時(shí)間：2023-03-21 17:10:42
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中醫(yī)藥國(guó)際服務(wù)貿(mào)易雖然在概念上感覺(jué)還是個(gè)新鮮事物，但事實(shí)上，我國(guó)早就已經(jīng)和正在廣泛開(kāi)展向外國(guó)居民提供中醫(yī)藥遠(yuǎn)程醫(yī)療服務(wù)、外國(guó)居民來(lái)華進(jìn)行中醫(yī)藥醫(yī)療保健或?qū)W習(xí)中醫(yī)藥技術(shù)文化、我國(guó)中醫(yī)藥人員或機(jī)構(gòu)在國(guó)外開(kāi)設(shè)中醫(yī)診所、我國(guó)中醫(yī)師赴外國(guó)提供中醫(yī)藥服務(wù)此類跨境交付、境外消費(fèi)、商業(yè)存在和自然人移動(dòng)等4種模式的中醫(yī)藥服務(wù)貿(mào)易。中醫(yī)藥國(guó)際服務(wù)貿(mào)易是在國(guó)內(nèi)的中醫(yī)藥服務(wù)經(jīng)濟(jì)基礎(chǔ)上，通過(guò)中醫(yī)藥國(guó)際交流與合作逐漸發(fā)展起來(lái)的新興事物，涵蓋醫(yī)療保健服務(wù)、教育培訓(xùn)服務(wù)、文化傳播服務(wù)、保健服務(wù)和護(hù)理服務(wù)等及相關(guān)的旅游、咨詢等多個(gè)方面的服務(wù)內(nèi)容［7］。隨著全球經(jīng)濟(jì)一體化的形成，依存、競(jìng)爭(zhēng)、合作與發(fā)展成為當(dāng)今世界經(jīng)濟(jì)發(fā)展的基本態(tài)勢(shì)，在這一形勢(shì)下，開(kāi)展中醫(yī)藥國(guó)際貿(mào)易，特別是國(guó)際服務(wù)貿(mào)易具有十分重要的現(xiàn)實(shí)意義和深遠(yuǎn)的歷史意義。而如何有利、有序的開(kāi)展中醫(yī)藥國(guó)際服務(wù)貿(mào)易，給所有從事中醫(yī)藥國(guó)際服務(wù)貿(mào)易相關(guān)研究的人員提出了一個(gè)值得深思的命題。
2以標(biāo)準(zhǔn)化促進(jìn)中醫(yī)藥國(guó)際服務(wù)貿(mào)易發(fā)展
2.1中醫(yī)藥服務(wù)貿(mào)易在國(guó)際貿(mào)易中的重要地位
數(shù)據(jù)顯示，我國(guó)目前的中醫(yī)藥國(guó)際貿(mào)易主要還停留在傳統(tǒng)的實(shí)物交易階段。2013年我國(guó)中藥國(guó)際貿(mào)易中，植物提取物和中藥飲片中藥材仍是中藥進(jìn)出口的主要商品，出口額占比836％，進(jìn)口額占比749％［2］。曾經(jīng)有人大代表多次在人大提案要求控制中藥的出口，主要認(rèn)為我國(guó)中藥材人均資源有限，把這些寶貴的中藥材資源大多數(shù)都不是以有注冊(cè)身份的“藥品”形式而以低附加值的“食品”形式送出去不太合適。尤其是對(duì)提取物的批評(píng)很多，認(rèn)為是把有限的中藥材資源廉價(jià)賣出去，然后往往在國(guó)外經(jīng)過(guò)加工后再以進(jìn)口藥品身份高價(jià)返銷到國(guó)內(nèi)，國(guó)外企業(yè)不但從中賺取高額的差額利潤(rùn)，而且還把產(chǎn)品生產(chǎn)環(huán)節(jié)中最大的污染留在了原產(chǎn)地［8］。這樣的出口模式對(duì)我國(guó)的中醫(yī)藥長(zhǎng)期可持續(xù)發(fā)展顯然不利。有鑒于此，通過(guò)開(kāi)展中醫(yī)藥國(guó)際服務(wù)貿(mào)易不乏是一種新的解決途徑。通過(guò)開(kāi)展中醫(yī)藥國(guó)際服務(wù)貿(mào)易，能將中醫(yī)藥從有形的產(chǎn)品交易形式，拓展到前景更為廣闊的無(wú)形服務(wù)貿(mào)易中來(lái)，打破傳統(tǒng)貿(mào)易在時(shí)間、空間上的局限性；通過(guò)開(kāi)展中醫(yī)藥國(guó)際服務(wù)貿(mào)易，不但能大大保護(hù)現(xiàn)有寶貴的中醫(yī)藥物質(zhì)資源，而且還滿足中醫(yī)藥受益群體不斷增長(zhǎng)的實(shí)際需求，造福全人類的健康；通過(guò)開(kāi)展中醫(yī)藥國(guó)際服務(wù)貿(mào)易，還將提高我國(guó)的中醫(yī)藥產(chǎn)品附加值，實(shí)現(xiàn)中醫(yī)藥產(chǎn)業(yè)的健康發(fā)展，符合中醫(yī)藥資源、技術(shù)、文化，健康、可持續(xù)發(fā)展戰(zhàn)略。
2.2中醫(yī)藥國(guó)際服務(wù)貿(mào)易對(duì)標(biāo)準(zhǔn)化的需求
如何實(shí)現(xiàn)對(duì)服務(wù)業(yè)的規(guī)范化管理已經(jīng)成為世界各國(guó)共同關(guān)注的一個(gè)問(wèn)題。國(guó)際標(biāo)準(zhǔn)組織（ISO）曾經(jīng)提出要用技術(shù)標(biāo)準(zhǔn)的手段來(lái)支持和促進(jìn)服務(wù)貿(mào)易的開(kāi)展，并將其列為標(biāo)準(zhǔn)化的重要研究領(lǐng)域［5］。有關(guān)行政部門先后出臺(tái)了《關(guān)于促進(jìn)中醫(yī)藥服務(wù)貿(mào)易發(fā)展的若干意見(jiàn)》《上海市中醫(yī)藥服務(wù)貿(mào)易發(fā)展規(guī)劃綱要（2014—2018年）》等系列政策，為中醫(yī)藥服務(wù)貿(mào)易進(jìn)一步科學(xué)規(guī)范和健康發(fā)展提出了指導(dǎo)意見(jiàn)。楊敬宇等［9］研究認(rèn)為通過(guò)發(fā)展中醫(yī)藥國(guó)際服務(wù)貿(mào)易，可以掌握其他國(guó)家政府對(duì)中醫(yī)藥這種傳統(tǒng)產(chǎn)品的管理標(biāo)準(zhǔn)，了解海外消費(fèi)者對(duì)中醫(yī)藥產(chǎn)品的相關(guān)需求特點(diǎn)。通過(guò)我國(guó)政府以及中醫(yī)藥國(guó)際貿(mào)易企業(yè)同各國(guó)政府進(jìn)行洽談，同海外消費(fèi)者進(jìn)行溝通了解，從而為將來(lái)制定中醫(yī)藥國(guó)際標(biāo)準(zhǔn)奠定基礎(chǔ)。大力開(kāi)展中醫(yī)藥國(guó)際服務(wù)貿(mào)易之際，標(biāo)準(zhǔn)先行顯得尤為迫切。以標(biāo)準(zhǔn)化促進(jìn)中醫(yī)藥國(guó)際貿(mào)易服務(wù)，打破國(guó)際間貿(mào)易壁壘，讓國(guó)際間貿(mào)易爭(zhēng)端變得有理可說(shuō)，有據(jù)可依。尤其是中醫(yī)藥的服務(wù)貿(mào)易，交易的是無(wú)形產(chǎn)品，對(duì)于服務(wù)中的每一個(gè)環(huán)節(jié)，最終將體現(xiàn)在服務(wù)的總體質(zhì)量評(píng)價(jià)上，國(guó)際間的共識(shí)是成功貿(mào)易的先決條件，以國(guó)際標(biāo)準(zhǔn)的形式固化這些共識(shí)將是最高層次的保障機(jī)制。國(guó)家和上海的行政主管部門應(yīng)充分利用好ISO／TC249秘書處在中國(guó)上海的平臺(tái)優(yōu)勢(shì)，積極引導(dǎo)中醫(yī)藥企業(yè)、行業(yè)協(xié)會(huì)在國(guó)際服務(wù)貿(mào)易標(biāo)準(zhǔn)的制定、修訂工作上面有所作為，將代表我國(guó)利益的中醫(yī)藥技術(shù)服務(wù)，通過(guò)國(guó)際標(biāo)準(zhǔn)的形式推廣開(kāi)來(lái)，鼓勵(lì)有實(shí)力的國(guó)內(nèi)中醫(yī)藥服務(wù)企業(yè)通過(guò)主導(dǎo)國(guó)際標(biāo)準(zhǔn)制定等形式“走出去”，促進(jìn)我國(guó)的中醫(yī)藥服務(wù)產(chǎn)品順利進(jìn)入國(guó)際市場(chǎng)。
2.3標(biāo)準(zhǔn)化對(duì)中醫(yī)藥國(guó)際服務(wù)貿(mào)易的意義
標(biāo)準(zhǔn)是對(duì)法律法規(guī)的完善和補(bǔ)充，具有很強(qiáng)的規(guī)范性。以標(biāo)準(zhǔn)化促進(jìn)中醫(yī)藥國(guó)際服務(wù)貿(mào)易，能夠?qū)崿F(xiàn)我國(guó)中醫(yī)藥整個(gè)行業(yè)內(nèi)涵式發(fā)展，實(shí)現(xiàn)經(jīng)濟(jì)增長(zhǎng)方式由傳統(tǒng)的“粗放經(jīng)營(yíng)”向“集約經(jīng)營(yíng)”轉(zhuǎn)變，提高中醫(yī)藥產(chǎn)品附加值，實(shí)現(xiàn)產(chǎn)業(yè)的健康有序發(fā)展，有利于規(guī)范中醫(yī)藥服務(wù)業(yè)市場(chǎng)主體的資質(zhì)和行為，實(shí)現(xiàn)科學(xué)管理。標(biāo)準(zhǔn)是質(zhì)量安全的前提和基礎(chǔ)，質(zhì)量的根本是標(biāo)準(zhǔn)，提升中醫(yī)藥服務(wù)質(zhì)量是推進(jìn)標(biāo)準(zhǔn)化工作的根本出發(fā)點(diǎn)和落腳點(diǎn)。以標(biāo)準(zhǔn)化促進(jìn)中醫(yī)藥國(guó)際服務(wù)貿(mào)易工作，可以促進(jìn)中醫(yī)藥科技進(jìn)步，保證中醫(yī)藥相關(guān)產(chǎn)品和服務(wù)的安全性，加強(qiáng)質(zhì)量控制，提高服務(wù)水平，保護(hù)消費(fèi)者的合法權(quán)益［10］。以標(biāo)準(zhǔn)化促進(jìn)中醫(yī)藥國(guó)際服務(wù)貿(mào)易，還有利于提高我國(guó)中醫(yī)藥貿(mào)易的國(guó)際競(jìng)爭(zhēng)力。國(guó)際標(biāo)準(zhǔn)已經(jīng)成為國(guó)際貿(mào)易游戲規(guī)則的一部分和產(chǎn)品質(zhì)量仲裁的準(zhǔn)則，許多國(guó)家千方百計(jì)地在國(guó)際標(biāo)準(zhǔn)化活動(dòng)中爭(zhēng)取主動(dòng)權(quán)、發(fā)言權(quán)，竭力在國(guó)際標(biāo)準(zhǔn)中反映本國(guó)利益。通過(guò)標(biāo)準(zhǔn)化途徑，不但能擴(kuò)大我國(guó)中醫(yī)藥服務(wù)行業(yè)的國(guó)際化交流與合作，而且還增加我國(guó)中醫(yī)藥服務(wù)行業(yè)在國(guó)際上的影響力和競(jìng)爭(zhēng)力。
3總結(jié)
新課標(biāo)的推出，對(duì)教學(xué)模式表示了較高的關(guān)注，希望通過(guò)合理選擇教學(xué)模式達(dá)到提高教學(xué)質(zhì)量的目的。結(jié)合高中化學(xué)教學(xué)實(shí)際，要想提高教學(xué)實(shí)效性，就要做好教學(xué)模式的選擇工作，具體應(yīng)從以下幾個(gè)方面入手：
1.教學(xué)模式的選擇應(yīng)立足課堂教學(xué)實(shí)際
