超级军网《富春山居图》大展——纽约时报评两岸关系
来源：百度文库 编辑：超级军网 时间：2024/05/01 23:49:24
链接：http://www.nytimes.com/2011/07/0 ... &pagewanted=all
注：美国媒体多年来一直把大陆与台湾当成两个国家，文中的China仅指的大陆。我作为中国人不可能这样翻，在这一点上与原文不符。
China And Taiwan Reunite Painting
大陆台湾古画合璧
TAIPEI, Taiwan — Wu Hongyu, a wealthy Ming Dynasty art collector, was evidently not fond of sharing, given his deathbed command to burn his most beloved painting, “Dwelling in the Fuchun Mountains.” Fortunately, a nephew snatched the scroll from the funeral pyre that day in 1650, but not before flames split the work in two.
台湾台北——明代古玩收藏家吴 Hongyu显然不是与人乐乐之人，临终前曾令家人将其最为钟爱的《富春山居图》焚化。万幸的是，吴家侄子从火堆中将画卷救出，但画作已被火焰裂为两半，时为公元1650。
During the three and a half centuries since then, the two sections were kept apart by greed, civil war and the vicissitudes of geopolitical gamesmanship. The smaller piece, just 20 inches across, found its way to a provincial museum in Communist-ruled China. The more imposing 21-foot-long section ended up on Taiwan, the island where the retreating Chinese Nationalists — and boatloads of treasures from Beijing’s imperial palace — ended up after they lost the civil war in 1949.
在之后三个半世纪里，两片残画为贪婪、内战以及地缘政治的幻变风云所隔离，天各一方。长仅二十英寸的片段之一收藏于TG治下的一个省级博物馆；较大的一片长达21英尺，则辗转至台湾——国民党49年兵败后的栖身之所，同期抵达的还有数船来自北京故宫的珍宝。
If the story of “Fuchun Mountains” is richly symbolic of China’s tumultuous history and its six-decade estrangement from Taiwan, then the painting’s reunification last month at the National Palace Museum here in the Taiwanese capital is a made-to-order metaphor for the reconciliation that Communist Party leaders have long imagined for what they deem a breakaway province.
如果《富春山》的遭遇意寓着中国跌宕起伏的历史以及六十年来两岸的隔海对峙，那么两幅残片上个月在台湾＂国立故宫博物院＂的合璧展则是TG领导人梦寐已求的两岸合解的绝佳象征——中国仍将台湾视为叛省。
“If the painting can be brought together, so can our people,” Prime Minister Wen Jiabao of China said last year upon learning that both China and Taiwan, still formally at war, had agreed to the joint showing of a work that experts have ranked as among the 10 most important Chinese paintings. Begun in 1347 by Huang Gongwang, the impressionistic ink rendering of rolling peaks and rural settlements was so influential to generations of landscape painters that it spawned dozens of copies and forgeries.
去年，温总理在得知大陆与台湾——理论上仍处于战争状态——将联合展出这幅被业内评为十大国画之一的作品时指出：如果一幅画能合而为一，我们的民族也能如此。这幅画由黄公望于1347年开始创作，用印象派水墨手法再现峰峦叠嶂与农家院落，对后世山水画影响甚大，以致于临本与赝品层出不穷。
The exhibition, titled “Landscape Reunited,” has been added to the list of notable firsts that have followed the 2008 election of Taiwan’s president, Ma Ying-jeou, who has sought closer ties to the mainland — a marked contrast to the sometimes antagonistic impulses of his predecessor, Chen Shui-bian, who even turned down an olive branch in the form of giant pandas.
本次名为＂山水合璧＂的特展是马英九08年上台以来一长串的＂破冰＂之一，马与其前任陈水扁截然不同，马英九寻求与大陆建立更紧密的关系；陈则力主对抗，甚至拒绝大陆伸过来的橄榄枝——一对大熊猫。
Since Mr. Ma’s inauguration, a raft of breakthrough agreements between Taiwan and China have yielded a pair of pandas for the Taipei Zoo; the opening of direct shipping, postal and air links; and an arrangement that last year allowed 1.2 million mainland tourists to visit — and spend money — on the island. Another landmark came last week: the first planeload of individual Chinese tourists who will be allowed to roam Taiwan unsupervised.
马主政以来，一系列突破性的两岸协定为台北动物园赢得了一对大熊猫、＂三通＂得以实现并在去年为台湾带来了120万一路散财的大陆观光客。上周又有一个里程碑式的事件：首批来自大陆的自由行观光客在台湾落地。
Increased cultural and economic ties have pleased many Taiwanese business leaders but have also stoked anxiety among those who view such inducements as an attempt to ensnare Taiwan into China’s increasingly domineering economic orbit. Tso Chen-dong, a professor of political science at National Taiwan University, said many people here could not help being skeptical of Beijing’s newfound largess. “Will tighter economic links bring more understanding between the two?” he asked. “Or will Beijing gain more control over both Taiwan’s economy and politics? It remains unclear at this moment.”
更紧密的文化经济纽带让台湾商界领袖欢欣鼓舞，但也引起一些人的担忧，他们认为大陆意于将台湾拉入其经济轨道。国立台湾大学政治学教授Tso Chen-dong称许多台人对大陆的慷慨心存疑虑，＂紧密的经贸关系意味着增进相互理解还是北京将进一步控制台湾的政治、经济？目前尚不清楚。＂
For now, détente has its limits, especially when it comes to art. Although the Palace Museum in Beijing — where “Fuchun Mountains” was displayed before the Nationalists carted it away — lent its Taiwanese counterpart 12 items for the exhibit, the curators in Taipei have been less obliging. During two years of negotiations, museum officials here insisted that they could not lend their portion of the scroll, nor any of the other 700,000 works in their collection, until Beijing enacted a legally binding guarantee against seizure. “It wasn’t even up for discussion,” said Chou Kung-shin, the director of the National Palace Museum.
