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Congshan Zhou
PhD of literature, accurate-productive

Berlin, Berlin, Germany
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Feb 17 (posted via ProZ.com):  Just finished a small MTPE project on instructions for use, 1600 words, English to Chinese. Time to have a good night! :) ...more, + 2 other entries »
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Portfolio Sample translations submitted: 4
English to Chinese: The Short Songyang Story - 松阳小故事
General field: Social Sciences
Detailed field: Architecture
Source text - English
The Short Songyang Story

This publication summarises the content of our international conference in Songyang, which represents the results of an exploration of rural development in China. The conference was part of our long-term enquiry programme Regions on the Rise and is a continuation of an almost two-decades-long intensive exchange, relationship and cooperation between Aedes and China in the field of the built environment.

In 2016, we opened this new chapter in Songyang – a rural region southwest of Hangzhou – as part of our fruitful relationship with Wang Jun, Secretary of the CPC Songyang County Committee. In the course of preparing the Aedes exhibition Rural Moves – The Songyang Story we had the opportunity to explore the exemplary work of the Beijing-based architect Xu Tiantian during an almost four-week-long travel in 2017 to gain a deeper understanding of her built ‘acupunctural interventions’. Following her holistic concept, which was supported by the local government, she implemented a form of rural ‘healing matrix’. Instead of focussing on a few singular architectural projects only, the strategy includes a number of small buildings with different functions related to the local landscape, community and economy. Supporting this strategy, various start-ups and actors from industry, infrastructure and governance implemented new concepts to provide incentives for the young generation to remain in the countryside or to convince others to return from metropolitan regions. This approach produced new spaces of opportunity, stimulating economic developments by protecting the identity, the traditional roots and the character of this specific rural region.

During the past five decades, governments, city planners, companies, architects, the academic community and the real-estate industry from all over the world have primarily discussed urban developments and the consequences of the increasing urbanisation processes, while rural regions worldwide were neglected. Meanwhile, the forgotten ones of the ‘hinterland’ demand their rights for equality and migrate to the cities in hope of prosperity.

The development in Songyang appeared to us as an outstanding and exemplary strategy to counter steer this pressing conflict. And while not every detail or building from Songyang can be applied one-to-one in the Western context, the approach and method by Xu Tiantian and the local government was what we considered to be relevant to show to the world. The Rural Moves exhibition at Aedes Architecture Forum in Berlin and at the Venice Architecture Biennale in 2018 received extensive global attention.

This positive momentum inspired us to organise this international conference and network event in Songyang together with the local government, inviting international experts to the Chinese province to share knowledge and experience, while exploring the built projects and concepts on excursions in the beautiful countryside.

We are excited that the Songyang Story continues: The exhibition has been shown in more destinations, such as Vienna, and a part will be on display at the London Design Museum in September 2019. The conference topics have been exported to various places and the international media is spreading the word. Furthermore, we are glad that the connections we initiated turned into a new mode of knowledge exchange: In May 2019, the Songyang development model was presented at UN-Habitat’s annual assembly in Nairobi and in October 2019, UN-Habitat and Songyang will commence a five-year collaboration programme.

A special thank you to Wang Jun, Secretary of the CPC Songyang County Committee, and his fantastic team for organising a conference, where all participants and guests felt cordially welcome and at home.

Thank you to Eduard Kögel and the team of ANCB for conceptualising and coordinating the conference and this publication.

We were delighted that participants and audience from all over the world followed our invitations, so thank you to everyone who joined the debate and shared their knowledge, which is now compiled in this book.






Translation - Chinese
松阳小故事

本书是2018年松阳 “乡村振兴” 国际论坛的一个总结。此次论坛展示了中国农村发展探索的成果,是我们长期研究关注的 “区域振兴” 项目组 成部分,同时也是Aedes建筑论坛与中国建筑领域近二十年深入交流与 合作的延续。