在新課標(biāo)的背景下，高中化學(xué)教學(xué)模式的選擇是保證課堂教學(xué)積極效果的關(guān)鍵，在這一過(guò)程中，要想保證教學(xué)模式能夠滿足教學(xué)需要，達(dá)到促進(jìn)教學(xué)發(fā)展的目的，就要立足課堂教學(xué)實(shí)際，充分發(fā)掘課堂教學(xué)潛力，選擇與課堂教學(xué)緊密結(jié)合的教學(xué)模式，提高整體教學(xué)效果。
2.教學(xué)模式的選擇要考慮學(xué)生的接受能力和基礎(chǔ)
在教學(xué)模式選擇過(guò)程中，既要保證教學(xué)模式具有一定的先進(jìn)性，同時(shí)還要使教學(xué)模式能夠符合教學(xué)實(shí)際和學(xué)生的接受能力。換句話說(shuō)，教學(xué)模式的選擇要與學(xué)生的基礎(chǔ)和能力配套，不然就無(wú)法起到提高課堂教學(xué)質(zhì)量的目的。所以，教學(xué)模式的選擇要以學(xué)生的接受能力和基礎(chǔ)為準(zhǔn)。
3.教學(xué)模式的選擇要符合教學(xué)規(guī)律
考慮到高中化學(xué)的實(shí)際難度，以及高中化學(xué)教學(xué)實(shí)際，教學(xué)模式的選擇應(yīng)同整個(gè)教學(xué)過(guò)程綜合在一起考慮，使教學(xué)模式能夠符合教學(xué)規(guī)律，達(dá)到促進(jìn)教學(xué)發(fā)展的目的。所以，教學(xué)模式的選擇應(yīng)在充分了解教學(xué)規(guī)律的基礎(chǔ)上進(jìn)行，以追求實(shí)效性為主要目的。
二、新課標(biāo)下高中化學(xué)教學(xué)應(yīng)實(shí)現(xiàn)教學(xué)方法的創(chuàng)新
在高中化學(xué)教學(xué)中，教學(xué)方法的選擇十分重要。新課標(biāo)推出以后，傳統(tǒng)教學(xué)方法已經(jīng)難以滿足高中化學(xué)教學(xué)需要，對(duì)現(xiàn)有教學(xué)方法創(chuàng)新成為了保證高中化學(xué)整體教學(xué)效果的關(guān)鍵。目前來(lái)看，新課標(biāo)下高中化學(xué)教學(xué)方法的創(chuàng)新應(yīng)從以下幾個(gè)方面入手：
1.高中化學(xué)教學(xué)方法的創(chuàng)新，應(yīng)以傳統(tǒng)教學(xué)方法為基礎(chǔ)
在高中化學(xué)教學(xué)方法創(chuàng)新過(guò)程中，應(yīng)積極吸收傳統(tǒng)教學(xué)方法的優(yōu)點(diǎn)，做到立足傳統(tǒng)教學(xué)方法，在繼承中進(jìn)行創(chuàng)新，使教學(xué)方法能夠滿足課堂教學(xué)需要，達(dá)到提高整體教學(xué)質(zhì)量的目的。
2.高中化學(xué)教學(xué)方法的創(chuàng)新，應(yīng)與教學(xué)內(nèi)容緊密結(jié)合
如人教版《化學(xué).1》“化學(xué)計(jì)量在實(shí)驗(yàn)中的應(yīng)用”一節(jié)的第一部分：“物質(zhì)的量的單位———摩爾”，教材內(nèi)容雖然簡(jiǎn)化了“阿伏加德羅常數(shù)”的概念，沒(méi)有出現(xiàn)物質(zhì)的量與微粒數(shù)、物質(zhì)的量與物質(zhì)質(zhì)量的計(jì)算例題與練習(xí)，但在“學(xué)與問(wèn)”中出現(xiàn)了相關(guān)的問(wèn)題（計(jì)算），并且我認(rèn)為學(xué)生也很有必要掌握這部分知識(shí)，也就是說(shuō)教學(xué)中有必要下功夫讓學(xué)生掌握它。
3.高中化學(xué)教學(xué)方法的創(chuàng)新，應(yīng)注重實(shí)效性
高中化學(xué)教學(xué)方法的創(chuàng)新，其根本目的是為了提高教學(xué)質(zhì)量。基于這一目標(biāo)，我們應(yīng)努力探索新的教學(xué)方法，以教學(xué)實(shí)效性為主要出發(fā)點(diǎn)，使創(chuàng)新后的教學(xué)方法能夠滿足教學(xué)需要。
三、新課標(biāo)下高中化學(xué)教學(xué)應(yīng)正確發(fā)揮實(shí)驗(yàn)教學(xué)的作用
從高中化學(xué)教學(xué)來(lái)看，實(shí)驗(yàn)教學(xué)是重要的組成部分，對(duì)于高中化學(xué)具有重要作用。由于高中化學(xué)中涉及到的化學(xué)反應(yīng)較多，單純以講解的方式難以在學(xué)生頭腦中形成正確的概念。為此，只有依托實(shí)驗(yàn)教學(xué)，以生動(dòng)的實(shí)驗(yàn)實(shí)例，才能達(dá)到提高課堂教學(xué)效果，加深學(xué)生對(duì)化學(xué)元素和概念的理解。目前來(lái)看，在高中化學(xué)教學(xué)中，應(yīng)正確發(fā)揮實(shí)驗(yàn)教學(xué)的作用。具體應(yīng)做好以下幾方面工作：
1.制定詳細(xì)的實(shí)驗(yàn)教學(xué)計(jì)劃，重視課堂實(shí)驗(yàn)的作用
為了有效提高化學(xué)實(shí)驗(yàn)教學(xué)質(zhì)量，我們應(yīng)根據(jù)教學(xué)內(nèi)容編制詳細(xì)的實(shí)驗(yàn)教學(xué)計(jì)劃，積極開(kāi)展課堂化學(xué)實(shí)驗(yàn)和實(shí)驗(yàn)室實(shí)驗(yàn)，使學(xué)生能夠在理論知識(shí)和動(dòng)手能力上都能有所提高，滿足教學(xué)需要。
2.將課堂教學(xué)內(nèi)容與實(shí)驗(yàn)教學(xué)結(jié)合在一起，發(fā)揮實(shí)驗(yàn)教學(xué)的作用
在實(shí)驗(yàn)教學(xué)的開(kāi)展過(guò)程中，要根據(jù)教學(xué)內(nèi)容合理選定實(shí)驗(yàn)內(nèi)容，保證實(shí)驗(yàn)教學(xué)具有一定的針對(duì)性，使實(shí)驗(yàn)教學(xué)的作用能夠得到充分的發(fā)揮，達(dá)到促進(jìn)課堂教學(xué)的目的。
3.對(duì)重點(diǎn)化學(xué)原理配以相應(yīng)的化學(xué)實(shí)驗(yàn)，加深學(xué)生對(duì)化學(xué)原理的理解
考慮到實(shí)驗(yàn)教學(xué)的重要性，在講解重點(diǎn)化學(xué)原理時(shí)，應(yīng)配以相應(yīng)的化學(xué)實(shí)驗(yàn)，使學(xué)生能夠?qū)瘜W(xué)原理有更加直觀的印象，達(dá)到加深學(xué)生對(duì)化學(xué)原理理解的目的，提高課堂教學(xué)質(zhì)量。
四、結(jié)論
網(wǎng)站檢索檢索相關(guān)政府機(jī)構(gòu)、學(xué)術(shù)協(xié)會(huì)、國(guó)際機(jī)構(gòu)網(wǎng)站：主要參考中華人民共和國(guó)中央人民政府、中華人民共和國(guó)科學(xué)技術(shù)部、國(guó)家標(biāo)準(zhǔn)化管理委員會(huì)、國(guó)家藥典委員會(huì)、國(guó)家中醫(yī)藥管理局、國(guó)家食品藥品監(jiān)督管理總局、世界中醫(yī)藥學(xué)會(huì)聯(lián)合會(huì)、世界針灸學(xué)會(huì)聯(lián)合會(huì)、中國(guó)醫(yī)藥保健品進(jìn)出口商會(huì)、ISO等網(wǎng)站。2.3會(huì)議資料檢索檢索近5年間重要的中醫(yī)藥標(biāo)準(zhǔn)化會(huì)議資料，重點(diǎn)有全國(guó)中醫(yī)藥標(biāo)準(zhǔn)化工作座談會(huì)及歷次中醫(yī)藥國(guó)際標(biāo)準(zhǔn)化相關(guān)會(huì)議等。
2條目設(shè)計(jì)
通過(guò)上述文獻(xiàn)、網(wǎng)站、會(huì)議資料檢索分析，形成問(wèn)卷?xiàng)l目，分為4部分：內(nèi)部?jī)?yōu)勢(shì)、內(nèi)部劣勢(shì)、外部機(jī)會(huì)、外部威脅。進(jìn)行了兩輪調(diào)查，第1次首先對(duì)總體框架（S-W-O-T條目）進(jìn)行調(diào)查；第2次對(duì)專家共識(shí)的框架細(xì)目（S-W-O-T子條目）進(jìn)行調(diào)查。兩次調(diào)查的條目均參照RobertG.Dyson的評(píng)分方法[2]，按照0-5分評(píng)分，以內(nèi)部?jī)?yōu)勢(shì)為例：0表示非優(yōu)勢(shì)，1表示較小優(yōu)勢(shì)，2表示一般優(yōu)勢(shì)，3表示較重要優(yōu)勢(shì)，4表示重要優(yōu)勢(shì)，5表示非常重要優(yōu)勢(shì)。
3數(shù)據(jù)錄入及統(tǒng)計(jì)
將全部數(shù)據(jù)錄入EXCEL，采用頻次統(tǒng)計(jì)對(duì)數(shù)據(jù)進(jìn)行統(tǒng)計(jì)處理。經(jīng)過(guò)咨詢統(tǒng)計(jì)專家，確定共識(shí)統(tǒng)計(jì)方法為：對(duì)于每個(gè)（子）條目，≥3分的評(píng)分超過(guò)60%認(rèn)為獲得共識(shí)，即60%及以上專家認(rèn)為該（子）條目較重要。結(jié)果1.第一輪問(wèn)卷調(diào)查共識(shí)情況第一輪問(wèn)卷共設(shè)S-W-O-T條目17項(xiàng)，其中內(nèi)部?jī)?yōu)勢(shì)（S）7項(xiàng)，內(nèi)部劣勢(shì)（W）4項(xiàng)，外部機(jī)會(huì)（O）4項(xiàng)，外部威脅（T）2項(xiàng)，共識(shí)情況見(jiàn)表3。由表3可以看出，第一輪問(wèn)卷調(diào)查內(nèi)部?jī)?yōu)勢(shì)7項(xiàng)條目、內(nèi)部劣勢(shì)4項(xiàng)條目、4項(xiàng)條目、2項(xiàng)條目≥3的評(píng)分比例均超過(guò)60%，即全部達(dá)成共識(shí)，可以作為第二輪問(wèn)卷調(diào)查構(gòu)建子項(xiàng)目的基礎(chǔ)。2.第二輪問(wèn)卷調(diào)查共識(shí)情況根據(jù)第一輪問(wèn)卷得到共識(shí)條目，第二輪問(wèn)卷共設(shè)S-W-O-T子條目66項(xiàng)，其中內(nèi)部?jī)?yōu)勢(shì)（S）21項(xiàng)，內(nèi)部劣勢(shì)（W）21項(xiàng)，外部機(jī)會(huì)（O）16項(xiàng)，外部威脅（T）8項(xiàng)，共識(shí)情況見(jiàn)表4-表7。由表4可以看出，第二輪問(wèn)卷調(diào)查內(nèi)部?jī)?yōu)勢(shì)21項(xiàng)子條目中有19項(xiàng)子條目≥3的評(píng)分比例均超過(guò)60%，即19項(xiàng)達(dá)成共識(shí)。由表5可以看出，第二輪問(wèn)卷調(diào)查內(nèi)部劣勢(shì)21項(xiàng)子條目≥3的評(píng)分比例均超過(guò)60%，即全部達(dá)成共識(shí)。由表6可以看出，第二輪問(wèn)卷調(diào)查外部機(jī)會(huì)16項(xiàng)子條目中有15項(xiàng)子條目≥3的評(píng)分比例均超過(guò)60%，即15項(xiàng)達(dá)成共識(shí)。由表7可以看出，第二輪問(wèn)卷調(diào)查外部威脅7項(xiàng)子條目≥3的評(píng)分比例均超過(guò)60%，即全部達(dá)成共識(shí)。
