This site uses cookies.
Some of these cookies are essential to the operation of the site,
while others help to improve your experience by providing insights into how the site is being used.
For more information, please see the ProZ.com privacy policy.
Freelance translator and/or interpreter, Verified site user
Data security
This person has a SecurePRO™ card. Because this person is not a ProZ.com Plus subscriber, to view his or her SecurePRO™ card you must be a ProZ.com Business member or Plus subscriber.
Affiliations
This person is not affiliated with any business or Blue Board record at ProZ.com.
English to Chinese: Eurocript's rebranding project
Source text - English Euroscript rebrands itself under the name “amplexor”
-The journey of transformation from a language service provider into a global digital content management solution provider
Bertrange, 28 September, 2015
A re-branding project is one of the most responsible and hazardous marketing activity that a company can perform. But when your business has grown and evolved as much as euroscript´s, it is inevitable to do so and the only question remains: “When is the right time? “
In the past 28 years due to both organic growth and acquisitions, euroscript has become much more than a language services and content management provider, more than it can communicate through its existing brand. The latest acquisitions deepened our expertise in two important aspects within our business offering. From one hand, the acquisition of Amplexor NV in Belgium further strengthened our Digital Experience Management solutions, bringing the latest technologies and best practices when it comes to Web Content Management Systems and digital marketing strategy. On the other hand, we made an enormous step forward in the field of regulatory compliance and content & process management solutions purely dedicated to the Life Sciences sector by acquiring and integrating INFOTEHNA´s solution into our existing know-how. On top of that, we moved further this year with the acquisition of ForeignExchange Translations, a company which leads the medical translation industry. It brings a special expertise on medical device, pharmaceutical and biotech translations which creates a unique solution for the Life Science sector, covering the entire content lifecycle with a specialised knowledge from both service and technology side designed for the industry.
All these events triggered the need to reflect on our new capabilities in our brand communication. Moreover to communicate what we are: One Global Team, with an outstanding knowledge of software technology, industry and business process specific content & document management solutions.
During the re-branding process we came to the conclusion that we will use a brand from the already available brand portfolio, namely “AMPLEXOR”. It is derived from the Latin verb "embrace". This sets our approach as we embrace the entire content management process, diving into the necessary details, without losing the overall picture. We have identified AMPLEXOR as a Digital Solution Provider delivering Global Compliance, Digital Experience & Content solutions, amplifying our customers´ business by achieve process efficiency, increase revenue generation, reduce time-to-market and secure quality and compliance.
Join us in the celebration in welcoming our new brand in the market and visit our new website at www.amplexor.com.
Translation - Chinese “欧文”品牌重塑，更名“amplexor”
——从“语言服务提供者”到“全球数字内容管理解决方案提供者”的蜕变
English to Chinese: The foreword for Scattered Sand by Gregor Benton英国汉学家班国瑞为《散沙》一书所作序言
Source text - English Foreword
The present movement of Chinese peasants – around the countryside,
from the villages to the towns and cities, from China to
the world, and around the world – is the biggest mass migration in
history. And it is among the world’s biggest social upheavals ever,
dwarfing centuries of European migration to the United States.
The rural migrants who are braving abuse by employers, discrimination
by urban natives, and repeated crackdowns and restrictions
by the authorities have driven China’s economy to new heights and
changed the face of China’s cities, while the earnings they send
home have helped lift villages out of poverty. Much of the migration
is seasonal, however, and during slowdowns and crises its
direction is reversed, as many of those laid off move back to the
villages to share their poverty and await the next rising tide. By
disappearing not only when they lose their jobs but also when they
grow old, fall ill, or get pregnant, peasant migrants subsidize urban
employers, the state treasury, and the lifestyle of richer urbanites.
Chinese rural-to-urban migration has been the subject of dozens
of books and hundreds of articles, written by experts and based on
prodigious research; their work is an exemplar among international
migration studies. Over the past few years, high-quality writing on
this subject in Chinese, English, and other languages has exceeded
in quantity the entire output of all previous such work, yet in it,
the voice of the migrant is seldom heard. The merit of this book
is that it lets Chinese rural migrants speak for themselves, so that
we can experience their world from their point of view and in their
own words. Scattered Sand displays the same empathy and sense of
authenticity as Chinese Whispers, Hsiao-Hung Pai’s acclaimed 2008
study of Britain’s hidden army of ‘illegal’ Chinese labour. Both
books maintain the rich tradition of socially progressive writing
founded in China in the 1930s and revived in the 1980s, in which
the narration is an act of collective identification and empowerment
and a main aim is to give voice to the voiceless.
Hsiao-Hung Pai is a Taiwanese who was able to communicate
uninhibitedly with her Chinese informants, which deepened her
identification with them. As a person committed by nature to equity
and justice, she is outraged by the self-interest of those in business
and government who control migrant employment. Documenting
abuses carried out on behalf of the rich and strong takes courage
in a country where those forces monopolize power and are not
used to being watched. Through her investigation, Ms Pai threatened
the interests of the new composite class of officials, business
people, and organized criminals who dominate the corrupt world
of Chinese state capitalism. On several occasions, things could
have turned nasty had her luck failed. As a British passport holder,
she could count on some immunity, and she has a native ability to
talk her way out of trouble. Even so, her work required greater
nerve and determination than most people have.