2016年,我们在杭州市西南部山区与松阳县党委书记王峻结缘,从此开始一段新的故事。在准备Aedes展览项目 “乡村变迁——松阳故事” 的过程中,我们于2017年在松阳开展了长达四星期的考察,探寻了北京 建筑师徐甜甜在此的建筑作品,以深入了解其“建筑针灸”的干预办法。在当地政府的大力支持下,她从宏观角度出发,在松阳实施乡村 “治愈矩阵” 策略。该策略不局限于单个大型建筑,而是将注意力放在一系列小型建筑 上它们与当地景观、社区和经济息息相关且功能各异。为响应此政策,很多来自工业、基础设施建设和政府的初创企业及参与者也加入其中,以鼓励几年轻一代留在农村或说服其从大城市返乡。这一措施带来了新的机遇, 在保护当地乡村传统和特色的前提下,刺激了当地的经济发展。

在过去五十年里,全球各地政府、公司、城市规划师、建筑师、学术界和房地产业都在讨论如何使城市快速发展以及如何应对其不利后果,然而乡村地区的发展却被忽视。与此同时,乡村里被遗忘的人们为争取平 等的权利和富裕的生活而大量涌向城市。

在我们看来,松阳县的发展模式是解决这种紧迫冲突的出色范例。 在松阳案例中,虽然并非每个细节或建筑都能在西方被复制,但我们认为,把徐甜甜和当地政府所采取的方法措施展示给世界非常重要。2018 年,“乡村变迁” 主题展览在柏林Aedes建筑论坛和威尼斯建筑双年展上 展出,受到了来自全球的广泛关注。

这些积极的反馈激励了我们继续与松阳政府合作。2018年11月我们一起在松阳组织了这次国际论坛,并有幸邀请到来自全球各地的专家来此分享经验,并在美丽的乡村风光中,一起实地考察这些建成项 目。令我们高兴的是,松阳故事并没有就此结束,而是被继续讲下去: 该展览已经在维也纳等更多地方展出,2019年9月部分展品还将在伦敦设计博物馆展出。论坛所讨论的问题已经传播到世界各地,并得到了国际媒体的广泛关注。更令人欣喜的是,我们所发起的联系网络促成了更多交流二2019年5月,松阳发展模式在内罗毕联合国人居署年会上展览;2019年10月,联合国人居署和松阳县将商讨未来五年的合作计划。

在此,我们特别感谢松阳县党委书记王峻和他出色的团队,感谢他 们为组织本次论坛作出的巨大努力。我们所有嘉宾和与会者都在细致的 接待中感到了极大的热情与真诚,仿佛回到了自己家。

另外,我还要感 谢爱德华・柯格尔和ANCB团队在论坛及此书的策划与落实工作中所作 出的卓越贡献。

我们感到荣幸的是,来自世界各地的嘉宾和观众能够接受邀请,来到松阳分享和交流。在此我们由衷地感谢每一位与会者,是你们所有人的参与,才促成了这本书的出版。
German to Chinese: Vorwort für "Regiekunst China" - 《中国导演观点》 前言部分
General field: Art/Literary
Detailed field: Poetry & Literature
Source text - German
Das vorliegende Buch ist aus der langjährigen Zusammenarbeit zwi- schen dem Internationalen Forschungskolleg »Verflechtungen von The- aterkulturen« an der Freien Universität Berlin und der Theaterakademie Shanghai hervorgegangen. Im Zentrum der gemeinsamen Interessen standen die Begegnungen und daraus resultierenden Verflechtungen zwischen chinesischen und deutschen Theaterformen. Dabei fassen wir unter den Begriff »Theater« alle Formen eines Sprech-, Musik- und Tanztheaters ebenso wie entsprechende Mischformen bis hin zu eini- gen Installationen. Verflechtungen haben zur Voraussetzung, dass bei den Begegnungen zwischen Vertretern unterschiedlicher Theaterfor- men ein je spezifisches Wissen zirkuliert und jeweils von der einen auf die andere Seite transferiert wird, wobei es häufig Veränderungen er- fährt. Dabei kann es sich um verkörpertes Wissen handeln, technisches Wissen oder spezielles kulturelles Wissen, ebenso wie um theoretisches, philosophisches, spirituelles Wissen. Es geht bei Verflechtungen von Theaterformen bzw. Theaterkulturen also immer auch um ein Wandern von Wissen zwischen den Vertretern der unterschiedlichen Formen, das häufig zur Generierung ganz neuen Wissens führt.
Hinsichtlich dieser Begegnungen zwischen chinesischen und eu- ropäischen/deutschen Theaterkünstlern lassen sich grob drei Perio- den unterscheiden: (1) das erste Drittel des 20. Jahrhunderts, in dem sich in Europa die Avantgarden formierten und in China die west- liche Form des Sprechtheaters eingeführt wurde, (2) der Kulturaus- tausch zwischen der VR China und der DDR in den 1950er-Jahren und (3) die Zeit nach der Kulturrevolution, in der ganz neue Formen der Zusammenarbeit möglich wurden.
Translation - Chinese
这本书出自于上海戏剧学院和柏林自由大学多年合作的国际研究课程“交织的戏剧文化”的结果。共同的兴趣中心在于中国和德国戏剧形式的碰撞和由此产生的交织现象。在这个语境下我们所谈论的“戏剧”的概念包括话剧、音乐剧和舞剧以及它们的混合形式,可以直到一些装置表演。交织现象的基础有,不同戏剧形式的代表围绕着某个特殊知识的碰撞对话,还有它们中的一方是如何向另外一方转化的,这个转化的过程通常带着很多改动。这其中牵扯到的知识包括技术上的或者是特殊文化上的,同时也包括理论上的、哲学上的和精神上的。戏剧形式上的交织更确切的说是不同形式的戏剧文化的碰撞交流,这种交流可以带来新的知识类型和体系。