4兩輪問(wèn)卷調(diào)查結(jié)果
經(jīng)過(guò)上述調(diào)查，得出內(nèi)部?jī)?yōu)勢(shì)條目7項(xiàng)，子條目19條；內(nèi)部劣勢(shì)條目4項(xiàng)，子條目21條；外部機(jī)會(huì)條目4項(xiàng)，子條目15項(xiàng)；外部威脅條目2項(xiàng)，子條目7項(xiàng)。綜合分析認(rèn)為ISO中醫(yī)藥國(guó)際標(biāo)準(zhǔn)化內(nèi)外部形勢(shì)如下。ISO中醫(yī)藥國(guó)際標(biāo)準(zhǔn)化內(nèi)部?jī)?yōu)勢(shì)：①中醫(yī)藥標(biāo)準(zhǔn)化工作得到了黨和政府的高度重視；②我國(guó)中醫(yī)藥有法律保障，各領(lǐng)域基礎(chǔ)深厚；③我國(guó)中醫(yī)藥的國(guó)家及行業(yè)標(biāo)準(zhǔn)有專門管理機(jī)構(gòu)，標(biāo)準(zhǔn)化工作取得顯著進(jìn)展。ISO中醫(yī)藥國(guó)際標(biāo)準(zhǔn)化內(nèi)部劣勢(shì)：①中國(guó)實(shí)質(zhì)性參與國(guó)際標(biāo)準(zhǔn)化活動(dòng)的能力和水平還偏低；②中醫(yī)藥國(guó)際標(biāo)準(zhǔn)化相關(guān)人才缺乏；③部分領(lǐng)域國(guó)家及行業(yè)標(biāo)準(zhǔn)及機(jī)構(gòu)尚不完善；④中醫(yī)藥國(guó)際標(biāo)準(zhǔn)化活動(dòng)保障機(jī)制尚不完善。ISO中醫(yī)藥國(guó)際標(biāo)準(zhǔn)化外部機(jī)會(huì)：①中醫(yī)藥廣泛傳播，獲得越來(lái)越多的認(rèn)可；②我國(guó)在ISO/TC249有較大影響力；③ISO/TC249設(shè)定優(yōu)先工作領(lǐng)域；④目前ISO/TC249內(nèi)國(guó)際形勢(shì)有利。ISO中醫(yī)藥國(guó)際標(biāo)準(zhǔn)化外部威脅：①韓國(guó)、日本積極爭(zhēng)奪ISO/TC249主導(dǎo)權(quán)；②日韓以外的其他國(guó)家積極競(jìng)爭(zhēng)。
5討論
翻譯并不是一件簡(jiǎn)單的工作。沒(méi)有搞過(guò)翻譯的人，往往以為懂一點(diǎn)英語(yǔ)，再加上手中有一本英漢詞典，就可以翻譯英語(yǔ)文學(xué)著作了，這只是門外漢的看法。真正專業(yè)的翻譯人員，是不這么看的。英漢詞典并不是翻譯英文著作的萬(wàn)寶書。任何詞典都有其局限性，即使是再詳盡的詞典，它的釋義也不是完備、毫無(wú)遺漏的，它只是提供一個(gè)最基本釋義，讓使用者去運(yùn)用;使用不夠，就需要譯者自己去引申、衍化。舉一個(gè)例子:Toap-peasetheirthirstitsreadersdrankdeeperthanbefore，untiltheywereseizedwithakindofdelirum．讀者為了滿足自己的渴望，越讀越想讀，直到進(jìn)入了如癡如醉的狀態(tài)。為了解渴，讀者比以前越飲越深，直到陷入了昏迷的狀態(tài)。
第一種譯法，并沒(méi)有按照原著的形式，逐字逐句地進(jìn)行翻譯，打破了原文的排列形式而進(jìn)行翻譯，但是抓住了原文的精神實(shí)質(zhì)。而第二種譯法死摳原文，死摳詞典的釋義，反而使人無(wú)法明白作者想要說(shuō)的是什么。
忠實(shí)原作還體現(xiàn)在對(duì)原文的意譯一定要適度。靈活得出格了，即使是把譯文變得順口流暢，也失去了原著的意蘊(yùn)。經(jīng)過(guò)譯者在原文的思想內(nèi)容以外添枝加葉，或者任意改變?cè)牡娘L(fēng)格，這就使原本樸實(shí)無(wú)華的文風(fēng)，變得辭藻華麗;原文委婉含蓄，硬要翻譯得直截了當(dāng);原文風(fēng)趣幽默，卻被譯者故意翻譯得平淡無(wú)味。例如:Hewantedtolearn，toknow，toteach．他想學(xué)習(xí)，增長(zhǎng)知識(shí)，也愿意把自己的知識(shí)教給別人。
他渴望博學(xué)廣聞，喜歡追根溯源，并且好為人師。這一句話雖然不長(zhǎng)，但是卻不容易翻譯。如果把它翻譯成“他想學(xué)習(xí)、知道事情和教學(xué)”，無(wú)法表達(dá)原作者的意思，因此必須順著原文的意思加一些字，但要加得恰如其分。第一種譯法加字非常適當(dāng)，并未超出原文的內(nèi)容，外加譯者自己的想象和發(fā)揮。第二種譯法加過(guò)了頭。
譯文流暢通順和富有美感的原則
在翻譯英文文學(xué)著作的時(shí)候，對(duì)其中的藝術(shù)語(yǔ)言進(jìn)行處理，必須堅(jiān)持使譯文流暢通順的原則。這就需要譯者在翻譯時(shí)不要拘泥于英文著作的形式，要開(kāi)放思路，從容自如地造句。一旦照搬原文句子成分、結(jié)構(gòu)、形式而不能轉(zhuǎn)譯出原文的思想和風(fēng)格的，都要按照中文文字的要求重新安排，直到其符合翻譯的標(biāo)準(zhǔn)為止。
比如，furiously這個(gè)詞，在一般的英漢詞典的釋義是“狂怒地”，譯者在翻譯時(shí)不能遇到這個(gè)詞就對(duì)號(hào)入座:“狂怒地”。我們可以將其翻譯為:怒氣沖沖、滿臉怒氣、勃然大怒、大光其火、火冒三丈等，不僅為文字添加色彩，而且沒(méi)有失去原文的意愿。以最簡(jiǎn)單的yes和no為例，它們?cè)谧鳛楦痹~使用時(shí)，詞典的釋義是“是”“是的”和“不”“不是”。在我們翻譯文章處理這些語(yǔ)言藝術(shù)時(shí)，碰到y(tǒng)es就翻譯成“是”或者“是的”，遇到no就翻譯成“不”或者“不是”，就會(huì)感到非常的別扭，更有甚者引起不必要的誤會(huì)。例如，
1．Ihavereadwithmuchsatisfactionthephrasewhichyouquoteconcerningthenumberofstrongholds．Yes，theremustbefewofthem，butgoodones．我讀了你所引用的關(guān)于要塞數(shù)量的話，十分滿意。你說(shuō)得對(duì)(……是的)，要塞不宜過(guò)多，但要精工修建。
2．WhenSmithpointedoutthathehadspreadtherumour，hevehementlyretorted，“No!No!”當(dāng)史密斯指出他散布了這個(gè)謠言時(shí)，他激烈地反駁說(shuō):“沒(méi)有那事!沒(méi)有那事!”(……“不!不!”)上兩句，如直接翻譯成“是的”“不!不!”，就失去了原文的味道。此外，對(duì)不易理解的語(yǔ)句，要盡量翻譯得通俗易懂，在翻譯句子較長(zhǎng)的語(yǔ)句時(shí)要進(jìn)行適當(dāng)?shù)夭鸱郑岳诜g，便于讀者理解。對(duì)于有歧義的語(yǔ)言或者定義，一定要添加注釋。這樣使我們翻譯出來(lái)的文章更加接近原著，接近讀者。
注意文學(xué)作品的時(shí)代性
因?yàn)槊恳粋€(gè)時(shí)代的作品都有其產(chǎn)生的特殊的社會(huì)和文化背景。通過(guò)對(duì)英語(yǔ)文學(xué)的翻譯，可以使讀者與距離遙遠(yuǎn)的文化背景下人對(duì)話。在翻譯英語(yǔ)文學(xué)作品中我們必須注意不同的社會(huì)文化背景，它所使用的藝術(shù)語(yǔ)言也是有差異的。這一點(diǎn)在王科一翻譯的《傲慢與偏見(jiàn)》中有很好的體現(xiàn)。作者簡(jiǎn)•奧斯汀以日常生活為素材，生動(dòng)地描繪了18世紀(jì)末到19世紀(jì)初處于保守和封閉狀態(tài)下的英國(guó)鄉(xiāng)鎮(zhèn)生活和人情世態(tài)。王科一在翻譯中把握住了原作中的社會(huì)文化和時(shí)代的背景以及書中主人公在社會(huì)中所處的地位，在譯作中構(gòu)建了相應(yīng)的認(rèn)知環(huán)境。為我國(guó)讀者勾勒出那個(gè)時(shí)代貴族之家的狀況，他使用了大量的能夠體現(xiàn)上流階層家庭生活的詞匯，如“恭侍、拜謁、屈尊降貴、賞臉”等。為了刻畫MrCllins這個(gè)角色的社會(huì)地位和性格特征，王科一在翻譯時(shí)很好地把握住當(dāng)時(shí)與現(xiàn)代語(yǔ)言的不同，用準(zhǔn)確和恰當(dāng)?shù)脑~匯反映了當(dāng)時(shí)的藝術(shù)語(yǔ)言特征，如:他把Dearsir翻譯為“親愛(ài)的長(zhǎng)者”;他把Mylatehonoredfather翻譯為“先父”;他把promoteandestabishthebless-ingofpeaceinallfamillies，翻譯為“使家家戶戶敦睦親誼，促進(jìn)友好”。他通過(guò)這些語(yǔ)言和詞匯的運(yùn)用，精準(zhǔn)地處理了原作者所處時(shí)代特有的語(yǔ)言藝術(shù)表達(dá)方式，在尊重原著寫作的風(fēng)格和特點(diǎn)的同時(shí)，使譯文變得優(yōu)美、順暢，是我國(guó)迄今翻譯英語(yǔ)文學(xué)作品中難得的佳作。
關(guān)鍵詞：影視廣告；傳統(tǒng)文化；影響
中圖分類號(hào)：F713.81 文獻(xiàn)標(biāo)識(shí)碼：A 文章編號(hào)：1672-3198(2009)04-0126-01
1 我國(guó)傳統(tǒng)文化對(duì)影視廣告的影響分析
1.1 傳統(tǒng)文化制約著影視廣告活動(dòng)，并提供廣告契機(jī)
傳統(tǒng)文化已積淀為本民族的精神文化家園的“集體記憶”，通過(guò)文化空間的世代相傳，加強(qiáng)族群認(rèn)同，催生民族意識(shí)形態(tài)，促進(jìn)社會(huì)的整合。作為現(xiàn)代社會(huì)文化體系中的一個(gè)分流，傳統(tǒng)文化不僅見(jiàn)證了一個(gè)民族的過(guò)去，更是孕育了其未來(lái)，影視廣告是一個(gè)豐富多彩的文化現(xiàn)象，憑借影視傳播的媒介特性，現(xiàn)代影視廣告以各種各樣的方式反映著社會(huì)文化，并在這些文化意識(shí)的作用下從事著廣告活動(dòng)中各個(gè)環(huán)節(jié)的運(yùn)作。由此，傳統(tǒng)文化對(duì)影視廣告產(chǎn)生著深遠(yuǎn)的影響。
尤其在現(xiàn)代，當(dāng)受眾能夠很輕易的獲得產(chǎn)品使用價(jià)值的滿足時(shí)，觸發(fā)他們產(chǎn)生購(gòu)買動(dòng)機(jī)的是產(chǎn)品的文化內(nèi)涵，這種內(nèi)涵可以給顧客一種良好的感覺(jué)，這種感覺(jué)包括顧客所認(rèn)同的物質(zhì)利益和心理利益。通過(guò)開(kāi)發(fā)產(chǎn)品的文化內(nèi)涵、塑造產(chǎn)品形象乃至產(chǎn)品形象背后的企業(yè)形象，能夠賦予它們之間一種必然的文化層面的聯(lián)結(jié)，從而避免對(duì)于受眾的刺激泛化、增強(qiáng)對(duì)其刺激辨別的能力，以更好的打動(dòng)消費(fèi)者。