目前的缓和是有局限性的，尤其在艺术领域。虽然北京故宫博物院——《富春山》在被国民党运走前的藏馆——为此次特展向台湾故宫博物院出借了12件藏品，但台方却无礼尚往来的表示。在长达两年的协商中，台湾馆坚称无法向大陆出借他们七十万件藏品中的任何一件，除非北京作出具有法律约束力的保证，即：北京将不收缴台方藏品。台湾国立故宫博物院院长说：＂连谈都不要谈。＂
Chen Hao, the director of the Zhejiang Provincial Museum in Hangzhou, which has owned the smaller slice of the scroll since 1956, said he found the loan arrangement somewhat unsatisfying. “I think our museum should have the right to display the whole painting as well,” he said. “If we truly cannot resolve this between our two museums, I hope our governments will be able to tackle the problem.”
自56年以来收藏《富春山》较小片段的浙江省博物馆馆长对此次外借颇有微词：我认为我馆也应有权展出全幅作品，如果两馆之间无法解决，双方政府应予以协调。＂
Although the two governments have larger issues over which to tussle — including the likely sale of American F-16 fighter jets to Taipei or what to do about those 1,000 or so Chinese missiles pointed across the Taiwan Strait — the role of disputed antiquities in the relationship cannot be overstated.
虽然双方政府有更重大的问题需解决，如美国向台北出售F —16战机、大陆对台千余枚导弹等等，但是争议文物在两岸关系中的地位非同小可。
It helps to know that nearly the entire contents of the National Palace Museum in Taipei were brought here from China by Chiang Kai-shek’s Nationalist forces at the end of the civil war. The journey of one million items of porcelain, calligraphy, carved jade and glazed pottery, which lasted 16 years and covered 6,000 miles, is one of the most extraordinary dramas of modern Chinese history.
台湾国立故宫博物院内几乎所有的藏品均由蒋介石领导的国民党于战后从大陆运来。上百万件陶瓷、书画、玉雕等珍宝在长达16年的时间里跋涉6千余英里，这一旅程是现代中国史上非同寻常的篇章。
The contents of the imperial palace museum were originally carted off in 1933, just ahead of Japanese soldiers bound for Beijing, but the Nationalists kept the relics on the run from Mao Zedong’s Communist forces during four years of civil war before the best pieces were shipped across the strait. “Fortune was with us; not so much as a teacup was broken,” Han Lih-wu, a Taiwanese ambassador who helped move the collection, once told The New York Times. (A few thousand crates of less illustrious treasures were left on a dock in Nanjing.)
1933年，在日军攻入北京之前，故宫博物院的藏品被国民党转移。但在之后的四年内战中，国民党携珍宝四处奔走以避共军之锋利，最终将最精美的部分运往台湾。一位曾参与转运的台湾＂外交官＂Han Lih-wu曾对本报说：＂我们挺走运的，最多打坏了一个茶杯。＂数千箱逊一级的文物则遗留在南京码头。
Even though Mao maintained a profound disdain toward China’s antiquities, he still kept the imperial collection safe even as he encouraged Red Guards to smash and burn much of China’s ancient patrimony.
尽管老毛对中国文物嗤之以鼻，在其发动红卫兵横扫中国遗产之时仍对故宫馆藏严加保护。
“Throughout Chinese history, cultural relics have symbolized legitimacy and sovereignty,” said Ho Chuan-hsing, chief curator in the department of painting and calligraphy at the National Palace Museum. “If you possessed these treasures, you had the right to rule. As you can see, not much has changed.”
台北故宫博物院书画馆馆长Ho Chuan-hsing指出：＂纵观中国历史，文物代表着正统和皇权，掌国之大器者得天下。你看，到现在也没怎么变嘛。＂
Mainland officials have recently toned down their demands for the return of what they consider to be stolen goods, but the state-run media still insist on placing quotation marks around National Palace Museum as if to question its existence.
大陆官员近来不再高调要求台湾归还他们认为是被盗运的文物。但官方媒体仍在国立故宫博物院上打引号，好像在质疑其存在。
For now, museum officials in Taipei are savoring what they describe as their King Tut moment — a reference to the blockbuster exhibit of Egyptian antiquities in the 1970s that drew record crowds to cultural institutions in Europe and the United States.
当下，台湾博物院正细细品味他们所谓的＂图特法老一刻＂——七十年代在欧美引起轰动的埃及法老文物大展。
On most days, as many as 10,000 people line up to view the reunited scroll, as well as some of the more notable copies, including one that fooled Qianlong, the Qing Dynasty emperor who fancied himself a learned art connoisseur.
在大数展日，多达万余名游客排队参观这幅破镜重圆的画卷，及其最著名的赝品，其中包括曾骗过乾隆帝的那件，这位清朝皇帝曾自诩为博学的鉴赏家。
Wang Rongcui, a tourist from the Chinese city of Ordos in Inner Mongolia, was among those who recently spent a half-hour waiting for a glimpse of Huang Gongwang’s masterpiece. Asked about the political significance of the exhibit, Ms. Wang shrugged. “Oh, I don’t know anything about politics or this arty stuff, but it sure does look nice,” she said.