中国和欧洲/德国的戏剧艺术家之间的交流大致可以分为下面三个阶段:(1) 二十世纪前三分之一的时间,也就是欧洲先锋戏剧形成的时期和西方话剧形式传入中国的时期,
(2)中华人民共和国和民主德国在1950年代的文化交流阶段,(3) 文化大革命之后,中西方完全崭新的合作形式成为可能的阶段。
English to Chinese: Introduction of "Cecil Beaton. Portraits and Profiles" -《塞西尔·比顿——人像和印象》引言部分
General field: Art/Literary
Detailed field: Photography/Imaging (& Graphic Arts)
Source text - English
Cecil Beaton died more than thirty-four years ago, but remains as popular and relevant as in his lifetime. Many famous people suffer a dip in their reputations over time, but that has never happened with Cecil Beaton. He has gone from strength to strength with a series of exhibitions in 13ritain,the United States, Australia and several other countries. In 2012 there were exhibitions at the Victoria and Albert and Imperial War Museums in London and at the Museum of the City of New York. Publications such as "The Glass of Fashion and Ashcombe" are being reissued, and now comes this book, "Cecil Beaton: Portraits and Profiles", which fills a rare gap in the considerable output of books by and about Cecil.

Cecil Beaton was primarily known for having photographed virtually every prominent person in public life in the course of his long career. Everyone from the Queen to the Rolling Stones sat to his lens, the greatest figures from the worlds of society, the arts - authors, dancers, choreographers, playwrights, poets. actors, actresses, magazine editors, directors and musicians - those torn the realm of politics, generals, world leaders and statesmen, as well as iconic figures in the world of fashion and high life spanning from the 1920s to the 1970s.

He was a man of great visual intelligence. In his portraits he sought to bring the best out of his sitters. With his love of theatre and style, he liked to place them in a particular context A queen should sit on her throne, an actor in a stage setting. A fashion designer in their salon and so on. He took trouble to dress the set in advance, placing before his camera the requisite background before posing his subject.

He had a clear idea of how he wanted his world to look and he imposed his visual demands upon them. He was prepared to edit and touch up the final results of photographs in a quest for the best. An example can be found in his 1937 "Scrapbook". It is an entertaining spoof but it is indicative of what he was capable of doing to achieve his ends.

It occurred to me that he reecled to move out of the background in which he was born. He toyed his Aunt Jessie, as seen in his garden at Reddish House towards the end of her life. But his aunt was a rotund old figure, the waist had disappeared, and though jolly and showing a definite resilience to the woes of her life. she did not quite fit his required visual image. What he really wanted his aunt to be was the beautiful actress, Cathleen Nesbitt, a trim figure of porcelain elegance, with her romantic past as the lave of Rupert Brooke, likewise photographed in his garden, in 1970. In a sense he achieved that And, interestingly, by the time she came to stay, such was the aura around Cecil himself that Cathleen Nesbitt was just as thrilled to be in his garden as he was to have her there.

