vineri, 30 octombrie 2009

Hokusai One hundred Poems 31-40

Am sa continui cu publicarea celor scrise de Hannes Kellers in introducerea la cele 100 de poeme:

This is the last monument of Hokusais work. He started in 1840 and made 27 colour woodblocks and 62 drawings and drafts. Some were first published by Peter Morse.

Acesta este ultimul monunment al operei lui Hokusai. L-a inceput in 1840 si a facut 27 placi de lemn colorate si 62 desene si schite. Unele au fost publicate prima data de Peter Morse.

Hokusai is afraid that his own life might have already passed beyond late autumn. He has seen behind the veils, the secrets, the customs and the wildest passions. He was no longer afraid of anything. Hokusai did not illustrate the poems. He created new visual situations and tales which were inspired by the poems. The pictures tell their own story in the cultural context of the old Japan from 800 to 1849.

Hokusai se temea ca propria lui viata deja a trecut dincolo de toamna tarzie. El a vazut (ce se ascunde) in spatele valurilor, secretele, obiceiurile si pasiunile cele mai violente. Nu-i mai era frica de nimic. Hokusai nu a ilustrat poemele. El a creat noi situatii vizuale (multe poeme sunt insotite de "poeme situationale" scrise de HK, pe acelea nu le-am publicat) si povestiri care erau inspirate de poeme. Picturile isi spun propria lor istorie in contextul cultural al batranei Japonii din 800 pana in 1849.

Even if a poem was written by the Emperor himself and all about the rain and his imperial tears – it is Hokusai who decides if Emperor, rain and tears have a place on the woodblock or not. It was a monumental NO in the very first picture of the series. Do you think this might have been lazyness or some sort of a demo? Certainly not oversight.

Chiar daca un poem a fost scris de insusi Imparatul si este vorba doar de ploaie si de lacrimile lui imperiale--Hokusai e cel care decide daca Imparatul, ploaia si lacrimile isi gasesc sau nu locul pe placa sa de lemn. A fost un monumental NU in chiar prima pictura din aceasta serie. Credeti ca ar fi putut fi vorba de lenevie sau vreun soi de demo? Sigur nu a fost o scapare din vedere.

Hokusai was a popular artist. His works sold extremly well to “everybody on the street”. He never cared for academy and nobility. Nothing could be less obliging to Hokusai than ancient Emperor court etiquette.

Hokusai a fost un artist popular. Operele sale se vindeau extrem de bine "oricarui trecator". Nu i-a pasat niciodata de academicieni sau de nobilime. Nimic nu putea fi mai putin obligatoriu pt Hokusai decat eticheta curtii ancestrale Imperiale.

Poem number 30
Mibu no Tadamine 867-965, famous writer

Like the morning moon,
Cold, unpitying was my love.
Since that parting hour,
Nothing I dislike so much
As the breaking light of day.

Poem number 31
Sakanoue no Korenori 10th century, poet

At the break of day,
Just as though the morning moon
Lightened the dim scene,
Yoshino's fair hamlet lay
In a haze of falling snow.

Poem number 32
Harumichi no Tsuraki, in 920 he became governor of Ichi

In a mountain stream,
Builded by the busy wind,
Is a wattled-barrier drawn.
Yet 'tis only maple leaves
Powerless to flow away.

Pt ca atunci cand am vazut tabloul nu am priceput nimic am sa public aici si poemul situational al lui HK, urmand traducerea.

Maple leaves flow pleasantly with the river. They are powerless and any child can stop them like nothing. But when they pile up to a barrier, anything can happen and a bridge may suddenly be washed away.

Frunzele de artar curg in mod placut odata cu raul. Dar cand se aduna intr-un baraj se poate intampla orice si un pod poate fi brusc maturat de ape.

In tablou se vede cum o mama duce un copil de mana peste un podet subred (in dreapta), cum cineva incearca sa scoata frunzele din rau si alti oameni lucreaza la constructia unui pod nou. Acesta este tabloul meu preferat.

Poem number 33
Ki no Tomonori 850-905, famous writer
In the cheerful light
Of the ever-shining Sun,
In the days of spring;
Why, with ceaseless, restless haste
Falls the cherry's new-blown bloom?
Poem number 34
Fujiwara no Okikaze 10th century, poet and politician
Whom then are there now,
In my age so far advanced
I can hold as friends?
Even Takasago's pines
Are not friends of former days.
Poem number 35
Ki no Tsurayuki 868-946, very famous poet
No! no! As for man,
How his heart is none can tell,
But the plum's sweet flower
In my birthplace, as of yore,
Still emits the same perfume.
Poem number 36
Kiyowara no Fukayabu 10th century poet
In the summer night,
While the evening still seems here,
Lo! the dawn has come.
In what region of the clouds
Has the wandering moon found place?
Poem number 37
Bunya no Asayasu (Fumiya no Asayasu) 10th century poet
In the autumn fields,
When the heedless wind blows by
O'er the pure-white dew,
How the myriad unstrung gems
Everywhere are scattered round!
Poem number 38
Lady Ukon daughter of a general, eventuall wife of Emperor Daigo
Though forgotten now,
For myself I do not care:
He, by oath, was pledged;--
And his life, who is forsworn,
That is, ah! so pitiful.
Acesta este unul din tablourile care nu are nici o legatura cu poemul.
Poem number 39
Sanji Hitoshi (Minamoto no Hitoshi) 880-951 court counselor
Bamboo-growing plain,
With a small-field bearing reeds!
Though I bear my lot,
Why is it too much to bear?
Why do I still love her so?

Poem number 40
Taira no Kanemori died in 990, governor of Echigo province
Though I would conceal,
In my face it yet appears,--
My fond, secret love:--
So much that he asks of me,"
Does not something trouble you?"

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