来自大陆内蒙的王女士，是众多排上半小时队以求一瞥的观众之一。当被问及此次特展的政治意义时，王女士不以为然：＂我对政治、艺术什么的一无所知，但这幅画看起来真的好美。＂
￥￥￥链接：http://www.nytimes.com/2011/07/0 ... &pagewanted=all
注：美国媒体多年来一直把大陆与台湾当成两个国家，文中的China仅指的大陆。我作为中国人不可能这样翻，在这一点上与原文不符。
China And Taiwan Reunite Painting
大陆台湾古画合璧
TAIPEI, Taiwan — Wu Hongyu, a wealthy Ming Dynasty art collector, was evidently not fond of sharing, given his deathbed command to burn his most beloved painting, “Dwelling in the Fuchun Mountains.” Fortunately, a nephew snatched the scroll from the funeral pyre that day in 1650, but not before flames split the work in two.
台湾台北——明代古玩收藏家吴 Hongyu显然不是与人乐乐之人，临终前曾令家人将其最为钟爱的《富春山居图》焚化。万幸的是，吴家侄子从火堆中将画卷救出，但画作已被火焰裂为两半，时为公元1650。
During the three and a half centuries since then, the two sections were kept apart by greed, civil war and the vicissitudes of geopolitical gamesmanship. The smaller piece, just 20 inches across, found its way to a provincial museum in Communist-ruled China. The more imposing 21-foot-long section ended up on Taiwan, the island where the retreating Chinese Nationalists — and boatloads of treasures from Beijing’s imperial palace — ended up after they lost the civil war in 1949.
在之后三个半世纪里，两片残画为贪婪、内战以及地缘政治的幻变风云所隔离，天各一方。长仅二十英寸的片段之一收藏于TG治下的一个省级博物馆；较大的一片长达21英尺，则辗转至台湾——国民党49年兵败后的栖身之所，同期抵达的还有数船来自北京故宫的珍宝。
If the story of “Fuchun Mountains” is richly symbolic of China’s tumultuous history and its six-decade estrangement from Taiwan, then the painting’s reunification last month at the National Palace Museum here in the Taiwanese capital is a made-to-order metaphor for the reconciliation that Communist Party leaders have long imagined for what they deem a breakaway province.
如果《富春山》的遭遇意寓着中国跌宕起伏的历史以及六十年来两岸的隔海对峙，那么两幅残片上个月在台湾＂国立故宫博物院＂的合璧展则是TG领导人梦寐已求的两岸合解的绝佳象征——中国仍将台湾视为叛省。
“If the painting can be brought together, so can our people,” Prime Minister Wen Jiabao of China said last year upon learning that both China and Taiwan, still formally at war, had agreed to the joint showing of a work that experts have ranked as among the 10 most important Chinese paintings. Begun in 1347 by Huang Gongwang, the impressionistic ink rendering of rolling peaks and rural settlements was so influential to generations of landscape painters that it spawned dozens of copies and forgeries.
去年，温总理在得知大陆与台湾——理论上仍处于战争状态——将联合展出这幅被业内评为十大国画之一的作品时指出：如果一幅画能合而为一，我们的民族也能如此。这幅画由黄公望于1347年开始创作，用印象派水墨手法再现峰峦叠嶂与农家院落，对后世山水画影响甚大，以致于临本与赝品层出不穷。
The exhibition, titled “Landscape Reunited,” has been added to the list of notable firsts that have followed the 2008 election of Taiwan’s president, Ma Ying-jeou, who has sought closer ties to the mainland — a marked contrast to the sometimes antagonistic impulses of his predecessor, Chen Shui-bian, who even turned down an olive branch in the form of giant pandas.
本次名为＂山水合璧＂的特展是马英九08年上台以来一长串的＂破冰＂之一，马与其前任陈水扁截然不同，马英九寻求与大陆建立更紧密的关系；陈则力主对抗，甚至拒绝大陆伸过来的橄榄枝——一对大熊猫。
Since Mr. Ma’s inauguration, a raft of breakthrough agreements between Taiwan and China have yielded a pair of pandas for the Taipei Zoo; the opening of direct shipping, postal and air links; and an arrangement that last year allowed 1.2 million mainland tourists to visit — and spend money — on the island. Another landmark came last week: the first planeload of individual Chinese tourists who will be allowed to roam Taiwan unsupervised.
马主政以来，一系列突破性的两岸协定为台北动物园赢得了一对大熊猫、＂三通＂得以实现并在去年为台湾带来了120万一路散财的大陆观光客。上周又有一个里程碑式的事件：首批来自大陆的自由行观光客在台湾落地。
Increased cultural and economic ties have pleased many Taiwanese business leaders but have also stoked anxiety among those who view such inducements as an attempt to ensnare Taiwan into China’s increasingly domineering economic orbit. Tso Chen-dong, a professor of political science at National Taiwan University, said many people here could not help being skeptical of Beijing’s newfound largess. “Will tighter economic links bring more understanding between the two?” he asked. “Or will Beijing gain more control over both Taiwan’s economy and politics? It remains unclear at this moment.”
更紧密的文化经济纽带让台湾商界领袖欢欣鼓舞，但也引起一些人的担忧，他们认为大陆意于将台湾拉入其经济轨道。国立台湾大学政治学教授Tso Chen-dong称许多台人对大陆的慷慨心存疑虑，＂紧密的经贸关系意味着增进相互理解还是北京将进一步控制台湾的政治、经济？目前尚不清楚。＂
For now, détente has its limits, especially when it comes to art. Although the Palace Museum in Beijing — where “Fuchun Mountains” was displayed before the Nationalists carted it away — lent its Taiwanese counterpart 12 items for the exhibit, the curators in Taipei have been less obliging. During two years of negotiations, museum officials here insisted that they could not lend their portion of the scroll, nor any of the other 700,000 works in their collection, until Beijing enacted a legally binding guarantee against seizure. “It wasn’t even up for discussion,” said Chou Kung-shin, the director of the National Palace Museum.