A photographic sitting gave Cecil the chance to examine his subjects. While aiming to bring out their best, he dd not Icok at them throufti rose-tinted spectacles. He observed faults and then worked to eliminate them.Thus when he saw Audrey Hepburn. he noticed a neck too thin, a chin too pointed and a nose too long and he posed her to avoid these perceived problems. As Audrey Hepburn herself observed:

"Owning a really fire Cecil Beaton photograph is like awning a beautiful painting...There's nothing terribly unusual about me, but perhaps there was a sensitivity about him and I think he understood me Like every woman arid every young chid I said I always would have Iceed to be beautiful and for a moment I was If somebody [ores you very much then they make you feel beautiful and he did it with his tenderness, but also with his art. Between the clothes and the photographs I looked smashing."

While Cecil clicked away with his camera, he also talked. He questioned his sitters and when they had gone, he frequently sat down and recorded his observations. Thus he achieved portraits with both lens and pen.

This book presents a combination of these. The photographs are portraits, taken either by his wish or to fulfil a particular commission. The words alongside them were sometimes done as profiles written to accompany the images, sometimes they were notes that he made for his own interest. and sometimes they formed entries in the diaries he kept between 1922 and 1980.

As a photographer, Cecil had access to more or less everyone he wanted to meet — with the regrettable exceptions of Queen Mary- and Virginia Woolf He would spend forty-five minutes or so chasing Marilyn Monroe around his hotel room running off three sheets of contacts. After she left, hewould then sit dawn and capture her c words. Not many artists can do this It is to his credit that he was able to do both so successfully, a unique combination and an example of his many talents.

Cecil was also an accomplished diarist, artist interior, set and costume designer. During his lifetime he produced a "Book of Beauty", a "Scrapbook", two spoof volumes of royal memoirs, books on the war in many aspects, a memorable study of his favourite house Ashcombe, a Photo-biography, five volumes of diaries, photographic portraits as well as books on fashion ballet and travel. Since his death I have written his biography, further examined his relationship with Greta Garbo in "Loving Garbo", and edited two volumes of his unexpurgated diaries. There are celebratory volumes of his photographs and catalogues in connection with various exhibitions. This handsome book is different and pique.
Translation - Chinese
塞西尔·比顿离我们而去已经有三十多年了,然而现如今他仍和生前一样受欢迎和具有影响力。很多颇 具盛名的人物随着时间的流逝渐渐淡出了人们的视线,但是这样的情况并未发生在塞西尔·比顿的身上。在 英国、美国、澳大利亚还有其他一些国家的展览,让他的形象在人们的记忆中愈发深刻。2012 年,他的展 览在维多利亚和阿尔伯特博物馆、伦敦帝国战争博物馆以及纽约城市博物馆举办。他本人的作品《时尚的镜 子》(The Glass of Fashion) 和《阿什库姆》(Ashcombe) 已经多次再版。现在《塞西尔·比尔顿 : 人像和印象》(Cecil Beaton: Portraits and Profiles) 这本书的问世,填补了现存的数量可观的由他出版和关 于他的这些书籍之中一个罕见的空缺。

塞西尔·比顿在他长期的摄影职业生涯中,为公共生活中的几乎每一位名人拍摄了肖像照片,这也是他 得以成名的最主要原因。从英国女王到滚石乐队成员,以及那些社会舞台上最伟大的人物,譬如来自艺术及 相关领域的作家、舞蹈家、编舞者、剧作家、诗人、演员、杂志编辑、导演还有音乐家们,来自政治领域的将领、国家首脑和政客们, 还有那些活跃在 1920 到 1970 年代期间的时代标杆人物—每一位都曾出现在他的镁光灯前。