1.2 傳統(tǒng)文化的象征物、儀式腳本及其延伸產(chǎn)品或服務(wù)等自身就是廣告商品
傳統(tǒng)文化的象征物、儀式腳本等，經(jīng)過(guò)長(zhǎng)久以來(lái)的沉淀，已成為群體成員周期性儀式活動(dòng)中不可或缺的組成部分，而與之相關(guān)的商品及服務(wù)亦發(fā)展為該社會(huì)群體中消費(fèi)者周期性日常消費(fèi)的主要內(nèi)容。因此，剪紙藝術(shù)、粽子荷包、祭孔大典等，已不僅僅是傳統(tǒng)文化的象征物或儀式腳本。他們更多的是出現(xiàn)在了廣告中，以周期性的儀式消費(fèi)產(chǎn)品的形式而被推介給了更多的受眾。眾所周知，消費(fèi)者的消費(fèi)需求不僅包括周期性的儀式消費(fèi)需求，也存在著偶發(fā)性的隨機(jī)消費(fèi)需求。傳統(tǒng)文化隨著社會(huì)的進(jìn)步而不斷發(fā)展，期間既有文化傳承，更有技術(shù)創(chuàng)新。發(fā)展到了現(xiàn)代社會(huì)，其中很大一部分已延伸為現(xiàn)代工藝、美術(shù)，技能、知識(shí)，其文化產(chǎn)物、儀式腳本也成了在市場(chǎng)上流通交易的商品或服務(wù)。將上述延伸產(chǎn)品及服務(wù)作為廣告商品，通過(guò)訴諸受眾深受傳統(tǒng)文化制約的潛意識(shí)，亦能夠有效地激發(fā)起消費(fèi)者偶發(fā)性的隨機(jī)消費(fèi)需求。
1.3 傳統(tǒng)文化可以提升廣告產(chǎn)品的歷史感和品味
由于全球化、工業(yè)化趨勢(shì)的沖擊，以及旅游、移民、環(huán)境惡化等因素的影響，原本與傳統(tǒng)文化形態(tài)相依存的生活方式、勞動(dòng)對(duì)象、生產(chǎn)資料和生產(chǎn)力水平等發(fā)生了巨變。原有的農(nóng)耕、漁獵、游牧的文化形式，被標(biāo)準(zhǔn)化、現(xiàn)代化的生活節(jié)奏所取代。文化生態(tài)語(yǔ)境的變遷，使得傳統(tǒng)文化的生存狀態(tài)隨之改變一原有的“文化空間”，被各種原因“碎片化”后，面臨著消失的危機(jī)，因而被列入文化遺產(chǎn)名錄或是移入了文化史和博物館中。但是，正是這種危機(jī)，帶給了傳統(tǒng)文化得以在廣告中大量使用的轉(zhuǎn)機(jī)?！拔镆韵橘F”，傳統(tǒng)文化的瀕危、被列入各級(jí)文化遺產(chǎn)名錄，在文化史和博物館中的珍藏，使得其被貼上了“文化品位”的標(biāo)簽，更能激發(fā)廣告受眾追求社會(huì)外顯性的消費(fèi)心理和購(gòu)買欲望。
2 當(dāng)前在影視廣告中運(yùn)用傳統(tǒng)文化元素的要點(diǎn)
2.1 傳統(tǒng)文化符號(hào)不能隨意亂用
運(yùn)用傳統(tǒng)文化與受眾拉近距離是一種有效的方法，但絕對(duì)不是萬(wàn)能的，運(yùn)用恰當(dāng)能夠起到良好的效果，運(yùn)用不恰當(dāng)容易引起受眾的反面情緒。例如龍是廣告中常用的傳統(tǒng)文化符號(hào)，在中華文化中，龍有著極高的地位，中國(guó)人都是“龍的傳人”。龍?jiān)趶V告中出現(xiàn)一般能給人親切感，但是在立邦漆“龍”篇中，卻因?yàn)辇埗巧狭寺闊?，它的廣告采用對(duì)比的手法，描寫了兩根立柱上兩條龍?jiān)谟门c不用立邦漆的不同命運(yùn)和效果，一條龍神色黯淡緊附立柱，另一條色彩光鮮落在地上，廣告的本意是宣傳立邦漆的品質(zhì)和色彩的艷麗，創(chuàng)意本身沒(méi)有問(wèn)題，但卻忽略龍作為一種符號(hào)，有象征中國(guó)的意味，用兩條龍的命運(yùn)有一定的隱射性。無(wú)獨(dú)有偶，豐田汽車的廣告遭遇也是如此，這則廣告表現(xiàn)了一輛霸道汽車停在兩只石獅子之前，一只石獅子抬起右爪做敬禮狀，另一只石獅子向下俯首，背景為高樓大廈，配圖廣告語(yǔ)為“霸道，你不得不尊敬”。廣告刊登出來(lái)以后，許多人認(rèn)為有明顯的辱華意圖，石獅子是中國(guó)傳統(tǒng)的吉獸，象征中國(guó)，廣告中它們向一輛日本品牌的汽車敬禮、鞠躬，讓人感到非常氣憤，聯(lián)想到日本入侵中國(guó)和，激發(fā)愛(ài)國(guó)群眾的憤怒之情。也許，設(shè)計(jì)者并沒(méi)有別有用心，但卻忽略了這些文化符號(hào)是民族文化的化身，是不能隨意褻瀆的。
2.2 歷史人物的應(yīng)用要慎重
歷史人物往往附帶著一定的民族情感，有正面的，有反面的，在應(yīng)用時(shí)要注意其正負(fù)面的影響，運(yùn)用得恰當(dāng)會(huì)增加親切感和自豪感，運(yùn)用不好則會(huì)影響到民族情緒。例如長(zhǎng)沙某品牌啤酒利用屈原做廣告，屈原悲憤地站在江邊。口里一邊念著“路漫漫其修遠(yuǎn)兮，吾將上下而求索”，一邊擺出要投江的架勢(shì)。這時(shí)，一位坐在屈原身后打扮灑脫的現(xiàn)代年輕人奉勸屈原說(shuō)，“人都死了，你還能求索啥?”結(jié)果屈原一掃愁容，與這位現(xiàn)代年輕人席地而坐，開(kāi)懷暢飲該品牌啤酒。雖然這則廣告運(yùn)用了幽默的表現(xiàn)形式，但卻幽默錯(cuò)了對(duì)象。屈原是偉大的愛(ài)國(guó)主義詩(shī)人，堅(jiān)持真理、寧死不屈是其人格魅力，是中華民族傳統(tǒng)美德的一種寄托與化身。屈原在廣告中的表現(xiàn)有悖于屈原本身在人們心目中的形象，褻瀆了消費(fèi)者的情感，人們反響較大，最后是停播了這則廣告。
2.3 民風(fēng)民俗的運(yùn)用要恰當(dāng)
民俗文化是人們?cè)谌粘Ｉ钪行纬傻牧?xí)慣。比如春節(jié)守歲、吃餃子、拜年，元宵觀燈、端午吃粽子、中秋賞月等的民間習(xí)俗，在漫長(zhǎng)的歷史進(jìn)程中演變成了傳統(tǒng)，被每個(gè)人銘記于心。每當(dāng)節(jié)日來(lái)臨時(shí)，各商家都會(huì)利用傳統(tǒng)來(lái)宣傳自己的產(chǎn)品，大打傳統(tǒng)牌。禮尚往來(lái)是中國(guó)人的習(xí)慣，本意是加強(qiáng)親朋好友之間的溝通，可是現(xiàn)在有些廣告作品中卻被刻意夸大。廣告宣傳的作用是巨大的，如果長(zhǎng)時(shí)間受一種文化的熏陶會(huì)使其改變消費(fèi)觀念。如果將某一種習(xí)俗進(jìn)行夸大，也會(huì)產(chǎn)生不良后果，例如腦白金廣告，天天反復(fù)訴說(shuō)去年“收禮只收腦白金”，今年“收禮還收腦白金”，強(qiáng)化了送禮，雖然中國(guó)是禮儀之邦，但說(shuō)多也勢(shì)必會(huì)為那些不良送禮企圖的行賄者找到合理的借口，影響民風(fēng)。廣告作為一種文化形態(tài)已經(jīng)深刻地影響著現(xiàn)代人的生活，影視廣告?zhèn)鞑?yīng)該宣傳或倡導(dǎo)一些積極的生活觀念和方式，民風(fēng)民俗的廣告一定要注意引導(dǎo)消費(fèi)者往積極的生活方式上發(fā)展。有一則中國(guó)建設(shè)銀行的廣告創(chuàng)意較好地運(yùn)用了傳統(tǒng)文化中的中國(guó)元素：“善建者行善者建行”。
①?gòu)V告訴求不走傳統(tǒng)老路：首先“行”和“行”進(jìn)行了多音字的巧妙運(yùn)用，而主要是結(jié)合建行的品牌內(nèi)涵將建設(shè)銀行的形象昭之于眾，既有中式文化的意韻，又有令人回味的遐想，能讓人產(chǎn)生較深的印象，并有效識(shí)別了建設(shè)銀行與其它銀行的差異。
②廣告主題明確生動(dòng)：整個(gè)廣告的主題畫面均以建設(shè)場(chǎng)面為主，以建設(shè)工地的硬畫面突出建設(shè)藍(lán)圖的軟畫面，能從一定程度上傳達(dá)建設(shè)銀行的服務(wù)宗旨。
On Culture Taboos in Translation of Trademark Words and Coping Strategies
Xu Huimin
Abstracts: With the advent of economic globalization, more and more commodities are going out of the country and have a share in world market. Trademark is a special language symbol and important component of commodity culture，representing the unique characteristics of the commodity. It is also a powerful weapon for enterprisers to participate in international competition. Good trademark translation can bring tremendous wealth to the enterprise while the adverse trademark translation can make the enterprise pay a heavy price; therefore the survival of the enterprise has an intimate relationship with trademark translation. Trademark translation should follow the principles of translation and pay attention to the cultural forbidden zone in trademark translation. Here are many ways to translate trademarks, such as pinyin, transliteration and so on, which should pay attention to the cultural taboos of different countries and nationalities in order to avoid unnecessary troubles.
1. Introduction