目前的缓和是有局限性的，尤其在艺术领域。虽然北京故宫博物院——《富春山》在被国民党运走前的藏馆——为此次特展向台湾故宫博物院出借了12件藏品，但台方却无礼尚往来的表示。在长达两年的协商中，台湾馆坚称无法向大陆出借他们七十万件藏品中的任何一件，除非北京作出具有法律约束力的保证，即：北京将不收缴台方藏品。台湾国立故宫博物院院长说：＂连谈都不要谈。＂
Chen Hao, the director of the Zhejiang Provincial Museum in Hangzhou, which has owned the smaller slice of the scroll since 1956, said he found the loan arrangement somewhat unsatisfying. “I think our museum should have the right to display the whole painting as well,” he said. “If we truly cannot resolve this between our two museums, I hope our governments will be able to tackle the problem.”
自56年以来收藏《富春山》较小片段的浙江省博物馆馆长对此次外借颇有微词：我认为我馆也应有权展出全幅作品，如果两馆之间无法解决，双方政府应予以协调。＂
Although the two governments have larger issues over which to tussle — including the likely sale of American F-16 fighter jets to Taipei or what to do about those 1,000 or so Chinese missiles pointed across the Taiwan Strait — the role of disputed antiquities in the relationship cannot be overstated.
虽然双方政府有更重大的问题需解决，如美国向台北出售F —16战机、大陆对台千余枚导弹等等，但是争议文物在两岸关系中的地位非同小可。
It helps to know that nearly the entire contents of the National Palace Museum in Taipei were brought here from China by Chiang Kai-shek’s Nationalist forces at the end of the civil war. The journey of one million items of porcelain, calligraphy, carved jade and glazed pottery, which lasted 16 years and covered 6,000 miles, is one of the most extraordinary dramas of modern Chinese history.
台湾国立故宫博物院内几乎所有的藏品均由蒋介石领导的国民党于战后从大陆运来。上百万件陶瓷、书画、玉雕等珍宝在长达16年的时间里跋涉6千余英里，这一旅程是现代中国史上非同寻常的篇章。
The contents of the imperial palace museum were originally carted off in 1933, just ahead of Japanese soldiers bound for Beijing, but the Nationalists kept the relics on the run from Mao Zedong’s Communist forces during four years of civil war before the best pieces were shipped across the strait. “Fortune was with us; not so much as a teacup was broken,” Han Lih-wu, a Taiwanese ambassador who helped move the collection, once told The New York Times. (A few thousand crates of less illustrious treasures were left on a dock in Nanjing.)
1933年，在日军攻入北京之前，故宫博物院的藏品被国民党转移。但在之后的四年内战中，国民党携珍宝四处奔走以避共军之锋利，最终将最精美的部分运往台湾。一位曾参与转运的台湾＂外交官＂Han Lih-wu曾对本报说：＂我们挺走运的，最多打坏了一个茶杯。＂数千箱逊一级的文物则遗留在南京码头。
Even though Mao maintained a profound disdain toward China’s antiquities, he still kept the imperial collection safe even as he encouraged Red Guards to smash and burn much of China’s ancient patrimony.
尽管老毛对中国文物嗤之以鼻，在其发动红卫兵横扫中国遗产之时仍对故宫馆藏严加保护。
“Throughout Chinese history, cultural relics have symbolized legitimacy and sovereignty,” said Ho Chuan-hsing, chief curator in the department of painting and calligraphy at the National Palace Museum. “If you possessed these treasures, you had the right to rule. As you can see, not much has changed.”
台北故宫博物院书画馆馆长Ho Chuan-hsing指出：＂纵观中国历史，文物代表着正统和皇权，掌国之大器者得天下。你看，到现在也没怎么变嘛。＂
Mainland officials have recently toned down their demands for the return of what they consider to be stolen goods, but the state-run media still insist on placing quotation marks around National Palace Museum as if to question its existence.
大陆官员近来不再高调要求台湾归还他们认为是被盗运的文物。但官方媒体仍在国立故宫博物院上打引号，好像在质疑其存在。
For now, museum officials in Taipei are savoring what they describe as their King Tut moment — a reference to the blockbuster exhibit of Egyptian antiquities in the 1970s that drew record crowds to cultural institutions in Europe and the United States.
当下，台湾博物院正细细品味他们所谓的＂图特法老一刻＂——七十年代在欧美引起轰动的埃及法老文物大展。
On most days, as many as 10,000 people line up to view the reunited scroll, as well as some of the more notable copies, including one that fooled Qianlong, the Qing Dynasty emperor who fancied himself a learned art connoisseur.
在大数展日，多达万余名游客排队参观这幅破镜重圆的画卷，及其最著名的赝品，其中包括曾骗过乾隆帝的那件，这位清朝皇帝曾自诩为博学的鉴赏家。
Wang Rongcui, a tourist from the Chinese city of Ordos in Inner Mongolia, was among those who recently spent a half-hour waiting for a glimpse of Huang Gongwang’s masterpiece. Asked about the political significance of the exhibit, Ms. Wang shrugged. “Oh, I don’t know anything about politics or this arty stuff, but it sure does look nice,” she said.
来自大陆内蒙的王女士，是众多排上半小时队以求一瞥的观众之一。当被问及此次特展的政治意义时，王女士不以为然：＂我对政治、艺术什么的一无所知，但这幅画看起来真的好美。＂
￥￥￥
注：美国媒体多年来一直把大陆与台湾当成两个国家，文中的China仅指的大陆。我作为中国人不可能这样翻，在这一点上与原文不符。
China And Taiwan Reunite Painting
大陆台湾古画合璧
TAIPEI, Taiwan — Wu Hongyu, a wealthy Ming Dynasty art collector, was evidently not fond of sharing, given his deathbed command to burn his most beloved painting, “Dwelling in the Fuchun Mountains.” Fortunately, a nephew snatched the scroll from the funeral pyre that day in 1650, but not before flames split the work in two.
