著名画家的英语短语：关于肖像画和肖像画家的英中翻译文章
著名画家的英语短语：关于肖像画和肖像画家的英中翻译文章Many people use photo as the basis for portrait and produce some similar works. However reliance must bring in restriction. In this way the portrait would be similar to the photo only without the freedom of creation or realization of art. Portraying skills are based on nature. A painter can by no means reach the realm of free expression if without repeated sketching and observation. There is no s
Portrait and Portraitist
肖像画和肖像画家
One piece of portrait should be realistic first then vivid and finally aesthetic. This is what I think the portraiture should be.
肖像画的要求 一为“像”，二为“活”， 三为“美”。这便是我对肖像画的看法。
Realism
像
This is the basic requirement for a portrait which tests the painter’s observation and identification of the facial features of human body as well as the proof of his/her painting skills.
“像”是对肖像画的起码要求，考验着画家对人体五官特征的观察和认识，乃画家描绘能力的证书。
Many people use photo as the basis for portrait and produce some similar works. However reliance must bring in restriction. In this way the portrait would be similar to the photo only without the freedom of creation or realization of art. Portraying skills are based on nature. A painter can by no means reach the realm of free expression if without repeated sketching and observation. There is no short cut in the painting.
许多人以照片打格子的办法，来画肖像画，如此画出来的画，看起来都“像”，但因为依赖照片，就必然受制于照片， 最终画作结果也只能是像照片而已！必竟这少了塑造的自由，无法达到艺术的高度。描绘能力只能来自写生，所以，画家必须经过长期的写生和观察锻练， 才能抵达表达的自由王国，除此之外，别无捷径可走!
It is certainly good for the capable painter to paint from life in front of real human beings but there is no need to repel the use of photos in portrait painting. The premise is a relatively stereoscopic understanding about the “object”. The best way is to have a face-to-face conversation with the object take photos of it record different expressions from different shadows or even ask the photos of different stages as reference. Of course the painter should be good at the depiction and expression first. In past century there are many painters completing portrait painting with photos like Korbel in France and Rockwell in America.
有描绘能力的画家，面对真人写生，当然很好！但画家也没必要排斥利用照片来画肖像；条件是：必须对“对象”有较为立体的认识；最好能面谈，且亲自拍照，记录下不同的光影角度，不同的表情，甚至要求提供不同年龄段的照片以作为参考。当然，画家自身要具备良好的描绘表达能力，才能默契有加。近百年来， 利用照片画肖像的画家比比皆是，如法国的科贝尔和美国的洛克威尔。
Some smart person may say: the most important thing for portrait is the spirit instead of reality. This kind of idea seems to quite smart but such person must be poisoned for reading too much books. How can it be possible to have a portrait with amazing spirit but unrealistic looks?
有些聪颖之人可能会说：肖像画不一定要画得“像”，重要的是把“他的精神”画出来！这观点好像很有学问，但肯定也是书看得太多，脑残了！世间岂有：画出“他的精神”，而不像他的肖像画？
Vividness
活
Besides realism the portrait should also be vivid. To ask the person to sit down and draw the portrait by looking at the person is the usual practice of painter. Such portrait may be realistic but must be too staid like the photo taking in a photo studio.
“像”之外还要“活”! 请人坐下，要求其别动，照描照画；这是一般画家的做法，或许也可以画的“像”，但这肯定死板，有如在照相馆拍照！
For a professional portrait painter the first thing is to observe the object from different perspectives so as to bring vividness to the work. The design plan has clearly defined concepts and the work can not be begun until both parties agree with each other. The painting starts from the general posture of the figure and changes with the time so that the moves of the person are not too staid. This is the only way to draw a vivid portrait.
专业肖像画家都会先仔细端详对象，考虑如何做“活”，之后才会设计方案，搞清楚概念，且在征得双方同意后，才能动笔作画；先将人物的总体姿式作为起稿之源，在绘画的过程中，姿式分段摆，使画中人的肢体动作不至于强硬。这是“活”肖像写生的不二法门！
Some person thinks the vividness of portrait painting lies in the luster of eyes. This is quite misleading. Vividness is absolutely related to the move. Our ancestors pay great attention to the moving expression and try to depict the vigor of the things. The flying fairies on the Dunhuang Frescoes offer us a best example with human moves coordinating with flying clothes. In the frescoes the figures seem to be alive and so is the air and environment. Vigor means life and move indicates moving.
