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给自己的棺材完成粉饰的画家和狂野不羁的骑士,这可能都不是你心目中阿根廷人的形象。但正是他们与优雅的探戈舞和粗放的足球一起,成就了阿根廷多彩的混合文化。
Argentina is the eighth largest country in the world, covering more than one million square miles.
Tango has been a lifelong inspiration for artist Martiniano Arce, the premiere “1)Fileteador” of Buenos Aires. Martiniano and his wife live in the artist neighborhood of San Telmo. Tango and 2)Carlos Gardel are the two greatest influences on his work, another unique expression of Argentine culture called “Filete.” Martiniano began painting in the style of the Filete at the age of 13. The Fileteador uses elaborate 3)curlicues and line drawings called “Filetes” that replicate ornate architecture of the early 20th century. While the art form can be traced to Sicily, Filete is as Argentine as the tango and Gardel. Described once as a “painted tango,” the Filete evokes the 4)sentimentality of the 5)Poteño and the role tango has played in popular culture.
Martiniano: (via translator) The tango reflects a little bit of what an Argentine is. The Argentine is a little 6)melancholy, a little bit serious, and a little bit 7)introverted. However the Poteño is someone 8)extroverted, someone that appears to be more than what he really is.
Martiniano holds the prestigious Great Argentine Master Award from the country’s National Art Council. In his home, the style of the Filete can be found everywhere, the accumulation of nearly half a century of painting. And he knows precisely when he would stop painting. To be ready, he’s decorated coffins for himself and his wife. He’ll be 107 years old and he plans to leave this life the way he lived it.
Martiniano: The year 2046, it’ll be on Wednesday, November 14th at 19:30 hours. There will be champagne, there will be drinks, everything free, and my 9)epitaph will read, “Here lies Martiniano. Happy he rests. They painted his smile in a Fileteano way.”
Argentine poet José Hernandes called them “Orphans of the 10)Pampas,” the roughriding horsemen of Patagonia known as 11)Gauchos. In his epic 1873 poem, “El Gaucho Martin Fierro,” Hernandes12)laments the fate of a Gaucho culture at odds with a changing Argentina.
An Argentine saying goes: “A Gaucho without his horse is without his legs.” The Gaucho culture started in the 17th century when escaped horses from Spanish settlements developed into enormous unclaimed herds. Ranch hands were hired to catch and tame the horses and put them to use in Argentina’s growing cattle industry.
These two modern-day Gauchos are 13)reclaiming horses missing since the previous summer. They will tame two for sale in Barriloce and return in a few weeks for the rest. The work is difficult and dangerous and requires a patience few have in today’s world.
Most Gauchos are now permanently employed by large corporate ranches, but while the poem, “El Gaucho Martin Fierro,” was written too late to help preserve the Gaucho’s unique lifestyle, it has given Argentines a link to a past that is thoroughly their own.
阿根廷是世界上第八大国家,总面积超过一百万平方英里。
探戈是艺术家马丁尼亚诺·阿尔塞毕生的灵感源泉。他是布宜诺斯艾利斯首屈一指的装饰画画家。他与夫人住在艺术家云集的圣特尔莫。他所创作的装饰画是阿根廷文化的又一独特表现方式,而探戈和卡洛斯·加德尔是对他创作影响最深远的其中两个元素。马丁尼亚诺在13岁时开始以装饰画风创作。装饰画重拾20世纪早期的华丽建筑风格,采用复杂精美的花饰和线条。虽说它的艺术形式可以追溯到意大利的西西里岛,但装饰画就像探戈和加德尔一样,有着浓重的阿根廷特色,因此被称之为“画中的探戈”。它唤起海港人多愁善感的一面,让人想起探戈在阿根廷流行文化中的重要作用。
马丁尼亚诺:(翻译)探戈反映了阿根廷人的一些特点。阿根廷人有点忧郁,有点严肃,有点内省。可海港人却是外向的,带点夸张的意味。
马丁尼亚诺荣获声誉甚高的由阿根廷国家艺术理事会颁发的阿根廷大师奖。在他家里,随处可见装饰画派的风格,那也是他差不多五十年的积累。他清楚地知道自己什么时候要停止画画。为了给那天做好准备,他给自己及夫人粉饰好了棺材。他将活到107岁,打算用生前的生活方式离开这段人生。
马丁尼亚诺:那个时刻将会是2046年11月14日星期三的晚上七点半。到时会备有香槟和各种饮料,全部都是免费的。我的碑文会写着:“马丁尼亚诺快乐地长眠于此。他们把他的微笑用装饰画风表现出来。”
阿根廷诗人荷塞·霍南德斯称巴塔哥尼亚粗犷的骑士为“潘帕斯大草原的孤儿”。他们正是人们熟知的加乌乔牧人。在他1873年写的叙事诗《加乌乔牧人的马丁·费洛》里,霍南德斯感叹加乌乔牧人文化与快速变化的阿根廷格格不入。
阿根廷有句老话:“加乌乔牧人少了马匹就如同缺了双腿”。加乌乔牧人文化始于17世纪。当时从西班牙殖民者的聚居地逃跑的马匹,演变成庞大的野马群。于是,牧场雇人帮忙捕捉并驯服马匹,使其成为阿根廷渐渐繁荣的牧牛业的一部分。
这两位现代加乌乔牧人正在驯服去年夏天就失踪的马匹。他们先驯服两匹马,带到巴利罗切贩卖,数周后再回来处理其余的马匹。这是一项既困难又危险的工作,当今世上有耐性从事这项工作的人少之又少。
大部分加乌乔牧人都长期受聘于企业化的大型牧场,《加乌乔牧人的马丁·费洛》这首诗面世太晚,无法帮助加乌乔牧人保持独有的生活方式,只能成为阿根廷人探索国家过去独有的文化的纽带。
翻译:旭文
Argentina is the eighth largest country in the world, covering more than one million square miles.