台湾台北——明代古玩收藏家吴 Hongyu显然不是与人乐乐之人，临终前曾令家人将其最为钟爱的《富春山居图》焚化。万幸的是，吴家侄子从火堆中将画卷救出，但画作已被火焰裂为两半，时为公元1650。
During the three and a half centuries since then, the two sections were kept apart by greed, civil war and the vicissitudes of geopolitical gamesmanship. The smaller piece, just 20 inches across, found its way to a provincial museum in Communist-ruled China. The more imposing 21-foot-long section ended up on Taiwan, the island where the retreating Chinese Nationalists — and boatloads of treasures from Beijing’s imperial palace — ended up after they lost the civil war in 1949.
在之后三个半世纪里，两片残画为贪婪、内战以及地缘政治的幻变风云所隔离，天各一方。长仅二十英寸的片段之一收藏于TG治下的一个省级博物馆；较大的一片长达21英尺，则辗转至台湾——国民党49年兵败后的栖身之所，同期抵达的还有数船来自北京故宫的珍宝。
If the story of “Fuchun Mountains” is richly symbolic of China’s tumultuous history and its six-decade estrangement from Taiwan, then the painting’s reunification last month at the National Palace Museum here in the Taiwanese capital is a made-to-order metaphor for the reconciliation that Communist Party leaders have long imagined for what they deem a breakaway province.
如果《富春山》的遭遇意寓着中国跌宕起伏的历史以及六十年来两岸的隔海对峙，那么两幅残片上个月在台湾＂国立故宫博物院＂的合璧展则是TG领导人梦寐已求的两岸合解的绝佳象征——中国仍将台湾视为叛省。
“If the painting can be brought together, so can our people,” Prime Minister Wen Jiabao of China said last year upon learning that both China and Taiwan, still formally at war, had agreed to the joint showing of a work that experts have ranked as among the 10 most important Chinese paintings. Begun in 1347 by Huang Gongwang, the impressionistic ink rendering of rolling peaks and rural settlements was so influential to generations of landscape painters that it spawned dozens of copies and forgeries.
去年，温总理在得知大陆与台湾——理论上仍处于战争状态——将联合展出这幅被业内评为十大国画之一的作品时指出：如果一幅画能合而为一，我们的民族也能如此。这幅画由黄公望于1347年开始创作，用印象派水墨手法再现峰峦叠嶂与农家院落，对后世山水画影响甚大，以致于临本与赝品层出不穷。
The exhibition, titled “Landscape Reunited,” has been added to the list of notable firsts that have followed the 2008 election of Taiwan’s president, Ma Ying-jeou, who has sought closer ties to the mainland — a marked contrast to the sometimes antagonistic impulses of his predecessor, Chen Shui-bian, who even turned down an olive branch in the form of giant pandas.
本次名为＂山水合璧＂的特展是马英九08年上台以来一长串的＂破冰＂之一，马与其前任陈水扁截然不同，马英九寻求与大陆建立更紧密的关系；陈则力主对抗，甚至拒绝大陆伸过来的橄榄枝——一对大熊猫。
Since Mr. Ma’s inauguration, a raft of breakthrough agreements between Taiwan and China have yielded a pair of pandas for the Taipei Zoo; the opening of direct shipping, postal and air links; and an arrangement that last year allowed 1.2 million mainland tourists to visit — and spend money — on the island. Another landmark came last week: the first planeload of individual Chinese tourists who will be allowed to roam Taiwan unsupervised.
马主政以来，一系列突破性的两岸协定为台北动物园赢得了一对大熊猫、＂三通＂得以实现并在去年为台湾带来了120万一路散财的大陆观光客。上周又有一个里程碑式的事件：首批来自大陆的自由行观光客在台湾落地。
Increased cultural and economic ties have pleased many Taiwanese business leaders but have also stoked anxiety among those who view such inducements as an attempt to ensnare Taiwan into China’s increasingly domineering economic orbit. Tso Chen-dong, a professor of political science at National Taiwan University, said many people here could not help being skeptical of Beijing’s newfound largess. “Will tighter economic links bring more understanding between the two?” he asked. “Or will Beijing gain more control over both Taiwan’s economy and politics? It remains unclear at this moment.”
更紧密的文化经济纽带让台湾商界领袖欢欣鼓舞，但也引起一些人的担忧，他们认为大陆意于将台湾拉入其经济轨道。国立台湾大学政治学教授Tso Chen-dong称许多台人对大陆的慷慨心存疑虑，＂紧密的经贸关系意味着增进相互理解还是北京将进一步控制台湾的政治、经济？目前尚不清楚。＂
For now, détente has its limits, especially when it comes to art. Although the Palace Museum in Beijing — where “Fuchun Mountains” was displayed before the Nationalists carted it away — lent its Taiwanese counterpart 12 items for the exhibit, the curators in Taipei have been less obliging. During two years of negotiations, museum officials here insisted that they could not lend their portion of the scroll, nor any of the other 700,000 works in their collection, until Beijing enacted a legally binding guarantee against seizure. “It wasn’t even up for discussion,” said Chou Kung-shin, the director of the National Palace Museum.