What did her informants tell her? Having gained their confidence
by showing sympathy and interest, she elicited a rich flow of
ideas, views, and stories from them. Her journey starts and finishes
at Moscow’s Yaroslavl Station, where she joins homeward-bound
migrants on the Trans-Siberian Railway. They paint her a sobering
picture of the often romanticized reality of international migration.
The pillaging by predatory police and other authorities starts
at the Russian border, intensifies at the destination, and is rounded
off with a final shakedown on re-entry into China. Migrant
traders suffer endless official rip-offs in Russia and occasional
attacks by xenophobic skinheads. Migrant labourers, driven out of
China by poverty and despair, are paid pittances by their Russian
employers and milked dry by the Chinese agents who recruit
and run them. Those who publicly resist the abuse risk fines and
deportation.
This picture bears little resemblance to that of the footloose
globe-trotter moving around the world in a cocoon of global
Chinese capitalism and culture, a representation that can be found
in some writings of the currently influential school of transnational
studies. Hsiao-Hung Pai’s important contribution to the debate
on transnationalism and ‘Chineseness’ is her unrelenting focus on
the different fates that await rich and poor. Where other authors
celebrate the migrants’ mobility in a frictionless, deterritorialized
age of ‘transilience ’ and ‘flexible citizenship’ and play down
the poverty, racism, and sexism of their world, she focuses on the
‘permanent journey of the mobile proletariat’ and the role of the
hostile state – at home and overseas – in controlling and exploiting
the petty trader and the migrant worker.
The bulk of the book records Hsiao-Hung Pai’s encounters with
rural migrants in Chinese towns and cities. They can suffer poor
health, accidents, and even death through their work, and they
are too poor to buy insurance. They accumulate debts they can’t
pay off. Local residents are more likely to show them contempt
than fellow feeling. Their relations with agents and employers are
rarely governed by rules, regulations, or contracts. The state-run
labour unions make no effort to recruit or represent them, and they
can’t afford legal arbitration. When their bosses fail to pay them
for months on end, or bully and deceive them, or subject them to
other arbitrary abuses, they have no remedy. They are ‘ghosts’,
people with no officially sanctioned existence, subject to routine
harassment and random cruelty and violence. They live in ghettoes,
aliens in their own country. Because conditions for them in
China are so dire, many will do practically anything to get themselves
or even their unaccompanied children to the rich West,
where again they face oppression and discrimination.
An even worse life is that of the ethnic migrants, the non-Han
segments in the Han cities, who form minorities within the minority
and live in ghettoes within the ghetto. They are even more
likely than the general migrant population to suffer random
police searches on the streets and maltreatment by authorities and
members of the Han majority. This is especially true in the current
political climate, where the establishment is playing the dangerous
game of stoking Han chauvinism disguised as Chinese patriotism.
Hsiao-Hung Pai describes two of these internal colonies, Yi and
Uighur.
There is little in this book to relieve the general sense of repression
without redress. The author occasionally reports some small
instance of verbal defiance, usually from older workers with
a memory of the rebel days. Another act of self-assertion she
describes is the Museum of Migrant Culture and Art, a samizdat
project set up by volunteers in a poor neighbourhood in Picun in
Beijing that proudly displays the history of migration with exhibits
donated by migrant workers. The museum staff has raised a
banner, ‘To work is glorious,’ an ironic play on Deng Xiaoping’s
‘To get rich is glorious.’ Pai also cites the rise in labour militancy
in 2010 to confirm that many migrant workers do not accept their
fate, but although conditions for the emergence of an independent
labour movement are better today than at any time since the 1920s,
most observers agree that one is not yet imminent.
Pai’s title, Scattered Sand, comes from Sun Yat-sen, father of
Chinese nationalism and leader of its democratic revolution
(which was not very democratic and not very revolutionary), who
called the Chinese people a sand rope, without fibre, but had high
hopes of the Chinese overseas, who he thought could be ‘mothers
of the Revolution’ because migration would change them. Yet it is
hard to see how he was right, for migration abroad has dissipated
the energy of the enterprising, and migration at home has greatly
widened the chasm between winners and losers, which bodes ill
for progressive change there. China, once one of the world’s most
egalitarian societies, is now almost as inegalitarian as South Africa
and Brazil.
Yet Hsiao-Hung Pai concludes her report on a note of optimism,
describing the migrants’ role in the recent unofficial strikes, which
she hopes are a first step to greater equity. But although a movement
of criticism and dissent does exist in China, it is less focused
and more disjointed than in the past, and even if its members do
manage to cohere, they will achieve little unless they can quickly
identify a way to heal the division between insiders and incomers
in the cities.
English to Chinese: The Artist statement of Dutch artist Pedro Bakker
Source text - English The following inscription can be read in Dutch on the Teekenschool art school building near the Rijksmuseum (National Museum): ‘Drawing is talking and writing simultaneously’.
