金笔佳文翻译：历史文献翻译案例

通过一定的方法和手段、运用一定的意义表达和记录体系记录在一定载体的有历史价值和研究价值的知识。所谓文献,文,是文本记载,献,就是口头相传的。文献的基本要素是：1.有历史价值和研究价值的知识;2.一定的载体;3.一定的方法和手段;4.一定的意义表达和记录体系。人们通常所理解文献是指图书、期刊、典章所记录知识的总和。文献是记录、积累、传播和继承知识的较一律手段，是人类社会活动中获取情报的较基本、较主要的来源，也是交流传播情报的较基本手段。

历史文献翻译原文：

在乾隆时期，清宫中的带有西洋特征的瓷器中，除了部分延续雍正时期较为含蓄的巴洛克风格外，带有巴洛克和洛可可混合风格的宫廷瓷器也逐渐增多，而且欧洲特征也比雍正时期的瓷器更为明显，装饰题材也更为丰富。这应该一方面与乾隆帝本人的审美趣味与他的父亲雍正帝和爷爷康熙帝不同，对于西方艺术形式持有更为开放的态度有关，另外一方面也与欧洲18世纪流行的洛可可风格艺术通过各种途径进入中国宫廷有关。

与雍正帝不喜欢瓷器上出现西洋人物不同，乾隆帝似乎很喜欢把西洋人物作为瓷器的装饰。根据比对清宫档案与现存的清宫瓷器，可以推断出在继位的首先年，乾隆帝命令造办处工匠制作的瓷胎画珐琅作品中，就可能有一些是以西洋人物为主题的，而在这类主题中，除了少数一些几乎有效拷贝自欧洲艺术品画面的人物图像，以及由天主教宗教画“圣婴图”(saint baby)演变而来的经过改造的中西合璧的“母子图”之外，还有部分清宫瓷胎画珐琅制品上的人物主题显示出不同寻常的浪漫气息，与同时代的欧洲洛可可风格相呼应。清宫档案记载，乾隆元年(1736)，乾隆元年四月十七日：“胡世杰交来a pair of Western lacquer boxes，传皇帝命令：照其样式制作一对珐琅盒，把盒子的底足部分增高一些。钦此。在乾隆二年二年八月十二日，这对珐琅瓷盒被制作出来。”[1] 有学者推测此盒可能为现收藏于台北故宫博物院的牧羊图长方盒见图1[2]。

历史文献翻译译文：

As for the porcelains with Western characteristics in Qianlong reign, except for the relatively implicit Baroco style extended from Yongzheng reign, imperial porcelains with complex style of Baroco and Rococo were increased gradually, European identity of porcelain in this period was more clear than that of the porcelain in Yongzheng reign, and ornamental patterns were richer. This is on the one hand related to Qianlong’s different aesthetic taste from emperor Yongzheng and Kangxi and his more open attitude to Western art; and on the other hand related to the fact that Rococo style prevailed Europe in the eighteenth century entered into the Qing court through various channels.

Different from emperor Yongzheng, Qianlong likes Western characters to be drawn on porcelain as ornaments. By comparing record of Qing court and existing Qing porcelains, people infer that Western characters may be appointed as the theme of some porcelain painted enamels in the first year of Qianlong reign. Except for a few human themes almost completely copying pictures of European art and the “mother and son” developed and transformed from the religious painting “saint baby”, human themes on some Qing porcelain painted enamel works show unusual romantic feelings and echo with the contemporary European Rococo style. According to the Qing record, on April 17th, first year of Qianlong reign (1736): “Hu Shijie hands over a pair of Western lacquer boxes, the emperor orders to make a pair of enamel boxes according to the style of the lacquer boxes, and the emperor requires that the feet of the boxes should be rose. The pair of enamel boxes was produced on August 12th, second year of Qianlong reign.” [3] Some scholars suppose that the box may be the rectangular box with shepherd figure collected in Taipei Palace Museum now (see figure 1[4]).

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