目前的缓和是有局限性的，尤其在艺术领域。虽然北京故宫博物院——《富春山》在被国民党运走前的藏馆——为此次特展向台湾故宫博物院出借了12件藏品，但台方却无礼尚往来的表示。在长达两年的协商中，台湾馆坚称无法向大陆出借他们七十万件藏品中的任何一件，除非北京作出具有法律约束力的保证，即：北京将不收缴台方藏品。台湾国立故宫博物院院长说：＂连谈都不要谈。＂
Chen Hao, the director of the Zhejiang Provincial Museum in Hangzhou, which has owned the smaller slice of the scroll since 1956, said he found the loan arrangement somewhat unsatisfying. “I think our museum should have the right to display the whole painting as well,” he said. “If we truly cannot resolve this between our two museums, I hope our governments will be able to tackle the problem.”
自56年以来收藏《富春山》较小片段的浙江省博物馆馆长对此次外借颇有微词：我认为我馆也应有权展出全幅作品，如果两馆之间无法解决，双方政府应予以协调。＂
Although the two governments have larger issues over which to tussle — including the likely sale of American F-16 fighter jets to Taipei or what to do about those 1,000 or so Chinese missiles pointed across the Taiwan Strait — the role of disputed antiquities in the relationship cannot be overstated.
虽然双方政府有更重大的问题需解决，如美国向台北出售F —16战机、大陆对台千余枚导弹等等，但是争议文物在两岸关系中的地位非同小可。
It helps to know that nearly the entire contents of the National Palace Museum in Taipei were brought here from China by Chiang Kai-shek’s Nationalist forces at the end of the civil war. The journey of one million items of porcelain, calligraphy, carved jade and glazed pottery, which lasted 16 years and covered 6,000 miles, is one of the most extraordinary dramas of modern Chinese history.
台湾国立故宫博物院内几乎所有的藏品均由蒋介石领导的国民党于战后从大陆运来。上百万件陶瓷、书画、玉雕等珍宝在长达16年的时间里跋涉6千余英里，这一旅程是现代中国史上非同寻常的篇章。
The contents of the imperial palace museum were originally carted off in 1933, just ahead of Japanese soldiers bound for Beijing, but the Nationalists kept the relics on the run from Mao Zedong’s Communist forces during four years of civil war before the best pieces were shipped across the strait. “Fortune was with us; not so much as a teacup was broken,” Han Lih-wu, a Taiwanese ambassador who helped move the collection, once told The New York Times. (A few thousand crates of less illustrious treasures were left on a dock in Nanjing.)
1933年，在日军攻入北京之前，故宫博物院的藏品被国民党转移。但在之后的四年内战中，国民党携珍宝四处奔走以避共军之锋利，最终将最精美的部分运往台湾。一位曾参与转运的台湾＂外交官＂Han Lih-wu曾对本报说：＂我们挺走运的，最多打坏了一个茶杯。＂数千箱逊一级的文物则遗留在南京码头。
Even though Mao maintained a profound disdain toward China’s antiquities, he still kept the imperial collection safe even as he encouraged Red Guards to smash and burn much of China’s ancient patrimony.
尽管老毛对中国文物嗤之以鼻，在其发动红卫兵横扫中国遗产之时仍对故宫馆藏严加保护。
“Throughout Chinese history, cultural relics have symbolized legitimacy and sovereignty,” said Ho Chuan-hsing, chief curator in the department of painting and calligraphy at the National Palace Museum. “If you possessed these treasures, you had the right to rule. As you can see, not much has changed.”
台北故宫博物院书画馆馆长Ho Chuan-hsing指出：＂纵观中国历史，文物代表着正统和皇权，掌国之大器者得天下。你看，到现在也没怎么变嘛。＂
Mainland officials have recently toned down their demands for the return of what they consider to be stolen goods, but the state-run media still insist on placing quotation marks around National Palace Museum as if to question its existence.
大陆官员近来不再高调要求台湾归还他们认为是被盗运的文物。但官方媒体仍在国立故宫博物院上打引号，好像在质疑其存在。
For now, museum officials in Taipei are savoring what they describe as their King Tut moment — a reference to the blockbuster exhibit of Egyptian antiquities in the 1970s that drew record crowds to cultural institutions in Europe and the United States.
当下，台湾博物院正细细品味他们所谓的＂图特法老一刻＂——七十年代在欧美引起轰动的埃及法老文物大展。
On most days, as many as 10,000 people line up to view the reunited scroll, as well as some of the more notable copies, including one that fooled Qianlong, the Qing Dynasty emperor who fancied himself a learned art connoisseur.
在大数展日，多达万余名游客排队参观这幅破镜重圆的画卷，及其最著名的赝品，其中包括曾骗过乾隆帝的那件，这位清朝皇帝曾自诩为博学的鉴赏家。
Wang Rongcui, a tourist from the Chinese city of Ordos in Inner Mongolia, was among those who recently spent a half-hour waiting for a glimpse of Huang Gongwang’s masterpiece. Asked about the political significance of the exhibit, Ms. Wang shrugged. “Oh, I don’t know anything about politics or this arty stuff, but it sure does look nice,” she said.
来自大陆内蒙的王女士，是众多排上半小时队以求一瞥的观众之一。当被问及此次特展的政治意义时，王女士不以为然：＂我对政治、艺术什么的一无所知，但这幅画看起来真的好美。＂
￥￥￥链接：http://www.nytimes.com/2011/07/0 ... &pagewanted=all
注：美国媒体多年来一直把大陆与台湾当成两个国家，文中的China仅指的大陆。我作为中国人不可能这样翻，在这一点上与原文不符。
China And Taiwan Reunite Painting
大陆台湾古画合璧
TAIPEI, Taiwan — Wu Hongyu, a wealthy Ming Dynasty art collector, was evidently not fond of sharing, given his deathbed command to burn his most beloved painting, “Dwelling in the Fuchun Mountains.” Fortunately, a nephew snatched the scroll from the funeral pyre that day in 1650, but not before flames split the work in two.