The metaphor suggests that a talented artist can do without speaking and writing. What’s important is not what you have to say about a drawing, but only what you have drawn and what you can see.
Drawing is not talking, so I ask myself just what the inscription at the Teekenschool means, because I am inclined towards the opposite view. My claim is that drawing produces autonomous works of art, but that I have to speak, to write or to perform music to achieve a discursive and communicative result. The drawings are completed, but the concept of my narrative drawings is subject to change.
I mean by“concept” the story behind a series of drawings. Before I start working I begin with the formulation of the concept, an idea in rough with a title. Mostly I work the idea out and write the concept down as a project proposal for a new series of drawings, that I want to finish in the long term.
During the working period the narrative is developing in two different ways: on one side as a large coloured drawing, which is a mute, permanent presence when it hangs on the wall. On the other side my textual narrative is still developing when the drawings are finished.
It depends which way the textual narrative will take shape: it can be a written text on a series of drawings, for instance the narrative of the series “Burnt Home”. It also can be a song: last year I wrote the lyrics “Uncle and Aunt” and it seems that the narrative of “Burnt Home” is still not completed. Two times I have asked a performer or singer to complete the narrative of my other series of drawings.
Translation - Chinese 在Rijks博物馆（荷兰的国家博物馆）旁边的Teeken艺术学校的大楼上，你会看到一行用荷兰文写就的题词：“绘画就是同时说话和写作。”
English to Chinese: Lyrics by Dutch artist Pedro Bakker for his drawing The Goatfucker
Source text - English THE GOATFUCKER
There I was…
As a wandering
God Pan on grazing lands
There I am now between she-goats
At a farmhouse I am willing
To be the God Pan making love to a she-goat
I am not fucking a she-goat until I feel the need
Walking on autumn leaves
In a frightening
Oosterpark Amsterdam
The full moon lights up your body
I see you are menstruating
You have a smelly pussy
My goddess of blood
I am not fucking a she-goat until I feel the need
Is he Theo…
He seems embracing
His goat, they have fun
She is lying on her back
And she has been penetrated
Not by a muslim, but by lascivious God
There the goddess
Holds a billy goat
He stinks of pissing around
She-goat smells her rockabilly
And struggles with her bounded leg
On bended knees so helpless
Our fucker Van Gogh
I am not fucking a she-goat until I feel the need
English to Chinese: Kuper Gallery Exhibition Information
Source text - English Dieter Nuhr: Works from other Worlds – Photography on Textile
9th September – 9th November 2017
Pékin Fine Arts (Beijing) in co-operation with Matthias Küper Galleries is pleased to host the premiere exhibition of Dieter Nuhr
“Works from other Worlds – Photography on Textile”
Opening: Saturday 9th September 2017, 3 p.m.
Dieter Nuhr will be personally present at the opening
Stuttgart/Beijing – The internationally active Matthias Küper Galleries could not have found a better co-operation partner than the gallery of Pékin Fine Arts to show the premiere exhibition of the prominent artist and cabaret artist Dieter Nuhr.
Dieter Nuhr is well known from numerous TV programs like “Nuhr im Ersten” broadcasted by the First German Public TV station. For more than 15 years Dieter Nuhr achieves extraordinary high audience ratings in the German speaking world. Like almost no other cabaret artist Dieter Nuhr reaches his audience with his satirical and humorous texts. He is the only German cabaret artist who won not only the German Art Award but also the German Award for Cabaret Artists.
But Dieter Nuhr is also a visual artis. He studied fine art at the Folkwang School in Essen and he never stopped to create images, first as a painter, later as a photographer. First he worked with selfproduced cameras and later he added digital equipment. Many of his art works can be found in German museums and private collections.
His images are thoughtful, meditative and aesthetic and are resulting of his passion for travelling. In Beijing a selection of 32 works will be presented with themes from 5 continents and more than 21 countries including Mali, India, Bhutan, Nepal, Jordan, Chile, Peru, New Zealand, Island, Oman, Mexico and may other countries.
“My work as visual artist is just as important to me as my work on the stage. The fact that I reached more people with the one form than with the other says nothing about the quality of this work or the degree of intensity”, says Dieter Nuhr.
As a visual artist, Dieter Nuhr is concentrated on photography. His works should not be understood as travel impressions but direct the eye away from the own daily experiential world to foreign countries and cultures. They do not show the presumed beauty or even the romantic side of these exotic worlds. They show the foreign, the detail that is representative for the big picture and guide us to memorial sites of cultures, strange and charming at the same time or to foreign landscapes that are not shown as tourist impressions but as an impressive stage for natural events. Dieter Nuhr has a unique frontal view that always appears to show the grasped view as a stage space.