The emergence of trademarks as a symbol of enterprise, it is a bridge between producers and consumers in direct dialogue it is a powerful weapon for enterprises to participate in international competition. The deepening of China's opening-up and the increasing economic activity of foreign-funded enterprises in China has greatly enriched the economic life of the Chinese people and created many new economic and commercial activities for the Chinese people. A large number of domestic exports to all parts of the world, foreign goods also flooded into the domestic market. Legitimate goods have their own trademarks. Today, with economic globalization and regional economic integration, more and more Chinese enterprises in order to seek larger development space and seek higher economic effectiveness for go out of the country and tend towards the world. At the same time, our lives appear many foreign brands with the same idea and purpose. A company whether can set up its own brand in this time of rapid economic growth and gain more development space, the key depend on product quality and research and development. But once you out of the country, you will face different culture, language, customs... under the background of the international market. The trademark language is a kind of language different from the ordinary word, and the ordinary word comparison implication is more profound and the content enriches makes the people easy to remember. For example advertisement and translation of trademark will play a crucial role in the early stage. It is not an exaggeration to say that when an enterprise’s brand is in the international market, the name of the commodity translated appreciately or not. In a sense, it is directly related to the brand in the international market, in a way, is directly related to the enterprise brand in the international market.
Nowadays we can see all kinds of trademarks when we walking in the street. The trademark is has the remarkable feature of a commodity producer or business operator who use it in order to distinguish his goods from other people's goods. Therefore, in the circulation of commodities, trademark is the symbol of commodities. Some trademarks is a word, some trademarks are just a simple image design, while some signs are the combination of graphics and words. Taking trademarks advertising commodity has become an important way of enterprises to tap the potential of international market and promote the development of international trade. Trademark translation is the transformation from one language to another, and to maintain its original style and connotation. Nowadays more and more foreign goods are entering the Chinese market. Meanwhile, more and more Chinese products are selling goods all around the world. How successfully translate the English trademark into Chinese trademark has become a problem for many enterprises and the translator to consider, and if China's enterprises have intention to enter the international market, that must be consider how to have good translate for Chinese trademark the into the English trademark.
This paper starts from the taboo of trademark translation, analyzes the cultural taboos which should be paid attention to in the process of trademark translation due to different cultures of various countries. With the exchange of Chinese and foreign products, the translation of trademarks is inevitable, so the translation of trademarks plays an important role in the sale of goods outside the home. The first chapter mainly introduces the background and significance of trademark translation. The second chapter mainly introduces the method of trademark translation. The third chapter mainly introduces the different cultural taboos in different cultures, and the fourth chapter mainly puts forward some corresponding strategies for the cultural taboos in the world. The fifth chapter mainly summarizes the full content.
2. Translation Methods of Trademark
In the process of trademark translation, businessmen strive for trademark individuality, concise content, break through the rules of grammar, as far as possible with the least content text bearing the most corporate culture and commodity value, and to make consumers have the desire to buy the goods and facilitate the effect of memory.( 許金杞. 意美、音美、形美——英文商標(biāo)的漢譯[J], 外語(yǔ)與外語(yǔ)教學(xué)，2002, (11): 48.).
2.1Transliteration
Transliteration is based on the pronunciation of English trademarks, which are translated in the same or similar pronunciation of Chinese characters. Its advantage is that it can maintain the original pronunciation advantage of the original brand and brand name, which can reflect the exotic atmosphere of the goods. Taking transliteration of trademark name is mainly composed of a person's name, enterprise name or other proper noun. This method is used in both English trademark translation and Chinese trademark translation. A common used for transliteration English trademark, such as Sony, L 'Orea, Nike, Casio, Revlon, Ikea etc.
2.2 Synthetic Phonics
Synthetic Phonics is to cut words or make words together, create a new word to translation brand name, make the brand name novel and interesting, impressive, and have abundant association. Therefore, it can play a role in the advocacy. Such as 新意達(dá)集團(tuán)“Newit” (New + Wit), 東方星鐘表“Eastar”（Eeast + star）, 膚美靈化妝品“Skinice”（skin + nice）, 金霸王電池“Durable cell” (Durable + Cell), 尤妮佳“Unicharm”（union + charm）, 德生電 “Tecsun”（technology+ sun）.
