想法|發現|習慣|人文
品味語言，瞭解文化
（誦讀：陳沁雯）
一個邁著輕快步伐的女人，利落地打開了店鋪的門。
A woman walking at a brisk pace opened the door of the shop neatly。
她身著棉麻材質的衣服，看起來和外面的世界不大匹配，可一進店裡卻覺得這身打扮甚是合理，反倒顯得我們這些穿著時尚的“闖入者”有些格格不入。
Dressed in cotton and linen， she looked out of place in outside world。 But on entering the shop， we found such outfit was just right。 By comparison， we fashionably dressed “intruders” were quite out of place in the shop。
她是重慶市非物質文化遺產“漢磚拓片”的傳承人——李小薭。從事拓片十幾年來，經她手的石磚、石刻不勝其數，這項技藝也為更多人所知。
Li Xiaobai is the inheritor of Chongqing‘s intangible cultural heritage， “Han Brick Rubbings”。 Engaged in rubbing making for more than a decade， she has handled numerous stone bricks and carvings and has brought this exquisite craftsmanship to many people’s knowledge。
漢磚拓片，顧名思義就是將石磚墊於紙下，再進行拓印。李老師講述，製作拓片大致分為三步，首先是進行“上紙”，將紙面用水噴溼，再拿刷子細細地拍打出石磚的圖案，等到紙面八分干時才能進行第二步，由於不同時代的磚的質地不盡相同，紙面乾的時間也有所不同。待到“上紙”完成，就該進行“上墨”了，將拓包蘸上墨汁，從磚的凸起處向凹處上墨，這一過程粗心不得，稍不注意便會出現“死墨”的情況，只有耐心地多拓幾遍，才能將磚的細節拓於紙上。這一步驟完成之後，就到了“揭紙”的時刻，將紙從磚上慢慢揭下，這塊磚上的風采便盡顯於紙上。
Han Brick Rubbings， as its name implies， is made by rubbing Chinese art paper on stone bricks。 According to Mrs。 Li Xiaobai， rubbing making is roughly divided into three steps。 The first step is “paper loading”， which is to spray wet the paper with water， and then pat the paper with a brush carefully until the pattern of the stone brick leaves its mark on the paper。 The second step can only be carried out when the paper is 80% dry。 The drying time of paper varies with the texture of brick， which in turn varies with age。 When “paper loading” is completed， it is time to “ink”。 Dip the dabber in ink， and apply ink from the convex of the brick to the concave part。 One must be especially careful in this process。 One slip may cause “dull ink color”。 Only by inking with patience， can the details of the brick be vividly produced。 Finally， peel the paper off from the brick little by little， and then you have a fascinating rubbing。
這項技術的產生，必然離不開的就是“磚”了。因為有了磚，拓片才有其發展的條件。
This technique is only made possible by bricks， which is the basis of the development of rubbings。
左右滑動檢視更多照片
漢代畫像磚的興起，為拓片技藝的產生和發展奠定了基礎。漢畫像磚常用於墓室建築裝飾，彼時達官顯貴厚葬習俗流行開來。在墓室之中，追求天人合一，人神相融，於是在周圍牆壁上雕刻繪畫，最後形成漢畫像磚。畫像磚成為研究我國漢代政治、經濟、文化、民俗的寶貴文物，成為學界、藝界、藏界的珍品。由於漢磚難尋且珍貴，漢畫像的拓片也成為一紙難求的“寶物”。
The rise of portrait bricks in the Han Dynasty （202BC-220AD） laid the foundation for the emergence and development of rubbing techniques。 In Han Dynasty， elaborate funeral was popular among dignitaries， so portrait bricks were often used in the decoration of tombs。 Adorned with portrait bricks， the wall of the tomb chamber was covered by carvings and paintings which reflected ancients’ pursuit of unity of man and nature。 Portrait brick has become a valuable cultural relic for studying the politics， economy， culture and folk customs of the Han Dynasty and a treasure for academic， art and collection circles。 As Han bricks are rare and precious， the rubbings of Han portraits bricks are also scarce and valuable。
1938年，郭沫若抵達重慶，積極從事文藝、政治、考古等工作。並在之後的兩年裡，郭沫若開始在南岸主持發掘漢墓，一系列文物重見天日。幾十年後，考古工作者們繼郭沫若發掘過的漢墓區後，又發掘出土文物三百零九件。墓室中所用的磚石十分精美，且種類繁多。僅一個墓室就用長方形花紋磚、楔形子母磚、菱形紋磚、菱形乳釘紋磚、菱形回字紋磚等不同樣式的磚修葺建成。此外，其中一個墓室室壁還採用了長方形花紋磚縱橫交錯疊砌而成，並且墓室面上的磚石均有花紋裝飾。之後，考古工作者又相繼發掘了唐、宋等其他朝代的墓穴。