For more information please contact us at [email protected] or tel: (852) 2177 6190
Translation - Chinese Dieter Nuhr: Works from other Worlds – Photography on Textile
9th September – 9th November 2017
迪特尔•努尔：异境影像——布面摄影
2017年9月9日——2017年11月9日
Pékin Fine Arts (Beijing) in co-operation with Matthias Küper Galleries is pleased to host the premiere exhibition of Dieter Nuhr
北京艺门画廊、库伯画廊协同呈现迪特尔•努尔中国首展
“Works from other Worlds – Photography on Textile”
Opening: Saturday 9th September 2017, 3 p.m.
Dieter Nuhr will be personally present at the opening
“异境影像——布面摄影”
开幕酒会：2017年9月9日（周六）下午3：00
艺术家迪特尔•努尔本人将出席开幕酒会
Stuttgart/Beijing – The internationally active Matthias Küper Galleries could not have found a better co-operation partner than the gallery of Pékin Fine Arts to show the premiere exhibition of the prominent artist and cabaret artist Dieter Nuhr.
斯图加特/北京——为举办杰出艺术家迪特尔•努尔在中国的首次个展，活跃于全球艺术界的库伯画廊与北京艺门画廊组成了最佳合作拍档。
Dieter Nuhr is well known from numerous TV programs like “Nuhr im Ersten” broadcasted by the First German Public TV station. For more than 15 years Dieter Nuhr achieves extraordinary high audience ratings in the German speaking world. Like almost no other cabaret artist Dieter Nuhr reaches his audience with his satirical and humorous texts. He is the only German cabaret artist who won not only the German Art Award but also the German Award for Cabaret Artists.
随着包括德国第一公共电视台《努尔第一》在内的一系列电视节目的播出，迪特尔•努尔成为了家喻户晓的人物。15年以来，他的节目在德语世界保持着相当高的收视率。与其他表演艺术家不同，迪特尔•努尔善于用富于讽刺和幽默的文本打动观众。他是史上首位同时囊括“德国艺术奖”和“德国表演艺术奖”的艺术家。
But Dieter Nuhr is also a visual artis. He studied fine art at the Folkwang School in Essen and he never stopped to create images, first as a painter, later as a photographer. First he worked with selfproduced cameras and later he added digital equipment. Many of his art works can be found in German museums and private collections.
迪特尔•努尔同时还是一位视觉艺术家。他曾就读于德国埃森市的福克旺艺术学校，后从事绘画、摄影，在视觉影像方面的创作从未间断。他早期使用自制相机进行创作，后来又加入数字设备。其作品在德国被各美术馆和个人广泛收藏。
His images are thoughtful, meditative and aesthetic and are resulting of his passion for travelling. In Beijing a selection of 32 works will be presented with themes from 5 continents and more than 21 countries including Mali, India, Bhutan, Nepal, Jordan, Chile, Peru, New Zealand, Island, Oman, Mexico and may other countries.
他的影像作品源于他对旅行的激情，充满沉思冥想，极富美感。这次将在北京展出的32幅作品分别创作于五个大洲，21个国家，包括马里、印度、不丹、尼泊尔、约旦、智利、秘鲁、新西兰、爱尔兰、阿曼和墨西哥。
“My work as visual artist is just as important to me as my work on the stage. The fact that I reached more people with the one form than with the other says nothing about the quality of this work or the degree of intensity”, says Dieter Nuhr.
“对我来说，这些视觉艺术作品和我在舞台上的表演同样重要。这是用不同的方式与更多人沟通，无关作品的质量和力度。”迪特尔•努尔说。
As a visual artist, Dieter Nuhr is concentrated on photography. His works should not be understood as travel impressions but direct the eye away from the own daily experiential world to foreign countries and cultures. They do not show the presumed beauty or even the romantic side of these exotic worlds. They show the foreign, the detail that is representative for the big picture and guide us to memorial sites of cultures, strange and charming at the same time or to foreign landscapes that are not shown as tourist impressions but as an impressive stage for natural events. Dieter Nuhr has a unique frontal view that always appears to show the grasped view as a stage space.
作为一位视觉艺术家，迪特尔•努尔专注于摄影创作。他的作品不应被理解为简单的旅行印象，而是离开熟知的世界，对另一国家和文化的目光投射。它们并不呈现人们通常期待的异国他乡的美景或其浪漫一面，而是表现着世界图景中具代表性的异质细节，将我们引向奇特而迷人的文化遗址或作为自然事件上演舞台的异域风景。迪特尔•努尔总能将他以独一无二的主视图视角捕捉到的景象呈现为舞台空间。
For more information please contact us at [email protected] or tel: (852) 2177 6190
English to Chinese: LEAP Magazine 2018 HK Edition-Helena and Miwako
Source text - English Before, there always were kids. Now the playground is empty.