也有人认为只要把眼睛的芒点画出来那就“活”了，这其实是误解！“活”和“动”有绝对的关系；古人强调“气韵生动”，着意在表现万物生机勃勃的状态；敦煌壁画的仙女飞天图， 给我们作了最好的示范：人物肢体动作配合飘逸的衣裙彩带，形象地诠释了人物是活着的， 有风有空气，环境也是活的。“动感”就是“活”，“动感”就是“气韵生动”!
In addition the complexion color and brushwork also affect the vividness but they still can not be as important as the moves of the figures. Moves represent the body language and reflect the mental state of the figures.
此外，肤色，画面色彩铺陈和笔势走向，也是“活”的要素。而这些都难以与人物的肢体动作匹敌，因为肢体动作就是肢体语言（体语），它传递了人物的精神状态！
Aesthetic
美
The portrait should be not only realistic and vivid but also aesthetic. The aesthetic here means more means of expression. It makes the picture more attracting and interesting. This is the most challenging part for the painters and is the total sum of the painter’s shaping capability and artistic qualification.
有了“像”和“活”，还离不开“美”！“美”，更多地指的是艺术手法，它使画面引人入胜，百看不厌! 这是画家最具挑战性的项目；是画家造形能力与艺术修养的总和!
A portrait of course should be aesthetic. The painter should know by heart where should be outlined and where should be avoided. This requirement is more difficult than it seems to be. The painter should first know the beauty of different postures and features as well as the biological beauty in different ages from child to elder person. Without adequate observation and training the painter may be blind by mistaking the beautiful for ugly.
肖像画当然要把人物画美! 画家懂得哪里该强调，那里应避开! 这要求看似容易，实则极为困难！首先，画家要了解人的各种体态美，五官的曲线美， 从孩童到年老，不同年龄阶段的生态美，画家若没有一定的观察和历练，便可能会有眼无珠，颠倒美丑妍媸！
Once a lady from Hong Kong asked me to paint a portrait of her. At that time I was quite young and inexperienced. I completed the painting within less than one hour and I painted her younger. After looking at the portrait for a long time the lady said in Cantonese with smile: “I am far more beautiful then you paint”. I thought she was praising both me and herself but she turned to tell me my deficiencies in the painting: the curves of her face and lips were not outlined the forehead was not full the orbit was too shallow the eyebrow was too thick and the hair was too hard. I observed her again as she required and adjusted my work. The portrait became more vivid and aesthetic just like her. I appreciated her guidance sincerely and she was glad by saying: “it is good for you to listen to my advice. By the way I will teach how to choose a wife”. After that I had a profounder understanding about the features of human beings.
曾经有一位香港女士请我给她画肖像，那时我刚出道，年轻气盛，对着她，还不到一小时的功夫，就完成了作画，还把她画得很年轻；她在画前仔细端详了好久，但她带笑地说道：“何止这般美---广东话!”。当时，我还以为她在赞美我，同时也在赞美自己；没想到她突然认真起来，指正我的不足：说没把她脸颊和嘴唇的曲线给画出来， 额头也不够饱满，眼框过浅，眉头过粗，发形殭硬.......根据她的要求，我再观察比对，调整一番后，果然更为生动，更美更像她本人了；我真心实意地感谢她对我的指导，她很高兴地说：“你很听话，好啦! 我顺便教你选老婆......经过她的指点，此后，我对人的五官便有了更为深邃的认知。
Some people deem it an insinuating behavior to paint the portrait realistic vivid and more beautiful then the person. Critic used to say: it is the responsibility of the portrait painter to depict faithfully the personal character. Such kind of comment is really unprofessional. In order to realize this requirement the portrait painter should be a fortune teller in the meantime; otherwise how can a people judge other’s personal character. It is absolutely right that the feature expression clothing and behavior of a person reveal his life. But personal character is really hard to tell even for the person himself. The painter can only complete the painting with first impression and fortune is involved in the reflection of the personal character.