2.3 Spelling
The trademark taking spelling which is more simply and intuitive, and is named directly in the form of pinyin. Such as:大寶（DABAO）、六神（LIUSHEN）、華為（HUAWEI）etc. When we use pinyin to translate the name of an English trademark, sometimes it does not have corresponding words or expressions of Chinese. Some trademarks will be presented in the form of pinyin in the translation process, but the word may have different meanings in English-speaking countries. For example, there is a trademark called “FUCK Pincers”, which probably initials of the company name. But in English, the word means “cheating, cajoling” or even sex slang. Therefore, when we translate trademarks, we should be careful of each country of cultural differences and cultural taboos. Although the use of pinyin translation of trademarks have failed cases, but the use of Pinyin translation of trademarks have a successful case. Such as “Chun Lan”（春蘭空調(diào)）and “Chang Hong”（長(zhǎng)虹空調(diào)）. But these successes are in the minority. Some trademarks that use pinyin translation can be misleading, produce negative associations and cause ambiguity. Such as the lipstick brand “芳芳”, translated by pinyin as “Fang Fang”, but in English, the word “Fang” means “along, sharp tooth of a dog; a snake’s poison-tooth”. So, for cosmetics that want to make people beautiful, the translation is too different from its original meaning, and it can't arouse consumers' desire to buy. Although pinyin translation is relatively simple compared with other translation methods, but the trademark is only a sign, which usually loses the deep meaning of the original trademark. For example, “金龍” translates to “King Long”. The pronunciation of “金” and “King” is very close, and it has a noble meaning, and this conversion is reasonable. In China, “龍” is the symbol of Chinese culture, symbolizing the meaning of justice and prosperity, but the word “Long” in English pronunciation for “Wolf” so with the meaning of “龍” have a clear difference in meaning. In these cases, the loss of the original meaning of the trademark but also to foreign consumers puzzled, do not understand what these trademarks mean, thus affecting the sales volume.
2.4 Liberal Translation
The liberal translation refers to the translation according to the purport of the original text, not the word translation. Usually in the translation of sentences or phrases used more, liberal translation is mainly used in the original language and the translation of large cultural differences in the case. Liberal translation is more able to reflect the language characteristics of the nation. The transliteration of trade mark means that the translator has to abandon the literal meaning of the original text in order to conform to the original content and the main language function, which is based on the national culture and focuses on the cultural connotation. In other words, the transliteration is a completely literal translation. Such as “Red Bull”（紅牛飲料），“Microsoft”（微軟），The liberal translation, also called "Functional equivalence translation", usually only chooses the content of the original text and discards its form, which is a kind of translation after digestion. For example: “雀巢咖啡”translated into Nescafe. Nescafe is the abbreviation of Nestle Coffee, why do you have this translation? Because the coffee's outsourcing bottle cap is printed with the design of Nestle, its English is Nestle, and the “咖啡” translation is coffee, so in translating, The translator according to the meaning take two words together is “Nescafe”.
3. The Culture Taboos in Translation of Trademark
Because in international trade different countries have different social, historical and cultural backgrounds, a commodity often appears to be popular in one country, but in another it is neglected. This is because the translator did not take fully the cultural and historical background of the trademark translation into account, which led to the marketing failure. Translators should have a certain understanding of different countries of national culture and cultural taboos, there will not due to the mistake of trademark translation, result in the failure of commodity marketing. ( Nida, E. “Language, Culture and Translating”, 上海: 上海外語(yǔ)教育出版社, 1993.).
3.1 Taboos of National Psychology
National psychology refers to the character, temperament, emotion, value orientation, religious mentality and aesthetic psychology of a nation. Although the psychological model of a nation has the same characteristics as other nationalities, but most of them are different and mutually exclusive. The national psychological differences make people have psychological conflict in the people intercourse, and form the barrier of mutual intercourse. National psychology is the inherent psychological characteristic of a nation in the process of long-term evolution. Because different ethnic groups are affected by different ecological environment, religious belief and historical political and cultural background, different ethnic groups form different national psychology. Different national psychology has created different values and consuming psychology. The psychological mode of a nation inevitably influences its shopping mentality. In the process of trademark translation, if we ignore the national psychological differences, the good products will not be bought for the unacceptable translated trademark in sales place. Such as “帆船” carpet is also the traditional export products translated into junk results in the United States market no one to buy. Originally junk in English sailing accident also have rubbish, tattered meaning. Later it was translated into “Junco” to attract the attention of foreign people. Because of the different customs and morals of each country and nation, the translator should consider the culture and customs of the place of sale. The trademark of the “太陽(yáng)神口服液” wants to show the world that the oral liquid can be full of youthful vigor, not directly translated into the "the god of the sun", the translator in the translation of the Cultural transformation, translated as "Apollo", the ancient Greek sun God's meaning, representing the light and youth, with the original language.
3.2 Element of Politics, Economy and History
Politics, economy and history determine the status of a country in the world, so it is a cultural taboo is an important factor to be considered in the translation of trademarks and a sensitive factor, so it is very important to take into account the political, economic and historical taboos in translation. Such as OPIUM perfume, inventor of the trademark in 1977 had been to China, he started from the Chinese snuff bottle modeling inspiration, created the "OPIUM" brand perfume, trademark means "OPIUM", translated as OPIUM will remind the Chinese of humiliation of the opium war, the strong national pride makes the perfume was listed in China slammed by consumers, and eventually banned due to violation of China's trademark law. Bear in modern economic terms, it can be matched with market, which means "market of falling market", popularly known as "weak city, market and bear market". Such words should not be used on trademarks.
3.3 The Variation of Culture Taboos in Different Countries
3.3.1 The Variation of Animal’s Symbolic Meaning
Panda: in China, they are seen as animals and pets, but in Muslim countries, they are seen as pig. African trademark also bans the panda.
Bats: westerners believe it is a symbol of terror, death and foreboding. Even kids know it's a vampire. However, in our country, it is regarded as a symbol of happiness, as an auspicious omen.
Elephant: in India, Sri Lanka and other countries are auspicious things and solemn symbols. But in some European countries, elephants have the same meaning as idiots
Owl: in our country, the owl is regarded as an ominous sign. In addition to the Swiss, westerners believe that it is the embodiment of wisdom, courage and toughness.
Peacock: in our country and south Asia, it symbolizes auspiciousness and beauty. India also sees it as a national bird, but Europeans see the peacock as a scourge.
Dogs: dogs in the west are seen as a loyal partner, protected by law. Instead, in some parts of northern Africa, people hate dogs and taboo dogs.
Cats: in many countries, they are considered pets. Europeans think cats can bring good luck. But many people in western countries think black cats are unlucky.
The crane: our country regards it as a symbol of good luck and longevity, while the French think the crane is a stupid man's name.
Rabbit: many countries think that rabbits are cute and docile, but in Australia they are the exception. Because rabbits eat grass, they are the bane of wool production, so they don't like the “rabbi” brand.
Phoenix: in our country is a kind of the miraculous animals, on behalf of the "lucky, happiness, and elegant. Chinese people believed that a “鳳凰”bicycle can bring good luck, but in western culture legend phoenix is not dead bird, there is the meaning of" renewable "and" resurrection ", so the goods no takers in the west it is not surprising. A similar example of “喜鵲”，but the English word is “magpie” is talking about boring people in the west.
3.3.2 The Variation of Number Symbolic Meaning
0: Indians believe that the number ending in 0 is positive.
1: in the eyes of westerners, “1” means perfection and initiation.
3: the Greeks and Egyptians considered the “3” to be sacred, dignified and auspicious. Some western countries see this as an unlucky number.
4: North Korea, Japan and China think this number is unlucky. In the eyes of Japanese, it is lazy and useless. The Arabs thought it was immortal, so they attached great importance to this number.
7: Some Europeans and Americans think this is a good luck, while Singaporeans have the opposite idea.
8: this is a lucky number in China, which is very similar to the word "發(fā)", which people tend to choose when choosing a number. Singaporeans, however, say the Numbers are not good.
13: the west and Singapore think this number will bring bad luck and misfortune. So there are no 13 floors in western countries.
Digital deification also shows the difference between east and west. In our country “666”, “999”, “金六?！? “三元” and “13” these digital products, in the United States can see the “7-up”, “Modle Seven” and “7-eleven”and other trademarks of goods, but “666”, “13” goods exported to the United Kingdom and the United States will become a problem, because the “six” in the west is the symbol of the devil, 13 is an unlucky number. It is difficult for us to master the culture of each country, which requires us to accumulate knowledge to avoid the cultural taboos of other countries in the translation of trademarks.
3.3.3 The Variation of Color Symbolic Meaning
In China, green symbolizes life, red symbolizes passion, white symbolizes purity, and black symbolizes solemnity. In the United States, light colors are generally liked, such as ivory, light green, light blue, yellow, pink, light yellow, and they don't like purple. In France, people have imaginative about color. In addition, the color research and application is very exquisite, like red, yellow, blue and other colors. Bright-color is regarded as the symbol of vogue, luxuriant, nobility, so bright-color is popular in France. In eastern France, boys in fashion wear blue and girls wear pink. For Belgium, chrysanthemum means death, so similar to the chrysanthemum color won't welcome. For southern Belgium, girls love pink and boy love blue, ordinary people love the elegant grey. Avoid dark green, black and green color for Nazi uniform. It is not appropriate to use blue and yellow as a commercial in Sweden. Many countries like green, especially in the desert where Arabs see green as life, and green as a symbol of life for the flag. The Japanese, however, taboo green, who think green, is unlucky. In Malaysia, green is the symbol of disease. Westerners use white to symbolize purity, and black symbolizes death. Britain regards “red” as cruel and unlucky. In western countries, westerners regard white as a symbol of purity and beauty, and the bride's wedding dress is white, which symbolizes the purity and fidelity of love.
4. Coping Strategies of Cultural Taboos in the Process of Translation
Trademarks are the unity of language and culture. Trademark translation, with the perspective of cross-cultural communication, accurately grasp, the surface culture and deep culture, which can turn the material value to the abstract spiritual value. It allowed consumers to understand the material value of goods and material language culture and spiritual culture. Goods are sold to different countries and regions, so cultural differences between different types and degrees are necessarily reflected in the language. Although the translator deals with individual words in trademark translation, the translator always faces two cultures. Facing with fierce competition, the translator must have a strong awareness of intercultural communication, and break the bondage of language form equivalence concept in order that bring out the sound and make all brand names of goods have broad market prospects.( [3] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001.).