The film Helena and Miwako was produced as a collaboration between artists Ei Arakawa and Henning Bohl; Helena is Bohl’s blonde daughter, and Miwako is Arakawa’s elderly mother. As it begins, Helena arrives in Fukushima looking for the Japanese women’s national soccer team (they have apparently disappeared). When the work premiered at the Carnegie International in 2013, it was largely understood as a meditation on the aftermath of the 2011 nuclear disaster in Fukushima, reflecting a tone of emptiness, alienation, and abandonment that is as psychological as it is architectural. Revisiting the work today, the fact that the work is almost entirely set on empty playgrounds is striking: the play and chaos that we expect in these landscapes are absent, replaced instead with a heavy silence that becomes a presence in itself, an unwelcome guest. While the emotional connection to Fukushima is certainly real—it is Arakawa’s hometown—there is also a universality to the science-fiction futurism of these sets, as if the space stations of utopian futures and desert encampments of post-apocalyptic visual imaginaries have been replaced by something both more prosaic and somehow simply weirder. It’s a near future that seems to have always already arrived, one in which children are the major actors but play is always suspended in the future, sublimated into the idea of watching a soccer match. When shown as an installation, the film setting includes Ei Arakawa’s hand-sewn soccer balls with cores of styrofoam, a further nod to the significance of this object—a crystal ball that, clouded over, is too delicate to kick around but also useless for its original purpose.
The playgrounds featured in Helena and Miwako are, without exception, designed by Mitsuru Senda, Japan’s foremost architect of play. His central concept is the “circular play system,” and the playgrounds produced under the sign of the circle are based on the action of the chase, at which Senda arrived through empirical observation—led in a circle, the chase never has to end. Gabriela Burkhalter summarized the principles of Senda’s circular play system as follows:
1. There must be an overall circulation of play.
2. Children must be able to experience variation within the circle.
3. The circle must contain a symbolic high point.
4. The circle must contain a place where children can experience “dizziness.”
5. The circle must contain large and small gathering places.
6. There must be shortcuts.
7. The circle must be accessible through a number of points so that it comprises a “porous” space.
In this design manifesto we find something that approaches a revision of Joseph Campbell’s narrative theory (or, to be a little crass, Dan Harmon’s story circle). Perhaps this is the kind of near-future narrative that emerges through Helena and Miwako: a road movie with a symbolic high point, dizziness, gathering, shortcuts, porosity. A circle.
English to Chinese: 郑和永乐十二年泥金书经卷的流传The Handing-down of Zheng He’s Handwriting of the Buddhist Sutra (Ming Dynasty, Yongle Period)
Source text - English 郑和永乐十二年泥金书经卷的流传
除了七下西洋之外，郑和主要活动于南京。因此在郑和死后，该永乐十二年泥金书经卷的归宿很可能就是郑和属意的南京某一寺庙，这与浙江平湖报本塔天宫发现的比丘圆瀞为郑和缮写的泥金书《妙法莲华经》应当是一致的 。但据拍卖方提供的拍品资料，只能知道郑和永乐十二年泥金书经卷系日本某收藏家提供，至于此前的递藏情况则一无所知。这样来看的话，与享誉寰宇的明初航海家郑和如此密切的几乎可以誉之为国宝级的铭心绝品，几乎称得上是横空出世了。
Translation - Chinese The Handing-down of Zheng He’s Handwriting of the Buddhist Sutra (Ming Dynasty, Yongle Period)
Apart from his seven voyages to the west, Zheng He was mainly based in the city of Nanjing. Therefore this handwriting probably ended up in some temple he adored in Nanjing after his death, the same as the handwriting of Saddharmapundarika-sutra made for him by Bhikkhu Yuan Jing ended up in the upper palace of Baoben Tower in Pinghu, Zhejiang province. Yet for now we know nothing about the handing-down of this handwriting but it was provided by a Japanese collector according to the information submitted by the bidder. So it seems that the peerless artwork of national treasure-class closely related to the world-renowned navigator Zheng He has come out of nowhere.
Since it is not recorded, the only clue with which we may conclude the handing-down of this handwriting is the two red seals on the left half of the painting of Skanda Sky Gate in the Usnisa Vijaya Dharani. However, the two red seals are only clear enough to show that there are four characters on the upper one and eight characters on the lower one. Which is more depressing, the information from the bidder regards ‘the two seals are both from modern times, probably the seals of Japanese collectors after it was taken away from the temple and sold to them.’
Shortly after received the pictures of the handwriting sent by Long Museum, I only recognized that the last two characters (if the characters read right to left by routine) of the four-character seal were ‘Wang Bao’, and there were characters ‘Ming’, ‘Tang’ and ‘Shu Hua Yin Ji’ in the eight-character seal. The two seals are relatively modern, unlike those of Ming Dynasty, so I presumed at first they were seals of some collector in Qing Dynasty before the handwriting was taken to Japan. After persistent identification and analysing, I finally recognized the whole text of the eight-character seal as ‘Ming Shan Tang Lan Shu Hua Yin Ji’ . ‘Ming Shan Tang’ is the name of the study of Hong Xiao, the second Price Yi, the seventh son of Yin Xiang, Price Yi of Qing Dynasty. Hong Xiao is a bibliophile and poet who was famous for his rich collection of books. In Qianlong period he made a copy of The Story of the Stone, which is the Yimao Copy discovered and verified in the 1950s. It’s worth mentioning that this intaglio seal ‘Ming Shan Tang Lan Shu Hua Yin Ji’ on Zheng He’s Handwriting is also seen on Pines and Cranes painted in the 43th year of Kangxi period (1704 AD) by Wang Hui, a famous painter in Qing Dynasty, one of the ‘Four Wangs’. The Pines and Cranes in Gardian 2014 Autumn Auction was once a piece of collection in Price Yi’s mansion, thus we can suggest the upper intaglio seal ‘□□ Wang Bao’ on Zheng He’s handwriting of the Buddhist Sutra should be ‘Yi Qin Wang Bao’.