有人以为把人物画得像，画得活，又比本人好看，是画家讨好客户的奉承行为! 评论家都会说：把人物的性格忠实地进行描绘，才是肖像画家的职责；这是外行人说外行话，按照这个要求，肖像画家同时也必须是算命卜卦师才行，否则， 谁能看懂人物的性格? 而评论家又根据画中的哪一点，能来断定人物性格的真实性呢？不错! 人物的脸形、表情、服装和动作，可以显示他的生活；至于人物的性格，即使是当事人恐怕也难以说清楚! 画家只能凭第一印象来作画，是否画出了他的性格，那只能靠运气了。
In fact portraiture is customized with the painter as the skill seller and customer the buyer putting forward conditions. The final result of portrait painting relies on the agreement reached by and between both parties. This is a commercial act. In such case no matter how famous the painter maybe he can not do what he want. The opinions of the customer must be respected. This unwritten rule has been formed as early as during the Renaissance period. It is truer in the ancient Egypt where painter is only slave who can do nothing but observe commands from his master.
事实上，肖像画是量身定制的，因为画家是提供技术的卖方，定制者是提出条件的买方，肖像画作的最终结果取决于买卖双方所达成的协议；这是商业行为。所以，在这种情况下，即使是名气冲天的画家，也不能我行我素，客户的意见必须得到尊重! 这种不成文的规定，也不是现在才有，其早在文艺复兴时期就己存在，纪元前的古埃及就更别提及了，其时，画家的身份只是一介奴隶，一切只有听主子之命的份！
It is the responsibility for a painter to complete an aesthetic vivid and realistic portrait. He may not realize the artistic requirements when meeting the demands of the customers. He nevertheless does gain something. Besides remuneration he also find a permanent place for the exhibition of his works (this is a live advertisement and a smart painter should make every attempt to paint well his works). The negotiations between the painter and customer are a kind of real exchange of opinions. It offers the painter an opportunity to know the difference between his opinions and external requirements. In this way the painter can go out from the ivory tower and improve his works. This is quite invaluable.
将肖像画“美”，画“活”，画“像”，画家就己经履行了自己的职责；为了满足客户的需要，画像或许达不到画家的艺术要求；但对画家而言，也非一无所获；除了获取酬劳外，也使自己的作品有了一个可供长期展示之地；(这是活广告，聪明的画家都该尽可能地把自己的作品画好！) 画家和客户协商，是一种真正的观点交流；它给了画家了解自己观点，和外界要求差距的机会；这有助于画家摆脱象牙塔，改进作品的沟通方向。这可是无价的收获!
Limitation
局限
Of course any painting has its own limitations and so does the portrait. As for portrait painting the free expression of painter is restricted by the over high imitation of reality as well as the customer demands.
当然 任何绘画都有它的局限性；肖像画也不例外。由于它的记录性质过高， 且要顺应客户的要求，这就使得画家的表达自由受到了限制。
Portrait Painter
肖像画家
In ancient times it is the privilege of monarchs to have portrait. The Chinese do not have portrait in real sense until in Song Dynasty. Now the portrait has become popular among common people but it stays as a kind of painting serving the rich.
肖像画在古代是帝王权贵的专利，中国人在宋代才有了真正意义上的肖像画， 现在肖像画己很是普及，但它到底是为有钱人服务的画种。
It is learnt that it is a habit for the large enterprises and public institutions to hang portraits of leaders in different generations in European and American countries. The bourgeoisie is more inclined to hang the portraits of their children or wife at home. This is a commercial opportunity for most painters to enter the market of portrait.
据了解，欧美的大企业，公家机构都有时常挂着历代领导人肖像画的习惯，中产阶级家庭也爱挂着孩子或太太的画像，这是一门商机，吸引着众多画家投身肖像画这块市场。
Generally speaking among painters the portrait painter (including those street portrait painters) has better living conditions for the portrait has strong value of memory and decoration. The well-known portrait painters usually have moderate wealth for their rare skills. They are the painters who work really diligently and their success is not accidental at all.
