩条和屋檐檩条,借助三点式横跨木实现这种平衡。虽然从某个角度来看,这一系统显得很原始,宋代晚期的系统和日本后来的衍生系统中,横向杠杆以鸟嘴形为末端,并在第二昂头也模仿,但这种系统还是生动地展现了这种支撑的基本原则。<\/p>
明清时代,墙面外安排了列柱,构成一个建筑外的开放空间。由于列柱正好位于屋檐下,它们革新了屋檐支撑的手段原则,摈弃了从墙面寻找支撑的方式。层-踩结构不再需要发挥机械功能,变得可有可无,昂头和辅助被抛弃。但并不是消失无踪。其对角线装饰还是被珍视。无论如何,横向斗拱末端的造型在南宋和明清都模仿鸟嘴形状,这可以追溯到唐代的斗拱昂头。作为一种遗迹,表面其早期的功能性遗存的影响。<\/p>
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