The special connection between Price Yi Yin Xiang and the father and grandfather of Cao Xueqin, the author of Dream of the Red Chamber has been colorfully interpreted by scholars on Redology whose fundamental historical material is the red comments writen on the memorial of regards from Cao Fu by Emperor Yongzheng in the second year of Yongzheng period (1724 AD). It says, ‘I’m fine. You are entrusted to Price Yi on imperial orders to state your issues, so just listen to the price on everything. He will look after you as long as you don’t do anything wrong, but no one could do you any good if you commit any crime. Don’t buther working any social connections, it is useless and trouble-inviting. Ask no one but Prince Yi for help. Why you choose the messy and harmful over the easy and helpful? Given your consistent malfeasance, there might be someone blackmailing you in my name, so here I specially inform you for fear of your misunderstanding. Just ask Prince Yi if anyone blackmails you. He always loves you and pities you, that’s why I entrusted you to him. Make up your mind, don’t panic. There will be severe punishment if you do anything to ruin my reputation, by when even the price can’t save you. Specially instructed.’ In the comments, ‘he always loves and pities you’ is most clear to show how close were Prince Yi and the Cao Family. The family was fond of Buddhism, and was fabulously fich and prestigous when Cao Fu and his father Cao Yin was in charge of Jiangning Textile Office in Nanjing due to the special favor of Kangxi Emperor, so it has close relationship with the temples. The catalogue of Cao Yin’s book collection Jian Ting Catalogue shows there were more than twenty of them in Zen Buddhism. So it’s possible that they used their power to get Zheng He’s Handwriting of Buddhist Sutra which was made during his time in office in Nanjing, and passed this present on to Prince Yi.
During the 1861 Coup Prince Gong Yi Xin and Empress Dowager Cixi launched, the sixth Prince Yi Zaiyuan was executed, and the paintings and calligraphy treasured for generations in Ming Shan Tang were “scattered outside. Yang Shaohe originally from Liaocheng, Weng Tonghe originally from Changshu, Pan Zuyin originally from Wuxian and Zhu Zongcheng originally from Qiantang got many of them. The collector’s seals read ‘Yi Fu Shi Bao’, ‘An Le Tang Cang Shu Ji’ and ‘Ming Shan Tang Lan Shu Hua Yin Ji’.’ Yet said by The Miscellany since Daoguang and Xianfeng Period, ‘Since Prince Yi Zaiyuan was disentitled, although his mansion was obtained by the ninth prince Duke Fu Yihui, the other estates still went to his son Pubin, styled Wenzhai. He moved to the small house located in Dong Si Tou Tiao Dong Kou. The collection of paintings, calligraphy and antiques here were all of top grade, among which were hundrads of books from Song Dynasty sold afterwards to bookshops like San Huai and Tongli near Longfu Temple. Paitings were of such a great number that some of them were not even framed. The porcelain and jade were as many, and its well-known Guqin chords and exquisite fans were countless, not sold out after forty years of selling. Till the year of Gengzi, Pu was still alive, yet the things were almost gone. The rare books obtained by Weng Wengong and The Southern Inspection Tour painted by Shi Gu and Wang Yun were all from Prince Yi’s mansion. Also a lot of them were obtained by Sheng Boxi at the end of Tongzhi period and early in Guangxu period. The four-volume masterpiece The Southern Inspection Tour were bought by a northeastern businessman whose surname was Li for just tens of thousands of Yuan.’ By this taken, Zheng He’s Handwriting of Buddhist Sutra might also be let out by the descendants of Price Yi during that time.
It’s worth mentioning that a black-and-white picture was displayed at the Memorial Exhitition for the 600th Anniversary of Zheng He’s Seven Voyages held by China’s Ministry of Culture and a preparatory group, which was exactly the picture of the last page of Zheng He’s Handwriting of Buddhist Sutra (Picture 13). Only that at the exhibition the label page of Zheng He’s writing of vows on the Sutra was mistaken as The Memorial Tablet of Zheng He’s Prayer for Marine Safty set up in his forth voyage, and there were other mistakes in the annotation of the writing of vows, like ‘Yong Yuan Kan Song Gong Yang’ was annotated as ‘Qiu □ Zhuo Song Gong Yang’, and ‘Huang Tu Yong Gu’ was annotated as ‘Huang Guo Yong Gu’. Nevertheless, from this we can inffer that Zheng He’s Handwriting of Buddhist Sutra might be taken to Japan during China’s national crisis in late Qing and early Republic period when photography already existed, which gives special meaning to the return of this national treasure after a hundrad years of wandering abroad.