台湾台北——明代古玩收藏家吴 Hongyu显然不是与人乐乐之人，临终前曾令家人将其最为钟爱的《富春山居图》焚化。万幸的是，吴家侄子从火堆中将画卷救出，但画作已被火焰裂为两半，时为公元1650。
During the three and a half centuries since then, the two sections were kept apart by greed, civil war and the vicissitudes of geopolitical gamesmanship. The smaller piece, just 20 inches across, found its way to a provincial museum in Communist-ruled China. The more imposing 21-foot-long section ended up on Taiwan, the island where the retreating Chinese Nationalists — and boatloads of treasures from Beijing’s imperial palace — ended up after they lost the civil war in 1949.
在之后三个半世纪里，两片残画为贪婪、内战以及地缘政治的幻变风云所隔离，天各一方。长仅二十英寸的片段之一收藏于TG治下的一个省级博物馆；较大的一片长达21英尺，则辗转至台湾——国民党49年兵败后的栖身之所，同期抵达的还有数船来自北京故宫的珍宝。
If the story of “Fuchun Mountains” is richly symbolic of China’s tumultuous history and its six-decade estrangement from Taiwan, then the painting’s reunification last month at the National Palace Museum here in the Taiwanese capital is a made-to-order metaphor for the reconciliation that Communist Party leaders have long imagined for what they deem a breakaway province.
如果《富春山》的遭遇意寓着中国跌宕起伏的历史以及六十年来两岸的隔海对峙，那么两幅残片上个月在台湾＂国立故宫博物院＂的合璧展则是TG领导人梦寐已求的两岸合解的绝佳象征——中国仍将台湾视为叛省。
“If the painting can be brought together, so can our people,” Prime Minister Wen Jiabao of China said last year upon learning that both China and Taiwan, still formally at war, had agreed to the joint showing of a work that experts have ranked as among the 10 most important Chinese paintings. Begun in 1347 by Huang Gongwang, the impressionistic ink rendering of rolling peaks and rural settlements was so influential to generations of landscape painters that it spawned dozens of copies and forgeries.
去年，温总理在得知大陆与台湾——理论上仍处于战争状态——将联合展出这幅被业内评为十大国画之一的作品时指出：如果一幅画能合而为一，我们的民族也能如此。这幅画由黄公望于1347年开始创作，用印象派水墨手法再现峰峦叠嶂与农家院落，对后世山水画影响甚大，以致于临本与赝品层出不穷。
The exhibition, titled “Landscape Reunited,” has been added to the list of notable firsts that have followed the 2008 election of Taiwan’s president, Ma Ying-jeou, who has sought closer ties to the mainland — a marked contrast to the sometimes antagonistic impulses of his predecessor, Chen Shui-bian, who even turned down an olive branch in the form of giant pandas.
本次名为＂山水合璧＂的特展是马英九08年上台以来一长串的＂破冰＂之一，马与其前任陈水扁截然不同，马英九寻求与大陆建立更紧密的关系；陈则力主对抗，甚至拒绝大陆伸过来的橄榄枝——一对大熊猫。
Since Mr. Ma’s inauguration, a raft of breakthrough agreements between Taiwan and China have yielded a pair of pandas for the Taipei Zoo; the opening of direct shipping, postal and air links; and an arrangement that last year allowed 1.2 million mainland tourists to visit — and spend money — on the island. Another landmark came last week: the first planeload of individual Chinese tourists who will be allowed to roam Taiwan unsupervised.
马主政以来，一系列突破性的两岸协定为台北动物园赢得了一对大熊猫、＂三通＂得以实现并在去年为台湾带来了120万一路散财的大陆观光客。上周又有一个里程碑式的事件：首批来自大陆的自由行观光客在台湾落地。
Increased cultural and economic ties have pleased many Taiwanese business leaders but have also stoked anxiety among those who view such inducements as an attempt to ensnare Taiwan into China’s increasingly domineering economic orbit. Tso Chen-dong, a professor of political science at National Taiwan University, said many people here could not help being skeptical of Beijing’s newfound largess. “Will tighter economic links bring more understanding between the two?” he asked. “Or will Beijing gain more control over both Taiwan’s economy and politics? It remains unclear at this moment.”
更紧密的文化经济纽带让台湾商界领袖欢欣鼓舞，但也引起一些人的担忧，他们认为大陆意于将台湾拉入其经济轨道。国立台湾大学政治学教授Tso Chen-dong称许多台人对大陆的慷慨心存疑虑，＂紧密的经贸关系意味着增进相互理解还是北京将进一步控制台湾的政治、经济？目前尚不清楚。＂
For now, détente has its limits, especially when it comes to art. Although the Palace Museum in Beijing — where “Fuchun Mountains” was displayed before the Nationalists carted it away — lent its Taiwanese counterpart 12 items for the exhibit, the curators in Taipei have been less obliging. During two years of negotiations, museum officials here insisted that they could not lend their portion of the scroll, nor any of the other 700,000 works in their collection, until Beijing enacted a legally binding guarantee against seizure. “It wasn’t even up for discussion,” said Chou Kung-shin, the director of the National Palace Museum.
目前的缓和是有局限性的，尤其在艺术领域。虽然北京故宫博物院——《富春山》在被国民党运走前的藏馆——为此次特展向台湾故宫博物院出借了12件藏品，但台方却无礼尚往来的表示。在长达两年的协商中，台湾馆坚称无法向大陆出借他们七十万件藏品中的任何一件，除非北京作出具有法律约束力的保证，即：北京将不收缴台方藏品。台湾国立故宫博物院院长说：＂连谈都不要谈。＂
Chen Hao, the director of the Zhejiang Provincial Museum in Hangzhou, which has owned the smaller slice of the scroll since 1956, said he found the loan arrangement somewhat unsatisfying. “I think our museum should have the right to display the whole painting as well,” he said. “If we truly cannot resolve this between our two museums, I hope our governments will be able to tackle the problem.”
