0402_(Translation Practice) Bilingual Arts: Chen Chin’s The Women of Sandimen Area

  •  
  • 133
  • 0
  • 1
  • English 
Apr 2, 2018 16:16 translation TC-to-EN
This is a practice Chinese-English translation.
Please let me know your opinions and suggestions about this translation.
I would value them highly.
Thanks a lot in advance.
Source (text in the original language):
http://www.taipeitimes.com/News/lang/archives/2018/03/31/2003690357
----------------------------------------------------------------------------------------------------------------

一九三四年,「台展三少年」之一的陳進(一九○七年~一九九八年)應邀至高雄州立屏東高女(今屏東女中)教書,成為日治時期第一位任教於高級中學的台籍女教師。
In 1934, Chen Chin (1907 - 1998), known as one of the three young Taiwanese selected to exhibit at the Taiwan Art Exhibition (Taiten) during the Japanese colonial period, was offered a teaching position at the Takao (Kaohsiung) Prefecture Heito High School for Girls (present day Pingtung Girls’ Senior High School), becoming the first Taiwanese female teacher to teach at a high school in that era.


學校附近常有原住民來交易,他們的裝束、樣貌與平地人極為不同,深深吸引了陳進的注意,因此在教書之餘,她常去排灣族部落三地門寫生。
There were frequent trade activities with aboriginal people around the school. Their outfits and appearances, which were very distinct from people from the local area, drew her attention. Therefore, she often went to the Paiwan Aboriginal area of Sandimen to paint when she wasn’t teaching.


她根據寫生的材料畫成一幅草圖,一九三六年借用日本東京寬永寺的空間完成大幅的作品,名為《三地門社之女》(圖一),入選了日本文部省美展。
With materials collected during her painting, she painted a draft, and then in 1936, she loaned out the space of Tokyo’s Kanei-ji Temple in Japan to complete her final work, which was very large, named “The Women of Sandimen Area”(photo 1), and it was selected to the New Ministry of Education Art Exhibition.


在膠彩人物畫名家陳進筆下,抱著嬰孩的女子、紅衣和黃衣小女孩、蹲在左方手持煙斗的女人,有著自然優雅的神態;表示不同身份地位的頭巾、衣服、珠鏈,其精緻的圖樣和豐富的色彩極具民族特色。
The figures painted by Chen with the brushwork style illustrates a scenery of a woman carrying a baby, two little girls wearing red and yellow clothes, a woman squatting and holding a pipe on the left with a naturally elegant appearance; scarves, clothing, jewelry denoting different social status, elaborate patterns and various colors enrich the painting with ethnic features


耐人尋味的是,比較草圖和參展成圖,草圖中的人物有著更銳利的眼神、更桀驁的神態,以及更深的膚色(圖二、圖三)。當然,參展圖大畫幅的氣勢,及其細緻與完成度讓這幅畫「很美」;但寫生時所捕捉的人物形象那種野性的稜角被磨去了,變得像是平地人,只是穿著原住民裝束,持菸斗的女人則令人聯想起法國仕女的抽煙形象。這樣的變化,或許符合了日本男性評審的期待,無論是對於女性,或是異族,這是不造成威脅的異國情調。
What is interesting is that the figures in the draft have more piercing eyes, unyielding appearances and darker skin. Needless to say, the large scale of the exhibited painting makes it look really “pretty”; however, the wildness within their appearances captured during her painting were watered down to make them look just like non-aboriginal people in aboriginal clothing; the woman with a pipe reminds people of the image of a French lady. Maybe changes like this corresponded with Japanese judges’ expectations, just conveying pure exoticism and not posing a threat, in terms of the depiction of the female and of other ethnicities.


日治時期的教育及展覽比賽機制,形塑了現代台灣美術的面貌,獲獎無數的陳進,想必深諳遊戲規則,在族群與性別的荊棘中闢出一條路。
The mechanisms of exhibitions and education in the Japanese colonial period shaped the field of art in Taiwan. Chen, who won numerous awards, must be really proficient in detecting the underlying rules of that time so that she could slash a career path out of the thorns of racial and gender difficulties in that period.
Learn English, Spanish, and other languages for free with the HiNative app