About The Author
Shao Lei, researcher of Naning Municipal Museum
Address: No. 4 Chaotiangong Ave., Nanjing
Phone: 13951977158
Email: [email protected]
English to Chinese: LEAP Magazine 2018 HongKong Editor's Note
Source text - English The studio is a playground for artists. The art fair is a playground for collectors. The art world is a playground for socialites and participants in the culture. Art is a playground, full stop.
We’re coming to think of Hong Kong, in particular, as a playground for the Asian art world, a fun spot where we all convene once or twice a year to give some of our favorite play structures another go-around with new friends and old (one is silver, but the other’s gold). For this year’s Hong Kong special issue, LEAP has done an inventory of art playgrounds, including play structures designed by artists, playgrounds planned by architects and creative thinkers, and artists’ memories of their own time on playgrounds. They range from the highly conceptual to sheer, childish fun, and I am confident that readers will find more than one echo of their own experience with the art fairs this week.
I’d like to call particular attention to two projects dealing with playgrounds in Hong Kong that won’t be fully realized until later in the year. The first is a research project on modernist playscapes in the city, funded through the M+/ Design Trust Research Fellowship and directed by. The early stages of their research are reflected in an introduction to the Shek Lei Adventure Playground presented in these pages. The second is an exhibition that will be opening at the M+ Pavilion later in the year, in which artist Danh Vo takes on Isamu Noguchi’s playscapes (which are also featured in this issue). Details are scarce as we go to print, but it should be said that just the whisper of this project served as the inspiration for our playground issue, so we’ll certainly be back in the city for another spin on the merry-go-round this fall.
I hope to see more in the way of art playgrounds—art as a playground is lovely, but a playground for artists is something else.
Translation - Chinese 工作室是艺术家们的游乐场，艺术博览会是收藏家们的游乐场。艺术界是社会名流和文化参与者们的游乐场。艺术，是一个游乐场。
其中特别值得关注的是将在今年下半年完成的两个与香港游乐场有关的项目。一个是由M+/ Design Trust研究资助计划资助并指导的，对香港现代主义游戏环境的研究项目。本期对Shek Lei 冒险乐园的概述即属该研究早期阶段成果。另一令人瞩目的是下半年将在M+艺术馆举行的艺术展，届时Danh Vo 将对Isamu Noguchi的游戏环境（对此本期也有特别报道）加以呈现。截至付印之时，该项目大多相关细节仍未披露，但其意念已经成为了本期“游乐场”的灵感来源，这个秋天我们必将再次拜访这座城市，参与这一连串别开生面的活动。
关于艺术游乐场，我还希望看到更多——艺术作为游乐场是可爱的，而艺术家的游乐场又是另一回事了。
English to Chinese: Hull: UK City of Culture 英国文化城市之：赫尔
Source text - English Hull: City of Culture
UK City of Culture
The UK City of Culture is a title awarded by the Department for Digital, Culture, Media and Sport every four years to a city in the United Kingdom, with the winner hosting a year-long programme of cultural events and celebrations. Having launched with Derry-Londonderry in 2013, the prestigious title for 2017 was given to the port city of Hull in East Yorkshire. The City of Culture is a chance to celebrate a city’s unique qualities and open its cultural life to the rest of the world.
Why Hull?
Hull is a city that has often been overlooked. Following decades of economic hardship and industrial decline, many Brits were surprised when the city won the bid for the much-coveted City of Culture accolade back in 2013. However, new visitors to the city have discovered that there’s a lot more to Hull than meets the eye.
Hull is a hub for exchange of ideas and people and is one of the country’s largest ports, with strong trading links to northern Europe. The city has been a centre of free thinking, bold ideas and radicalism throughout history. Towards the end of the 18th century it was the home of abolitionist William Wilberforce (1759–1833) and writer, philosopher and women’s rights advocate Mary Wollstonecraft (1759–1797). Aviator Amy Johnson (1903–1941) and poet and novelist Stevie Smith (1902–1971) also took on different strongholds of male-dominated culture: Amy Johnson broke into the world of aviation as the first woman to fly from Britain to Australia; and Stevie Smith took on the literary world, producing one of Britain’s most popular poems, Not Waving but Drowning. To find out more about the women who helped shape Hull’s culture, watch the video above.
Hull is famously the home of poet Philip Larkin, and more recently former Poet Laureate Andrew Motion, who lectured at the University of Hull where fellow poet Roger McGough studied. Hull’s first theatre, Hull New Theatre, opened in 1939, followed by the Hull Truck Theatre in 1971. The creation of Hull Truck Theatre by actor Mike Bradwell is indicative of the passion and determination of actors from Hull. Other home-grown stars include Sir Tom Courtenay, Maureen Lipman and Ian Carmichael, as well as a younger generation including Reece Shearsmith, Debra Stephenson and Liam Garrigan.To get an insight into how Hull’s acting talent has impacted art and creative practice in the city today, watch the video below.