自56年以来收藏《富春山》较小片段的浙江省博物馆馆长对此次外借颇有微词：我认为我馆也应有权展出全幅作品，如果两馆之间无法解决，双方政府应予以协调。＂
Although the two governments have larger issues over which to tussle — including the likely sale of American F-16 fighter jets to Taipei or what to do about those 1,000 or so Chinese missiles pointed across the Taiwan Strait — the role of disputed antiquities in the relationship cannot be overstated.
虽然双方政府有更重大的问题需解决，如美国向台北出售F —16战机、大陆对台千余枚导弹等等，但是争议文物在两岸关系中的地位非同小可。
It helps to know that nearly the entire contents of the National Palace Museum in Taipei were brought here from China by Chiang Kai-shek’s Nationalist forces at the end of the civil war. The journey of one million items of porcelain, calligraphy, carved jade and glazed pottery, which lasted 16 years and covered 6,000 miles, is one of the most extraordinary dramas of modern Chinese history.
台湾国立故宫博物院内几乎所有的藏品均由蒋介石领导的国民党于战后从大陆运来。上百万件陶瓷、书画、玉雕等珍宝在长达16年的时间里跋涉6千余英里，这一旅程是现代中国史上非同寻常的篇章。
The contents of the imperial palace museum were originally carted off in 1933, just ahead of Japanese soldiers bound for Beijing, but the Nationalists kept the relics on the run from Mao Zedong’s Communist forces during four years of civil war before the best pieces were shipped across the strait. “Fortune was with us; not so much as a teacup was broken,” Han Lih-wu, a Taiwanese ambassador who helped move the collection, once told The New York Times. (A few thousand crates of less illustrious treasures were left on a dock in Nanjing.)
1933年，在日军攻入北京之前，故宫博物院的藏品被国民党转移。但在之后的四年内战中，国民党携珍宝四处奔走以避共军之锋利，最终将最精美的部分运往台湾。一位曾参与转运的台湾＂外交官＂Han Lih-wu曾对本报说：＂我们挺走运的，最多打坏了一个茶杯。＂数千箱逊一级的文物则遗留在南京码头。
Even though Mao maintained a profound disdain toward China’s antiquities, he still kept the imperial collection safe even as he encouraged Red Guards to smash and burn much of China’s ancient patrimony.
尽管老毛对中国文物嗤之以鼻，在其发动红卫兵横扫中国遗产之时仍对故宫馆藏严加保护。
“Throughout Chinese history, cultural relics have symbolized legitimacy and sovereignty,” said Ho Chuan-hsing, chief curator in the department of painting and calligraphy at the National Palace Museum. “If you possessed these treasures, you had the right to rule. As you can see, not much has changed.”
台北故宫博物院书画馆馆长Ho Chuan-hsing指出：＂纵观中国历史，文物代表着正统和皇权，掌国之大器者得天下。你看，到现在也没怎么变嘛。＂
Mainland officials have recently toned down their demands for the return of what they consider to be stolen goods, but the state-run media still insist on placing quotation marks around National Palace Museum as if to question its existence.
大陆官员近来不再高调要求台湾归还他们认为是被盗运的文物。但官方媒体仍在国立故宫博物院上打引号，好像在质疑其存在。
For now, museum officials in Taipei are savoring what they describe as their King Tut moment — a reference to the blockbuster exhibit of Egyptian antiquities in the 1970s that drew record crowds to cultural institutions in Europe and the United States.
当下，台湾博物院正细细品味他们所谓的＂图特法老一刻＂——七十年代在欧美引起轰动的埃及法老文物大展。
On most days, as many as 10,000 people line up to view the reunited scroll, as well as some of the more notable copies, including one that fooled Qianlong, the Qing Dynasty emperor who fancied himself a learned art connoisseur.
在大数展日，多达万余名游客排队参观这幅破镜重圆的画卷，及其最著名的赝品，其中包括曾骗过乾隆帝的那件，这位清朝皇帝曾自诩为博学的鉴赏家。
Wang Rongcui, a tourist from the Chinese city of Ordos in Inner Mongolia, was among those who recently spent a half-hour waiting for a glimpse of Huang Gongwang’s masterpiece. Asked about the political significance of the exhibit, Ms. Wang shrugged. “Oh, I don’t know anything about politics or this arty stuff, but it sure does look nice,” she said.
来自大陆内蒙的王女士，是众多排上半小时队以求一瞥的观众之一。当被问及此次特展的政治意义时，王女士不以为然：＂我对政治、艺术什么的一无所知，但这幅画看起来真的好美。＂
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像这幅画一样，WW终究要回来
所谓的文物的司法免扣押协议，充分体现了台湾人死不要脸的德行
呵呵。。。
欧美人就是这么无耻的。。。
转运ww才6000余里。。。中国史上非同寻常的篇章？？？
他们转运大英博物馆，华盛顿博物馆，大都会博物馆的那些怎么算？ 岂不是人类史上非同寻常的篇章？
欧美人就是这么无耻的。。。
转运ww才6000余里。。。中国史上非同寻常的篇章？？？
他们转运大英博物馆，华盛顿博物馆，大都会博物馆的那些怎么算？ 岂不是人类史上非同寻常的篇章？
俺翻到有一百二十万陆客到台湾观光就恼火，去撒钱还要受人白眼