他拥有着伟大的视觉艺术智慧。他会试图让他的拍摄对象在肖像作品中呈现出最好的一面。对戏剧还有时尚的热爱,促成了他把它们置于一个匠心独运的背景里去拍摄的偏好。女王要坐在她的御座上,一个演员得置身于舞台设备中,一个时尚设计师须待在他的沙龙里,还有诸如此类的场景。他会在拍摄前费劲心思地 去装饰拍摄场地,在为拍摄对象调整姿势和造型之前,他会先把这些至关重要的拍摄背景布置妥当。

他对自己想要呈现的世界的模样有着非常清晰的理念,并且把他的视觉追求加诸于这个理念之上。他总 是乐于对自己的照片进行编辑和涂抹修饰,通过这样的方式寻求最佳的视觉效果。他 1937 年的摄影作品《剪贴簿》(Scrapbook) 就是一个很好的例子。它虽然采取了一种娱乐戏谑的方式,但也展现出了他实现自
我目标的一种强大的能力。

我感觉到他需要从他出生的那个生活背景中跳跃出来。他爱着他的姑妈杰西 (Jessie),就像这张照片中 呈现的一样。这是在她生命晚年比顿在自己的瑞缔什庄园 (Reddish House) 为她拍摄的。虽然她一直对生 活的众多苦难保持着乐观和坚韧的态度,但这位已经没有了纤细腰身的体型圆胖的老妇人,已然并不符合他 对拍摄形象的要求。他真正想要的是他的姑妈成为女演员凯瑟琳·内斯比特 (Cathleen Nesbitt) 那样,修长的身形中透出精致优雅的气息,连同她和诗人鲁伯特·布鲁克 (Rupert Brooke) 的浪漫往事一样。1970 年,也是在他的这个庄园的花园里, 他给这位女演员拍摄了照片,所以在某种程度上他实现了自己的愿望。 有趣的是,当她来这个庄园小憩并受邀在花园里拍照片的时候,塞西尔感受到了弥散在他自己身边的一种气息,那就是凯瑟琳·内斯比特对这个邀请感到无比兴奋和激动。

"在拍摄之前的调试准备让塞西尔有机会检验他的拍摄对象。为了要让照片呈现出最棒的效果, 他不会用一种理想化的眼光去审视它们,而是去观察缺点的所在然后努力消除它们。所以当他看到 奥黛丽·赫本(Audrey Hepburn)的时候,他注意到了她有着太细长的脖颈,太尖的下颌和太 长的鼻梁。他会在为她调整拍摄姿势的时候努力去避免这些视觉上的问题。奥黛丽·赫本本人这样 说: “拥有一幅真正的塞西尔·比顿的摄影作品就像是收藏了一幅美丽的画作......我自己没有什么 非常与众不同的东西,但是也许是他有某种敏感,所以我想他是懂我的......就像每个女人和小孩那 样,我说过我想自己一直是美的,在过往的某个时刻我的确也是如此的。如果有个人非常爱你,那 么就会让你感到你自己是美的,塞西尔不仅仅是通过他的温柔,也通过他的艺术做到了。在服饰和照片之中的我看上去棒极了。”
当塞西尔在拍摄的时候,他也会进行交谈。他会向他的模特儿提问,当他们离开的时候,他会坐下来记 录他所观察到的东西。所以他会用镜头和笔来同时完成他的肖像画。

这本书呈现了这样的一种结合。这些肖像画摄影作品或是根据他自己的愿望拍摄的,或是为了完成一项特殊的任务。它们旁边的文字有时候是作为照片旁边简短的人物介绍,有时候是出自他自我兴趣的笔记—它 们成为他在 1922 年到 1980 年间的日记素材。

作为一名摄影师, 塞西尔基本上遇到了他想拍摄的每一个人。很遗憾的是,玛丽皇后和维吉尼亚·伍尔夫(Virginia Woolf)两个人是例外。他会花四十五分钟左右的时间让百忙之中的玛丽莲·梦露(Marilyn Monroe)在他的酒店里签署三张纸的契约。在她离开之后,他则坐下来用文字抓住印象中的她。并不是很 多艺术家都可以做到如此。他可以在摄影和文字两方面取得成功,一种独一无二的结合方式,也是他多才多艺的一种很好的体现。