Art takes to the streets
For Hull 2017, the arts have spilled out beyond the walls of the city’s galleries and theatres to envelop its public spaces with a series of festivals. In the video above, Hull residents discuss what makes their home city the ideal choice for City of Culture. The year’s festivities launched on New Years Day, with the city putting on a dazzling festival of colour. A huge firework display was held on the waterfront, attracting a crowd of 25,000, while the inaugural event Made in Hull transformed the city’s Victoria Square into a medley of sound and light featuring a film installation by artist Zsolt Balogh entitledWe Are Hull. Watch highlights of the opening event and find out more about the City of Culture seasons in the videos above.
What’s next for Hull?
As the city’s year in the spotlight draws to a close, event organisers, artists, residents and audiences are reflecting on a transformational year of cultural regeneration. Hull 2017, the company formed to run the City of Culture, are also looking to the future, and will continue their work into 2018 and beyond as a permanent independent arts organisation under the new name of Culture Company. In partnership with the city’s proud residents, the organisation is determined to carry on the legacy of the year’s success, and retain Hull’s strengthened reputation and renewed visibility as a vital national hub for culture, creativity and artistic excellence.
Translation - Chinese
“英国文化之城”这个称号每四年由数字、文化、传媒以及体育部门授予某一座英国城市，获此称号的城市将举办为期一年的文化活动和庆典。去年，此荣誉称号花落东约克郡港口城市赫尔。当选“英国文化之城”是一座城市展示自己独特魅力、向全世界展现文化生活的契机。
English to Chinese: Celebrating diversity: The Turner Prize 多样性崇尚：特纳奖
Source text - English Celebrating diversity: The Turner Prize
Since its inauguration in 1984, the Turner Prize has become the UK’s best-known and most prestigious art prize.
Never shying away from showcasing provocative artworks – notable examples of which include Damien Hirst’s famous formaldehyde-preserved shark, and Tracey Emin’s intimate My Bed – the prize has often courted controversy. But 20 years later, past Turner Prize-nominated artists have gone on to become some of the biggest names in British contemporary art. The prize has also made giant leaps in bringing “challenging” contemporary art and emerging practice to a mainstream audience.
Formerly exhibited solely in London, the Turner Prize is now put on outside the capital every other year. This year, to coincide with its selection as the UK City of Culture 2017, Hull has been chosen to host the exhibition at Ferens Art Gallery.
Each year sees four artists shortlisted for the prize, selected for an “outstanding exhibition or other presentation” in the preceding year. The selected artists are all British, but this criterion is extended to include artists who work primarily in Britain, or who were born in the country but now work elsewhere. Many people see the prize as a bellwether for the current mood of the nation, with nominated artists capturing something of what it means to be British at that moment. Until this year, the prize has been limited to showcasing the work of artists below the age of 50, but this stipulation has been scrapped to acknowledge that artists can achieve breakthrough moments at any stage of their career.
This year’s shortlist includes two artists whose age would previously have disqualified them, and the exhibition is more exemplary of the spectrum of British art practices than ever before. Each of the artists works in a different medium, looking at different themes and ideas, but there are striking similarities across the exhibition, with themes of ethics, representation, identity and otherness pulsing through the show.
Rosalind Nashashibi
Rosalind Nashashibi works in 16mm film to create politically charged works. The analogue medium gives her work a particular liveliness and spontaneity that captures her interest in people. With a documentarian’s eye, Nashashibi captures ordinary people in real situations, but also stages careful interventions to craft her narratives. In the video below, she discusses how, during the filming of one of the works presented in her Turner Prize exhibition, her trip to Gaza was abruptly halted due to the increasing violence, and how important this disruption eventually became to the story the film tells.
Lubaina Himid
Lubaina Himid is interested in the representation of black people in history and in the media. She often takes existing portraiture as her starting point – pictures of black footballers in newspapers, for example, or portraits of black people in William Hogarth’s paintings. In a recent interview with Tate, Himid describes how her work explores themes of belonging: “I’m interested in what it means to belong, and as a result of that I’m interested in expressing how black people have contributed to the cultural landscape in Britain.” Watch the video below to hear her expand on these ideas as she creates a new acrylic-on-newspaper work.
Hurvin Anderson
Hurvin Anderson is a painter who looks at the ordinary activities of black people, set alongside images of civil rights leaders and black heroes. In Hull’s Turner Prize exhibition, his paintings use specific motifs – a boy climbing a tree; a barbershop – to depict the state of living somewhere and thinking of somewhere else. He is interested in the fusion of two different places, and in the video below he talks about how he looks to Vincent van Gogh and William Coldstream for inspiration when depicting this merging of places and identities.
Andrea Büttner
Working primarily in woodcuts and prints, Andrea Büttner uses the medium as a way to capture the physicality of painting or drawing, but in a quickly reproducible way. Her work is concerned with ethical questions about status, in particular looking at shame and poverty. Her Turner Prize exhibition features large-scale images of beggars alongside prints of the abstract smudges created by fingers moving across a smartphone screen. In the video below, Büttner talks about how the motif of the hand is used to emphasise the intimacy of her subject matter and pose her broader philosophical questions.
Expertise