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Banyan The great wave

机译：榕树大浪

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AT AROUND the age of 70, Katsushika Hokusai, still bounding with artistic energy, created "Thirty-six Views of Mount Fuji", a series of ukiyo-e, or woodblock prints. His most famous, since reproduced on everything from Tintin books to tea cups, is "Beneath the Wave off Kanagawa", painted around 1830. Most Westerners, when viewing it, focus on the wave itself, which towers over Mount Fuji in a show of almost implacable force, all the more terrifying considering the three fragile boats under it. Neil MacGregor, director of the British Museum, wrote in "A History of the World in 100 Objects" that the picture reflect ed frightened fishermen and an insecure, cloistered Japan about to be forced by American gunboats into the modern world. But Japanese art critics differ-and they have a point. In the picture the boatmen look more serene than fearful, as their vessels slice through the waves. Their stillness in the face of danger is all the more poignant in Japan, as they have a job to do. They are racing to deliver fresh fish to market, and yet they remain, as far as many Japanese see it, in delicate balance with nature.
机译：葛饰北斋在70岁左右，仍然充满着艺术力量，创作了一系列浮世绘或木版画作品《富士山三十六景》。自从丁丁书到茶杯的各种作品复制以来，他最著名的作品是《神奈川的海浪之下》，绘于1830年左右。大多数西方人在观看时，都将目光投向了耸立在富士山上的海浪本身，以展示几乎无法承受的力量，考虑到它下面的三艘易碎船只，就更加可怕了。大英博物馆馆长尼尔·麦格雷戈（Neil MacGregor）在《 100件物件的世界史》中写道，图片反映了受惊吓的渔民和不安全，隐居的日本，这些日本即将被美国的炮舰逼入现代世界。但是日本艺术评论家有所不同-他们有观点。在图片中，船夫们的船只划过海浪，看上去比镇静更可怕。在日本，面对危险，他们的镇静之情更加强烈，因为他们有工作要做。他们竞相将鲜鱼投放市场，但就许多日本人而言，它们仍然与大自然保持着微妙的平衡。

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    《The economist》 |2011年第8736期|p.42|共1页
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