总体而言，在画家中，肖像画家(囊括了街头肖像画家)生活状况较好；因为肖像画有纪念性和装饰性的特点，且需求量也较大。至于久负盛名的肖像画家， 他们一般的生活条件都较为优渥，所谓一技难求! 他们皆是努力付出的画家， 所谓，成功绝非偶然!
Utmost Technique
极限画技
Many modern painters look down upon the portrait painters for they think the portraiture is over conservative and the requirement for realistic is against the fashion and there is no need to bow to the rich.
诸多新潮画家对肖像画家不屑一顾，认为肖像画过于保守，要画“像”已不合朝流，更没必要向有钱人点头哈腰，作贱自已!
It is right to be integral but please do not speak one way and think another. It is also unreasonable to object others for depicting realistic portraiture. Is there a painter who wants his work to be against the reality? To choose which path to follow is a personal choice. It is a kind of sour grape psychology to repel others for the lack of skills in oneself. In view of the history we can find that all the masters such as Van Eyck Davinci Titian Velazquez Duna Rubens Len Brown and Repin are good at portrait painting. Even some modern great painters have rich portrait painting skills. What accounts for their success? I think only painter with great portrait painting skills is competent to complete the hard figure painting.
做人有骨气，确乎如此，但千万别口不对心，私下拜金! 反对别人画肖像画得“像”，更是毫没道理! 试问有哪一个人要将自己的肖像画得四不像? 画家要走哪一条路是自己的选择，如果自己没画得“像”的本事，而排除异己，那就是酸葡萄的心理! 历史告诉我们：凡艾克、 达芬奇、 提香、 委拉贵兹、 丢纳、 鲁宾斯、 林布郎和到列宾，他们这些大师，个个都是肖像画的高手! 即使现代台面上的所谓大师，他们也都有着一定的肖像画技巧! 试问他们的成功原因何在? 无他，只因艰巨的人物画创作，只能是有肖像画技巧的画家，才能胜任之!
The portrait painting represents the utmost painting skills by blending diversified skills of painting. Owning such skills the painter will have more flexible choices and stronger viability.
肖像画代表了绘画技巧的顶点，它融合了绘画的众多技巧，拥有这种技巧的画家，选择就多，生存能力就强。
The painter having portrait painting skills can stop from painting portraits such as Turner Levitan and Poussan who had amazing achievements after turning to the creation of landscape painting.
有肖像画技能的画家，当然也可以不画肖像画，如泰纳、列维坦和普桑，他们从事风景画的创作，一样取得了惊人的成就。
The painter that can create excellent portrait painting must have acute sense of observation. They are extraordinary painters.
能画好肖像画的画家，其必然有着敏锐的洞察力，他们都绝非等闲之辈！
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译者简介
王翻译，拥有16载为数2千万字涉及各大主流翻译领域的海量项目经验。乃国内知名的中英文翻译实战家，中国百家翻译公司公认的优秀译者。自从业至今，凭借先天的语言天赋与后天日日笔耕不辍的实践，以无与伦比的翻译造诣，摘得全球语言翻译企业界为数“四个第一”的桂冠，顺利签约成为国内与国际双料冠军级翻译公司的在线优选译者。
一、于2009年3月，通过了中国翻译行业排名No.1的传神翻译公司专业法律类文稿测试。
二、于2018年11月，通过了中国最大人工翻译平台No.1语翼网纯文学类文稿测试。
三、于2019年7月，以满分的骄人成绩通过现世界翻译行业排名No.1的美国创博(transperfect)跨国翻译公司临床医学类文稿测试。
四、于2019年8月，以优异的成绩通过亚太地区翻译行业排名No.1的澳大利亚Appen翻译公司纯文学类文稿测试。
五、于2019年9月，高分通过现世界翻译行业排名No.7的爱尔兰keywords studio跨国翻译公司游戏本地化文稿测试。
16年翻译职业生涯，更是通过了国内举不胜举的翻译公司与为数甚众的各类客户对翻译文稿几近苛刻、极致乃至登峰造极的专业品质级测试。终晋级成为翻译水准位列世界超一流精英行列的全能型、实战型兼具工匠理念的人工中英文互译实战家。