Arrived in Chongqing in 1938， Guo Moruo was actively engaged in fields such as literature and art， politics， and archaeology。 In the following two years， he began presiding over the excavation of Han dynasty tombs in Nanan District， Chongqing， where a series of artifacts were unearthed。 Decades later， the archaeologists unearthed another 309 cultural relics in the Han dynasty tombs。 The tomb was built with exquisite and diverse masonry。 There was a tomb that was built with various bricks including rectangular textured bricks， wedge bricks， diamond-shaped bricks， diamond-shaped brick with hemispherical bulges， and diamond-shaped bricks with geometric patterns。 In addition， one of the tomb walls was made of crisscrossed rectangular textured bricks and the chamber of coffin was decked with patterns。 Later， archaeologists successively excavated the tombs of other dynasties such as the Tang and Song Dynasties。
正是因為一些墓室的發現，拓片這項工藝在重慶才得以發展開來。並且，隨著制磚工藝的發展，每個朝代與每個朝代的石磚都不盡相同。如今的拓片也不僅侷限於漢磚，還有宋代題刻、書畫藝術等。其中，一幅名為“小歡喜”的拓片讓我感觸頗深。它是由北魏時期的一座殘碑所拓，在這幅拓片中沒有其餘的字，只有“歡喜”二字。我們並不知道這座碑其餘的內容，但是偏偏留下了這兩個字，也是令人感慨。直到今天，這座殘碑已經歡喜了兩千多年了。
It was the discovery of these tombs that led to the development of rubbings in Chongqing。 Besides， with the progress of brick-making technology， stone brick varied from dynasty to dynasty。 Nowadays， other than Han Brick Rubbings， rubbings of inscription， painting and calligraphy of Song Dynasty are also available。 Among them， a rubbing called “Xiaohuanxi”， namely， “Joy” touched me deeply。 It was a rubbing of remnants of a stela from the Northern Wei Dynasty， on which there happened to be no other characters but “Huanxi”， which was quite touching。 To this day， this stela has been “joying” for more than two thousand years。
據李老師介紹，拓片的種類多樣，最簡單的莫過於平面拓了。其餘還有全形拓、泉拓、穎拓、浮雕拓等。只要是有形的物體都可以做成拓片，和現在的3D列印技術不同，拓片往往是將立體的東西平面化。但這類拓片是最難的，只有專業的師傅才能完成。
According to Mrs。 Li， flat rubbing ranks the easiest among various types of rubbings such as utensil rubbing， coin rubbing， drawing rubbing， and anaglyph rubbing。 Any concrete objects can be made into rubbings。 Unlike today’s 3D printing technology， whose aim is to make plane objects three-dimensional， rubbings tend to flatten solid objects， which require fine craftsmanship and can only be performed by professional masters。
一些拓片在拓好之後還會留白，供人再次進行作畫題字，待到賦予其二次生命後，它們便有了一個新的名字——博古畫。
Sometimes， blank space may be left on rubbings for people to paint or inscribe。 After re-creation， such rubbing is given a second life， thereby gaining a new name ——- Bogu painting。
我們最常見、最傳統是用墨拓的黑色拓片，一些寺廟有時還會掛上用硃砂拓的、描金的佛像的拓片。而發展到了今天的拓片形式也更為多樣。李老師表示，時代在發展，如果想要這門技術繼續傳承下去，拓片也勢必要進行創新。所以現在我們還能見到一些顏色豐富、偏向現代風格的拓片。
Black ink rubbing is the most common and conventional kind。 Some temples even hang rubbings of Buddha rubbed with cinnabar and outlined with gold dust。 The rubbings of today are more diversified in form than that of the past。 “As time goes by， rubbings will have to innovate if this art is to be carried forward”， Li said。 So now rubbings of various colors and more modern style are also available。
時間不知不覺地流逝，參觀者們陸續離開，李老師馬上又投入到拓片的製作之中，如此週而復始。日光灑落在老師工作的案臺上，時光彷彿在此刻凝固，歷史和現代也就此交織在一起。
Time fliesand visitors began to leave。 Once again Mrs。 Lithrew herself intorubbing making。 Sunlightfell on her worktable， and at this moment time seemed to be frozen， interweaving history with modernity。
中文供稿：王美茵 （2019級傳播班）
中文指導：楊濤、景熹
譯文：吳靚（2016級翻譯10班）
譯文指導：李亞
誦讀：陳沁雯（2018級鵬程4班）
誦讀指導：邢丹丹
圖片：劉小慶（2019級特稿班）
英語學院翻譯教研室
國際傳媒學院融媒體創新創業中心聯合出品