4.1 Catering to Consumer Psychology
Culture affects all aspects of our lives. It restricts and regulates the process of feeling the world and forming ideas, thus forming some perceptual cultural determinism. These perceptual stereotypes affect people's values and consumer psychology. The translation of trademarks must take into account the cultural habits and aesthetic psychology of consumers. In international trade, it is not difficult to find that the product of the same trademark is popular in one place and suffers from a snub in another. It is important that whether trademark translation can cater to consumers' aesthetic psychology. A people said that "The translator must be a real cultural person". If the translator is not sufficiently knowledgeable about the language and cultural phenomena of the target language, it is likely to make unavoidable mistakes in language or culture. For example, the “白象” battery produced in our country is translated as “White Elephant”, originally in English, “White Elephant” meaning is “big and useless”. For example, there is a kind of electric appliance called “蝙蝠”, the Chinese will take their homophonic, “蝠-福氣”. When translated into “Bat”, it will cause Westerners to resent it because they hate the animal. It is important to know how to translate the correct trademark. The import trademarks translation needs to take into account the traditional culture of China and the consumption psychology of Chinese consumers. Foreign products enter the Chinese market, if they want to set up a good product image, and be loved by Chinese consumers, they should have a translation which is consistent with Chinese consumers' cultural habits and aesthetic psychology Such as the United States drink “Coca Cola”, a translator used several of its similar homophonic Chinese characters as their trademark name in its first sale in China, the result is no one buy, because these several Chinese characters together reminiscent of the shape of the tadpole, meaning of “啃蠟蝌蚪”. Later, a called Jiang Yi translator careful study of the translation of the “Coca-Cola”, not only retained the “cola” pronunciation, but also cater to the Chinese consumer's psychology, point out its “delicious” taste, and the “happy” effect. In a sense, “cola” can be sold in the Chinese market, which is a good idea of the translation has played a great role.
4.2 The Use of Concise Language
For trademark translation, consumers are impressed by the simple and easy to understand and easy to understand. Because of the significant differences in pronunciation, word formation, historical background and cultural tradition between Chinese and English, some of the most concise and powerful trademarks in one language may appear to be protracted and difficult to remember. For example the American beer “Budweiser”, translate into“百德威斯” is difficult to remember Obviously there is no “百威” to be concise, and "百威" makes people feel refreshed and infinitely powerful. The trademark translation should make the reader feel good, remember, love and be willing to buy its goods, such as “Panten”(潘婷), “Olay” (玉蘭油), the translation is elegant and pleasant to hear. Therefore, when translating trademarks, we should bear in mind the memory function of trademarks, make the translation straightforward and simple, easy to read and easy to remember, and try to avoid those lengthy and cumbersome ones, that is, no real meaning, difficult to read and hard to remember . The most important goal of trademark translation is to enable consumers to remember the products they represent through the translation of trademarks. Therefore, trademark translation must be simple, easy to remember and vivid image.
4.3 Reflecting Commodity Information
The function of a trademark is to illustrate the performance of the commodity and reflect the characteristics of the commodity. A trademark is also a concise advertisement. A commodity wants to open sale, besides the quality is good, the variety is opposite the road, the price is reasonable, very important one is the translation of the trademark. By trademark, people can have the most basic understanding of the commodity, as far as possible to the purpose of pre-sale. Therefore, the translation of the trademark should indicate the performance of the commodity from one aspect of the commodity, leaving a deep impression on the consumers. The translation must conform to the nature of the product and reflect its accurate positioning in the original text. For example: the world famous toothpaste brand Crest has the meaning of “Top, Peak point, Helmet” and so on, which makes people think of the “hard and hard surface protection”. If it can protect the teeth like a helmet, who can say no? Today, P&G products are almost everywhere in the world, and the “Safeguard” is particularly profound. The word is composed of “safe + guard”, safe means “safe, safe, reliable” and “guard” means “protection” two words together, became a “security”. This can make people think that the product is safe and does not stimulate the skin and can also play a role in skin care. The translation of the trademark should indicate the performance of the product and impress the consumers. Such as: the name “Benz” of Germany comes from the name of “KarlBenz”. In Taiwan, it was translated as “朋馳” and also translated as “本茨”. Although these translations are similar to the original name, the literal meaning does not reflect the performance of the goods, or it can be said to have no meaning. Now, "Benz" is translated as “Benz”, which is similar to the original name, which can also be thought of in the literal meaning of the translated name to the excellent performance of the car. Again such as “Nike” and “original intention”, the Greek goddess of victory, “娜姬”, “Nike” to the original feeling of propaganda object may be like a beautiful and victory, and the feeling of “Nike” to the Chinese tend to be more abrasion resistance, more in line with the consumer psychology of the Chinese . Excellent trademarks try to reflect the characteristics and advantages of commodities to cater to consumers' purchasing psychology. These logos are full of allegorical or inspiring people's rich associations to create an irresistible feeling.