塞西尔也是一名出色的日记作家、艺术家、室内景观和服装设计师。在他的一生中他完成了《美丽之书》(Book of Beauty)、《剪贴簿》、两卷皇家回忆录以及很多本从多角度反应战争的书籍,还有一本关于 他最爱的房屋的著名研究手册《阿什库姆》, 一本《照片传记》(Photo-biography),五卷日记,肖像画手 记还有关于时尚、芭蕾还有旅游的著作。在他去世之后我撰写了他的传记,出版了一本深度研究了他和葛丽 泰·嘉宝(Greta Garbo)关系的著作《爱着嘉宝》(Loving Garbo),编辑了两卷他的未经删节版本的日记。让人欣喜的是,现在有大量的照片和目录索引资料可以和他的不同展览相结合。这本书也是与众不同和独一无二的。
German to Chinese: Im Seidenschatten - 在丝般细腻的暗影之下
General field: Art/Literary
Detailed field: Art, Arts & Crafts, Painting
Source text - German
Vemo schafft Landschaften, durch die unsere Phantasie schweben kann wie auf einem Berglift. Die Fahrt beginnt und plötzlich öffnen sich immer neue Aussichten eines Kaleidoskops. Äußeres senkt sich nach innen und von oben schwingt eine Front unter uns hinweg. Es scheint ihr formal genau auf diese Momente anzukommen: das Wechselspiel der Ebenen und Dimensionen, die Verschränkung von Himmel und Erde, Nähe und Ferne. Die Formen sind nicht fest definiert und können ihre sichtbare Gestalt öffnen, verbergen oder verweben. Dabei deutet der Begriff Landschaft auf eine Zuordnung, die dem Betrachter bald fragwürdig erscheint. Es bleibt immer eine Deutung offen wie eine angelehnte Tür, dazu bereit, einen Blick freizugeben, der eben noch nicht zu ahnen war.

Die Motive bleiben im Doppelsinnigen, changieren zwischen Energie und Materie. Und zugleich bilden sie ein Geflecht, mit dem sie einen Ausgleich suchen, eine dynamische Harmonie, in die geradezu alles Wirkliche oder Vorstellbare integrierbar ist: Fragen und Erkennen, Wissen und Staunen, Stille und Schreck. Genauso vieldeutig verbinden die Motive Tradition, Moderne und Utopie, alle Deutung bleibt dem Betrachter überlassen, als sollte er alles neu begreifen, worin er sich scheinbar so vertraut in Zeit und Raum bewegt.

Die Farben unterstreichen einen solchen Effekt des Vagen, fast unwirklich Fühlbaren, denn sie geben sich nicht „natürlich“ – immer ist etwas betont Artifizielles darin, keine Kontraste, eher Variationen einer streng reduzierten Palette. Es sind tatsächlich Abwandlungen weniger Farben,etwa dem Grün-Blau-Spektrum oder dem von roten und Ocker-Tönen. Es geht nicht darum,
Farbkontraste zu bilden, sondern eher in subtilen Schatten zu vermitteln, was sonst leicht der Aufmerksamkeit entgeht. Für diese Wirkung entwickelt die Künstlerin gar eigene Grundierungen, durch die Ihre Farbe tiefer in das Gewebe eindringt und im Spiel von Dichte und Durchlässigkeit einen Effekt bewirkt, der alles matt und ruhiger wirken lässt, wie beim Blick durch ein Seidentuch.

Sie wählt auch bewusst schmale Hochformate, um die Räume zu dehnen. Das Licht ändert die Stimmung mit der Tageszeit und dem Einfallswinkel, ob von oben oder der Seite. Auch hierin geht es um Ausgleich, Harmonie, im Bild, im Ausdruck, sogar im Einklang mit der Umgebung oder Lebenswelt. Solch eine Weite atmen diese Bilder von Stimmung, Versenkung und Konzentration, die wir erleben, wenn wir uns von einer Komposition verzaubern lassen, die uns zur Stille in uns selbst führt. Man meint oft einen leisen Gesang zu hören, den Klang von Glocken und Zimbeln, Begleiter einer Geschichte, die jedes der Bilder immer neu, anders und schöner erzählt.
Translation - Chinese
我们的想象力仿佛乘坐着山腰缆车,轻盈地穿梭在维慕所创造的抽象山水中。随着旅途的开始,总有新的景致突然展现在我们面前,就像变幻多彩的万花筒那样。外部的画面向内部塌陷的同时,上方又有景色正面垂下,映入我们的眼帘。似乎对她来说,就是要呈现这样的动态时刻:不同层次和维度之间的游戏,天空和地面的交织,远和近的叠加。这样的形式很难被确切定义,它可以开启或隐藏新的可视化的各种形象,并让它们互相交叠。由此一来,风景的概念便指向一种系统化的排列组合,它会让观察者立刻产生疑问。在我们试图阐释这样的抽象山水画时,总是会保留着一种新的可能性。就像一扇虚掩的门,在它后面总会有新的景致在等着我们,是我们之前所不知道的惊喜。