Tango has been a lifelong inspiration for artist Martiniano Arce, the premiere “1)Fileteador” of Buenos Aires. Martiniano and his wife live in the artist neighborhood of San Telmo. Tango and 2)Carlos Gardel are the two greatest influences on his work, another unique expression of Argentine culture called “Filete.” Martiniano began painting in the style of the Filete at the age of 13. The Fileteador uses elaborate 3)curlicues and line drawings called “Filetes” that replicate ornate architecture of the early 20th century. While the art form can be traced to Sicily, Filete is as Argentine as the tango and Gardel. Described once as a “painted tango,” the Filete evokes the 4)sentimentality of the 5)Poteño and the role tango has played in popular culture.
Martiniano: (via translator) The tango reflects a little bit of what an Argentine is. The Argentine is a little 6)melancholy, a little bit serious, and a little bit 7)introverted. However the Poteño is someone 8)extroverted, someone that appears to be more than what he really is.
Martiniano holds the prestigious Great Argentine Master Award from the country’s National Art Council. In his home, the style of the Filete can be found everywhere, the accumulation of nearly half a century of painting. And he knows precisely when he would stop painting. To be ready, he’s decorated coffins for himself and his wife. He’ll be 107 years old and he plans to leave this life the way he lived it.
Martiniano: The year 2046, it’ll be on Wednesday, November 14th at 19:30 hours. There will be champagne, there will be drinks, everything free, and my 9)epitaph will read, “Here lies Martiniano. Happy he rests. They painted his smile in a Fileteano way.”
Argentine poet José Hernandes called them “Orphans of the 10)Pampas,” the roughriding horsemen of Patagonia known as 11)Gauchos. In his epic 1873 poem, “El Gaucho Martin Fierro,” Hernandes12)laments the fate of a Gaucho culture at odds with a changing Argentina.
An Argentine saying goes: “A Gaucho without his horse is without his legs.” The Gaucho culture started in the 17th century when escaped horses from Spanish settlements developed into enormous unclaimed herds. Ranch hands were hired to catch and tame the horses and put them to use in Argentina’s growing cattle industry.
These two modern-day Gauchos are 13)reclaiming horses missing since the previous summer. They will tame two for sale in Barriloce and return in a few weeks for the rest. The work is difficult and dangerous and requires a patience few have in today’s world.
Most Gauchos are now permanently employed by large corporate ranches, but while the poem, “El Gaucho Martin Fierro,” was written too late to help preserve the Gaucho’s unique lifestyle, it has given Argentines a link to a past that is thoroughly their own.
阿根廷是世界上第八大国家,总面积超过一百万平方英里。
探戈是艺术家马丁尼亚诺·阿尔塞毕生的灵感源泉。他是布宜诺斯艾利斯首屈一指的装饰画画家。他与夫人住在艺术家云集的圣特尔莫。他所创作的装饰画是阿根廷文化的又一独特表现方式,而探戈和卡洛斯·加德尔是对他创作影响最深远的其中两个元素。马丁尼亚诺在13岁时开始以装饰画风创作。装饰画重拾20世纪早期的华丽建筑风格,采用复杂精美的花饰和线条。虽说它的艺术形式可以追溯到意大利的西西里岛,但装饰画就像探戈和加德尔一样,有着浓重的阿根廷特色,因此被称之为“画中的探戈”。它唤起海港人多愁善感的一面,让人想起探戈在阿根廷流行文化中的重要作用。
马丁尼亚诺:(翻译)探戈反映了阿根廷人的一些特点。阿根廷人有点忧郁,有点严肃,有点内省。可海港人却是外向的,带点夸张的意味。
马丁尼亚诺荣获声誉甚高的由阿根廷国家艺术理事会颁发的阿根廷大师奖。在他家里,随处可见装饰画派的风格,那也是他差不多五十年的积累。他清楚地知道自己什么时候要停止画画。为了给那天做好准备,他给自己及夫人粉饰好了棺材。他将活到107岁,打算用生前的生活方式离开这段人生。
马丁尼亚诺:那个时刻将会是2046年11月14日星期三的晚上七点半。到时会备有香槟和各种饮料,全部都是免费的。我的碑文会写着:“马丁尼亚诺快乐地长眠于此。他们把他的微笑用装饰画风表现出来。”
阿根廷诗人荷塞·霍南德斯称巴塔哥尼亚粗犷的骑士为“潘帕斯大草原的孤儿”。他们正是人们熟知的加乌乔牧人。在他1873年写的叙事诗《加乌乔牧人的马丁·费洛》里,霍南德斯感叹加乌乔牧人文化与快速变化的阿根廷格格不入。
阿根廷有句老话:“加乌乔牧人少了马匹就如同缺了双腿”。加乌乔牧人文化始于17世纪。当时从西班牙殖民者的聚居地逃跑的马匹,演变成庞大的野马群。于是,牧场雇人帮忙捕捉并驯服马匹,使其成为阿根廷渐渐繁荣的牧牛业的一部分。
这两位现代加乌乔牧人正在驯服去年夏天就失踪的马匹。他们先驯服两匹马,带到巴利罗切贩卖,数周后再回来处理其余的马匹。这是一项既困难又危险的工作,当今世上有耐性从事这项工作的人少之又少。
大部分加乌乔牧人都长期受聘于企业化的大型牧场,《加乌乔牧人的马丁·费洛》这首诗面世太晚,无法帮助加乌乔牧人保持独有的生活方式,只能成为阿根廷人探索国家过去独有的文化的纽带。
翻译:旭文