The trademark language is a kind of language different from the ordinary word, and the ordinary word comparison implication is more profound and the content enriches makes the people easy to remember. Trademark language has several characteristics，F(xiàn)irst, the trademark language to have independence, only has the independent trademark to give the consumer the visual impact and the appeal, thus achieves the recognition and the approval goal. In other words, there could be no other identical trademarks. Second, the trademark language should be symbolic, trademark logo must have a high cohesion and profound implication. This requires businesses in the development of trademarks to the corporate culture, entrepreneurial spirit and the characteristics of enterprise products in the brand. Third, the trademark language should also be descriptive, refers to the trademark language generally implies the quality of goods, indicating its characteristics and performance. Four, the trademark language should also have the imagination characteristic, this can give the consumer an imaginary space, lets the consumer feel that uses this kind of product to have the unexpected effect. Five, use foreign words to do trademark language, according to their own cultural patterns, new things to be reconstructed.
一、筆墨表現(xiàn)方式所具有的抽象性
線條、筆墨是中國(guó)畫的主要表現(xiàn)語(yǔ)言,董其昌云:“以境之奇怪論,則畫不如山水,以筆墨之精巧論,則山水決不如畫。”③注重筆墨,追求筆墨的精妙在傳統(tǒng)中國(guó)文人畫中居于首要地位,在這里筆和墨已具備了獨(dú)立的審美意義,具有一定的抽象性。wWW.133229.cOM以“筆”而論,正所謂:“石如飛白木如籀,寫竹還應(yīng)八法通,若也有人能會(huì)此,須知書畫本同來(lái)?！睍嬐词沟脮ǖ挠霉P和線條引注于繪畫,通過(guò)流動(dòng)有律的線條來(lái)表達(dá)生命的節(jié)奏,表現(xiàn)物象的“骨”和“神”,從而使畫面物象的構(gòu)成和用筆更加豐富多彩,使繪畫的線條更富于力度、美感和文化的素養(yǎng)。作為書法的用筆、線條本身是一種非文字的、非辨識(shí)的形式知覺(jué),是對(duì)線條及其相關(guān)形式表現(xiàn)的審美感知。它不是具體的再現(xiàn)某一事物,而是在一切具體事物之上進(jìn)行高屋建瓴的概括、抽象的結(jié)果。造型心理學(xué)講,大自然并不存在線條,它反映的是人類對(duì)世界的抽象意識(shí),中國(guó)畫以線條作為造型最主要的手段并賦予線條一種內(nèi)在的生命力和個(gè)性特征,這就使中國(guó)畫的線條更具有一種獨(dú)立于象外的審美價(jià)值和情趣,它是經(jīng)過(guò)漫長(zhǎng)的歷史和文化積淀形成的被人們的審美意識(shí)所肯定的獨(dú)特的表現(xiàn)形式,是具有一定穩(wěn)固性的表現(xiàn)形態(tài),是作者審美情感、精神修養(yǎng)、人性品格的抽象表現(xiàn),這種表現(xiàn)深刻、概括并且具有廣闊的涵蓋力,是一種抽象性的表現(xiàn)形式。
再來(lái)看中國(guó)畫的表現(xiàn)語(yǔ)言“墨”。王維《畫學(xué)秘訣》中說(shuō):“夫畫道之中,水墨為上,肇自然之性,成造化之功?！雹軓垙┻h(yuǎn)《歷代名畫記》中“草木敷榮,不待丹綠之采,云雪飄揚(yáng),不待鉛粉而白……是故運(yùn)墨而五色具,謂之得意?！雹葜袊?guó)傳統(tǒng)水墨畫略去光線,獨(dú)鐘水墨,利用墨色的濃淡干濕形成的韻味來(lái)表現(xiàn)五彩繽紛的大千世界。從“墨”本身來(lái)看,作為凈化升華的色彩,它是具備了無(wú)限可能的抽象色,是創(chuàng)作主體賦予外物的假定,它根源于藝術(shù)家在視覺(jué)表象上對(duì)色彩的非知覺(jué)的處理,以這一種墨色表現(xiàn)宇宙萬(wàn)象,這種反映不是真實(shí)再現(xiàn)的忠實(shí)反映,是一種主觀化的反映,是在掙脫現(xiàn)實(shí)世界自然萬(wàn)物光彩奪目的色彩,而得到的對(duì)現(xiàn)實(shí)世界“質(zhì)”的主觀反映,這里的“質(zhì)”就是前邊所引的“自然之性”,很顯然這種“墨”的表現(xiàn)方式是具有一定抽象性的。如追溯其文化的淵源,應(yīng)該與孔子“繪事后素”在繪畫上以靜素淡泊為高雅以及儒學(xué)理性主義的文化態(tài)度有聯(lián)系,再就是以道家“五色令人目盲”和復(fù)歸自然的人生價(jià)值觀為基礎(chǔ),它們共同奠定了傳統(tǒng)水墨畫抽象色的表現(xiàn)風(fēng)貌。
筆與墨的骨肉融合作為中國(guó)畫的主要表現(xiàn)語(yǔ)言,體現(xiàn)了中國(guó)畫特有的形式美感,是中國(guó)畫藝術(shù)中不可或缺的內(nèi)容,有相當(dāng)豐富的內(nèi)涵?！澳疄R筆也以靈,筆之運(yùn)墨也以神,墨非蒙養(yǎng)不靈,筆非生活不神,能受蒙養(yǎng)之靈而不解生活之神,是有墨無(wú)筆也,能受生活之神而不變蒙養(yǎng)之靈,是有筆無(wú)墨也”。⑥在這里筆、墨、蒙養(yǎng)和生活被巧妙的融合升華,這種精神與筆墨的結(jié)合運(yùn)用因人的技巧、力量、線條、筆觸等純形式因素的存在,給人以遠(yuǎn)非自然形式所能給予的東西,借助于各式抽象的點(diǎn)、線、渲、皴、擦,攝取萬(wàn)物的骨象來(lái)表現(xiàn)作者的審美情感和人文氣質(zhì),這種點(diǎn)線交流律動(dòng)的筆墨表現(xiàn)形式是一種有“意味”的形式,它是中國(guó)畫的主要抽象形態(tài)。
二、寫意性表現(xiàn)方式所具有的抽象性
寫意性是中國(guó)藝術(shù)觀的一大特點(diǎn),從《易經(jīng)》開(kāi)始“意”即被看作萬(wàn)物內(nèi)部的本質(zhì),圣人“立象以盡意”、“得意而忘象”,其次“意”又指人們主觀的心意,明代王履聲稱“畫雖狀形主乎意”。⑦萬(wàn)物內(nèi)部的“本質(zhì)”則是在自然界萬(wàn)千事物具體形象(包括不同類屬的具體形象)的基礎(chǔ)之上抽離概括升華出的事物的本質(zhì)規(guī)律。人們的主觀“心意”則是人們對(duì)自然界萬(wàn)物本質(zhì)的主觀反映。無(wú)論是萬(wàn)物內(nèi)部的“本質(zhì)”,還是人們主觀的“心意”都不是對(duì)自然動(dòng)植物的模擬再現(xiàn),而是在自然萬(wàn)象基礎(chǔ)上進(jìn)行的分離和概括,其中有一定主觀化情緒化方面的成分。中國(guó)畫的這種寫意性的表現(xiàn)方式中蘊(yùn)含著一定的抽象性因素。以下分述之:
(1)重“神似”的審美的表現(xiàn)方式
“傳神寫照”乃是中國(guó)傳統(tǒng)繪畫寫意精神的核心,中國(guó)傳統(tǒng)文人畫重在追求“神似”,而對(duì)“形似”的要求又不太苛刻(和西方古典繪畫相比),即不過(guò)分執(zhí)著于事物的外在自然屬性如比例、結(jié)構(gòu)、透視。重“神似”的寫意不是簡(jiǎn)單地描繪含混不清的圖像和意念,而是作者對(duì)民族個(gè)性、社會(huì)現(xiàn)實(shí)、時(shí)代精神以及自然規(guī)律深刻體察的總和,畫家或借物喻人或寄情予物,情景交融,使人與自然成為一個(gè)整體達(dá)到“物我兩忘”的境地,這是一種意識(shí)與精神的升華。不過(guò)分求“形似”通過(guò)“寫意”以“參贊造化”,正如齊白石所說(shuō)“妙在似與不似之間,不似則欺世,太似則媚俗”。注重追求“氣韻生動(dòng)”的境界,這種通過(guò)寫“神”來(lái)表現(xiàn)生命風(fēng)采的寫意方法,不是一種照鏡子的寫實(shí)方法,而是一種在客觀自然基礎(chǔ)之上的主觀表現(xiàn)方法,是和心靈對(duì)應(yīng)的抽離,是“師造化”和“師心”的結(jié)合,其中含有一定的抽象成分。
(2)擺脫自然時(shí)空限制的表現(xiàn)方式
通過(guò)擺脫自然時(shí)空的限制來(lái)追求藝術(shù)表現(xiàn)和概括的自由,強(qiáng)調(diào)宏觀地把握世界,用歷史的全局的眼光來(lái)觀察世界是中國(guó)畫空間表現(xiàn)方式的一個(gè)特點(diǎn)?！耙源笥^小”,移步換景的觀察方法,作者的眼睛不是從固定角度集中于一個(gè)透視焦點(diǎn),而是流動(dòng)著飄瞥上下四方,一目千里,抓住自然的內(nèi)部節(jié)奏,把全部景界組成氣韻生動(dòng)的藝術(shù)畫面,一幅畫中可以畫不同季節(jié)、不同時(shí)代的幾種事物,或不同地區(qū)的不同事物,充分發(fā)揮畫家的主觀性和藝術(shù)自由性,所謂“天地造物,隨其剪裁,陰陽(yáng)大化,任其分合”,仿佛是胸中造化吐露于筆端。畫面上空白的特殊處理是突破空間的另一種方式,空白處可以是天、地、水、云煙,也可以什么都不是,“位置相戾,有畫處多屬贅疣,虛實(shí)相生,無(wú)畫處皆成妙境”,⑧這不僅喚起對(duì)各種實(shí)體的聯(lián)想,而且造成“咫尺有千里勢(shì)”之感。再看中國(guó)的“三遠(yuǎn)”之法,“自山下而仰山巔,謂之高遠(yuǎn);自山前而窺山后,謂之深遠(yuǎn);自近山而望遠(yuǎn)山,謂之平遠(yuǎn)”,⑨對(duì)于同一片景物“仰山巔,窺山后,望遠(yuǎn)山”,用流動(dòng)轉(zhuǎn)折的視線,俯視往還,處處流連,這種擺脫自然時(shí)空的限制,畫家從高處把握全局按照需要自由組織空間的表現(xiàn)方法,不是對(duì)自然真實(shí)空間的再現(xiàn),而是對(duì)無(wú)限世界的相對(duì)集中和概括,其精神的著重點(diǎn)在全幅的節(jié)奏和生命,它與抽象的筆墨語(yǔ)言的結(jié)合形成一種永恒的“有意味”的表現(xiàn)方式,這種表現(xiàn)方式是對(duì)外在具體形象與時(shí)空的“隔離”和“抽離”,它具有一定的抽象性。
三、程式化表現(xiàn)方式所具有的抽象性
以“程式”為主的高度意匠是中國(guó)畫表現(xiàn)方式的又一特點(diǎn)?！俺淌健鳖櫭剂x,即一定的模式,是前人經(jīng)過(guò)漫長(zhǎng)的積累、提煉、歸納、概括出來(lái)的集大成的范本,是一門藝術(shù)的基本構(gòu)成要素所表現(xiàn)出的有規(guī)律有固定模式的表達(dá)方式,是藝術(shù)家進(jìn)行創(chuàng)作時(shí)組織、加工素材,表達(dá)自己的主觀感受要依據(jù)的基本方法和語(yǔ)言。從彩陶、三代銅器物上的幾何線型到楚漢帛畫、漆畫上的自由線型,再到傳統(tǒng)繪畫中的各種線描、勾皴法、點(diǎn)法等。至此以線條作為形式框架的中國(guó)傳統(tǒng)繪畫的表現(xiàn)語(yǔ)言已經(jīng)被引申發(fā)展為各種具有抽象意味的程式化的表現(xiàn)方式,如后來(lái)的游絲、鐵線、釘頭鼠尾等十八描,折帶皴、斧劈皴、小混點(diǎn)、梅花點(diǎn)……等等各種皴法和點(diǎn)法,這是由裝飾紋樣變?yōu)楸砬榉?hào)的歷程,是人對(duì)美的感受變得愈益豐富,表現(xiàn)更加隨意的歷程。在原始自然的基礎(chǔ)之上經(jīng)過(guò)積淀建立的新的感性使藝術(shù)由再現(xiàn)變?yōu)楸憩F(xiàn),由具體形象變?yōu)槌橄蟮男问?這不是一朝一夕形成的,這是人們根據(jù)長(zhǎng)期觀察自然的經(jīng)驗(yàn)和對(duì)生活的提煉與積淀,結(jié)合民族的審美習(xí)慣和文化傳統(tǒng)形成的相對(duì)穩(wěn)定的藝術(shù)表現(xiàn)形式的過(guò)程,是“程式化”的過(guò)程,是在“自然的人化”過(guò)程中形成的相對(duì)固定形式的“人化的自然”,這個(gè)過(guò)程中蘊(yùn)含著一個(gè)抽象化過(guò)程的存在。
對(duì)中國(guó)畫家來(lái)說(shuō),文人畫所表達(dá)的并不單純是客觀世界,其借助筆墨程式所表達(dá)的是中國(guó)文人的思維方式和價(jià)值取向,它除了依靠筆墨語(yǔ)言的變化外,要依托的就是這種語(yǔ)言程式了。譬如:人物畫中衣紋線描中的“蘭葉描”、“鐵線描”、“釘頭鼠尾描”等,它們的區(qū)別不僅僅是哪種描法表現(xiàn)了哪種衣服的質(zhì)感,而在于這些程式化的描法都含有一種“抽象美”性質(zhì)的“程式”性結(jié)構(gòu)。就像中國(guó)戲曲中“程式化”的身段動(dòng)作,同現(xiàn)實(shí)日常生活中的動(dòng)作有極大的距離,但其中的唱、念、做、打單獨(dú)欣賞時(shí)就是非常美的藝術(shù)。中國(guó)畫歷經(jīng)宋元明清乃至今日,它的程式傳承都未改變,仍為畫家創(chuàng)作的法度,由此看來(lái)中國(guó)畫同中國(guó)戲曲一樣是有著特殊表現(xiàn)方式的藝術(shù)。大凡要離開(kāi)生活的自然形態(tài)遠(yuǎn)一點(diǎn),即加工美化較多,形式感較強(qiáng)的藝術(shù),都會(huì)有某種程式。中國(guó)戲曲和中國(guó)畫的造型和表現(xiàn)形式都證實(shí)了這一點(diǎn),它的這種程式化存在的美學(xué)性質(zhì)即在于其中的抽象性因素。
總之,在中國(guó)畫的表現(xiàn)方式中有一定的抽象性因素存在。從橫向來(lái)說(shuō),它是對(duì)現(xiàn)實(shí)生活中各種具體事物的形態(tài)、動(dòng)態(tài)、情趣、意象等的抽離和升華;從縱向來(lái)說(shuō),它是在漫長(zhǎng)的人類藝術(shù)實(shí)踐中由內(nèi)容到形式的積淀過(guò)程。這種抽象因素對(duì)各種表現(xiàn)形式具有廣闊的涵蓋力、溶解性、包容性,其目的在于追求具體物象以外的某種情趣、意象。它與中國(guó)畫本身具有的隨意性、個(gè)性化等特點(diǎn)以及現(xiàn)代的思維模式如:開(kāi)放、互通、交流、包容等具有一致性,這就決定了中國(guó)畫在當(dāng)代文化的整體格局中,在保證民族性的前提下同其他藝術(shù)交流的可能性,從而證明中國(guó)畫在新時(shí)期的文化踐履中必將有勃興的契機(jī)。
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②王宏建､袁寶林《美術(shù)概論》,高等教育出版社,1998年版,第460頁(yè)。
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