维慕的艺术作品中的形象和主题总是具有双重涵义,在能量和物质之间进行着转换。但是与此同时,它们彼此之间又互相制约平衡,编制出一张动态和谐的网。所有真实的或者想象的一切都可以完美融合在这张网里: 疑问和认知,了解和讶异,静谧和惊恐。同样,这些具有多重意义的画作题材也把传统、现代和乌托邦紧密联系在一起。欣赏者因此拥有了无限阐释的空间。就像一个人虽然在熟悉的时间和空间内穿行,但他的所见之物都可以被重新感知。

维慕画作中的所突出呈现的是某种模糊的色彩所带来的效果,一种难以触及的非真实的意境。因为这些颜色并非“自然”地被展示出来,它里面充斥着某些艺术雕琢的痕迹;它们之间没有强烈对比,而更像是调色板上寥寥几种色块之间排列组合所产生的各种变化。实际上,艺术家想展示的正是蕴藏在有限色彩中的无限可能性。无论是绿色和蓝色的组合,还是红色和赭石色的交织,艺术家想要表现的不是鲜明的对比色,而是一种细腻微妙的暗影效果。这是我们平时很难留意到的。为了达到这种效果,维慕甚至创造出一种独特的底色,其他的颜色都可以更好地渗透其中,并且进行一种稠密和稀疏之间的游戏。这种底色的承载力也可以使得所其他颜色都更好地发挥出淡雅、安静的效果,赋予了作品一个丝质薄纱般的滤镜。

为了达到空间上的延展性,维慕有意识的选择了纵向构图。随着时辰和入射角度的不同,作品中的光线或者从上方或者从侧面进入,也营造出不同的氛围。无论是在光影效果还是在构图和艺术表达上,维慕都非常注重制衡和和谐。她的作品和展览空间之间互相交融,我们也可以想象它和我们的生活空间也会是完美融合的。这些画作所呈现的广阔空间似乎可以让我们身临其境,让我们沉浸其中,最终走向我们宁静的内心世界,就像我们被一首神奇的乐曲所引领。伴随着心爱的轻柔唱曲,和清脆的钟声管弦,一段段故事被讲述,而它们总是有着更新奇、更美妙的情节。

Translation education PhD - Freie Universität Berlin
Experience Years of experience: 10. Registered at ProZ.com: Sep 2020. Became a member: Oct 2020.
ProZ.com Certified PRO certificate(s) N/A
Credentials English to Chinese (College English Test)
German to Chinese (TestDaf)
English to Chinese (IELTS)
Chinese to German (TestDaf)
Chinese to German (College English Test)


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Software Adobe Acrobat, Aegisub, Indesign, memoQ, MemSource Cloud, Microsoft Excel, Microsoft Word, ProZ.com Translation Center, SDL TRADOS, Smartcat
CV/Resume Chinese (PDF), German (PDF), English (PDF)
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Bio
PhD of German literature; Over 10 years of translation/interpretation experience; Professional editor/proofreader for Chinese and German language. 
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Keywords: Chinese, German, English, literature, art, aesthetic, history, religion, music, technology, car, linguistic, marketing, proofreading, translation, localization, VoiceOver, HTPE, subtitling, theatre, automobile, industry, architecture, technic, software, computer game, finical, business, legal, education, luxury, costumes, e-commerce, chemistry, Roman, poetry, critic, novel, science, christian


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