对等论视角下博物馆瓷器展品名称英译策略研究-以上海博物馆为例

ChapterOneIntroductionThischapterdescribesthispaperaimstoexploretheEnglishtranslationstrategyofthenameofPorcelainexhibitsintheShanghaiMuseumfromtheperspectiveoffunctionalequivalence.Becausethenameofporcelainexhibitsoftencontainrichculturalinformationandhistoricalbackgrounds,itisdifficulttotranslate.TherearestillsomeproblemsintheprocessoftranslatingthenameofPorcelainexhibitsintoEnglishintheShanghaiMuseum.Forexample,thewordingisnotuniform,whichleadstoconfusionamongforeigntouristsabouttheunderstandingoftheexhibits;Thelackofculturalinformationpreventsforeignvisitorsfromfullyappreciatingtheculturalcharmoftheexhibits.1.1ResearchBackgroundWiththedeepeningofglobalization,culturalexchangesarebecomingmoreandmorefrequent.Asanimportantplatformforculturalinheritanceandexchange,thequalityofthetranslationofthenameoftheexhibitsdirectlyaffectstheunderstandingandappreciationoftheexhibitsbyforeigntourists.AsoneofthefamousmuseumsinChina,theShanghaiMuseumhasalargenumberofPorcelainexhibitsandrichculturalconnotations.However,therearestillsomeproblemsintheprocessoftranslatingthenameofPorcelainexhibitsintoEnglish,suchasinconsistentterminologyandlackofculturalinformation.Therefore,thispaperaimstoexploretheEnglishtranslationstrategyofthenameofPorcelainexhibitsintheShanghaiMuseumfromtheperspectiveoffunctionalequivalence,butitisdifficulttotranslatethenameofPorcelainexhibitsbecausetheyoftencontainrichculturalinformationandhistoricalbackgrounds.AsoneofthefamousmuseumsinChina,theShanghaiMuseumhasalargenumberofPorcelainexhibitsandhashighartisticvalueandculturalconnotation.However,therearestillsomeproblemsintheEnglishtranslationofthenameofthePorcelainexhibits.Forexample,thewordingisnotuniform,whichleadstoconfusionamongforeigntouristsabouttheunderstandingoftheexhibits.Thelackofculturalinformationpreventsforeigntouristsfromfullyappreciatingtheculturalcharmoftheexhibits.1.2ResearchSignificanceGiventheproblemsanddeficienciesinthetranslationofPorcelainexhibits,thispapercanputforwardspecificsuggestionsforimprovementtoimprovethequalityoftranslation,makethetranslationclosertothesemantics,style,andstyleoftheoriginaltext,andimprovetheaccuracyandfluencyofthetranslation.AccuratetranslationalsohelpsforeigntouristsunderstandthehistoricalbackgroundandculturalconnotationoftheexhibitsandpromotesthedisseminationandexchangeofChineseculture.TheresearchresultsoftheEnglishtranslationofPorcelainexhibitsarenotonlypertinent,butalsouniversal,andtheresearchresultscanalsoprovideareferenceforthetranslationofotherculturalrelics,topromotethestandardizationandunificationofthewholefieldofculturalrelicstranslation.1.3LiteratureReviewThefunctionalequivalencetheoryproposedbytranslationtheoristEugeneNidahasextensiveapplicationvalueintranslationpractice.Manyscholarshaveconductedextensiveandin-depthresearchonthestandardizationanduniformityoftheEnglishtranslationofmuseumPorcelainexhibitname.LunWangandCanqingZhu(2024)pointedoutthatwiththeadvancementoftheglobalizationprocess,museumshavebecomeindispensableplatformsforculturaldialogue,andthetranslationofexhibitmaterialsiscrucialforglobalunderstanding.Chineseceramics,withtheirrichhistoricalandartisticvalue,havebecomeacornerstoneofChina’sculturalheritage.AccuratelytranslatingtheseartifactsintoEnglishisnotonlyalinguistictaskbutalsoaculturalone.Thisensuresthatthenarrativesandmeaningsofthesepotterypiecesareeffectivelyconveyedtointernationalaudiences,therebyinfluencingtheiroverallunderstandingofChineseceramicart.Therefore,thispaperaimstoexplorethetranslationprinciplesofmuseumporcelainexhibitname.Itexaminesthetheoreticalframeworkandpracticalconsiderationsthatsupportthesetranslationsandreviewsthecommonflawsandobstaclesfacedbytranslatorsandcurators.Bydoingso,itattemptstoprovidepracticalsolutionstohelpovercomethesechallenges.Theultimategoalofthispaperistoenhancecross-culturalappreciationanddeepentheunderstandingofthehistoricalandartisticsignificanceofChineseceramicsonaglobalscale.RaoXiaofeiandXueGongao(2019)notedthatasanimportantwindowfortheinternationalpromotionof“Chinesediscourse”inthe21stcentury,museumsreflecttheenhancementofacountry’ssoftenhancement.Museumartifactscontainrichculturalinformation,andtheirEnglishtranslationisanessentialpartofcross-culturalcommunication.TheycollectedandanalyzedtheEnglishtranslationsof414artifactsandtheirdescriptionsfromtheAncientBronzeandAncientCeramicsGalleriesoftheShanghaiMuseum,basedonthefunctionaltranslationpurposetheory,toexplorethecharacteristicsandproblemsintheEnglishtranslationofbronzesandceramics,andproposedcorrespondingtranslationstrategies.WuTingting(2024)pointedoutthatChina’sceramicculturehasalonghistoryandisever-lasting.Wecandoagoodjobinceramictranslationisofgreatsignificanceforinheritingandprotectingtraditionalculture,promotingacademicresearch,andfacilitatingculturalexchangesamongdifferentcountries.Guidedbythefunctionalpurposetheory,thispaperanalyzesthecharacteristicsofceramicEnglishthroughtheflexibleapplicationoftranslationtechniquessuchasliteraltranslation,freetranslation,transliterationwithannotation,andadaptation,toconveytheChineseculturebehindceramics.WangYuxin(2024)researchedtheEnglishtranslationofceramicartifactname,takingtheJingdezhenImperialKilnFactoryasanexample.Asa4A-levelscenicspot,theJingdezhenImperialKilnFactoryisdeeplylovedbydomesticandforeigntourists,buttherearemanyproblemsinthetranslationofthenameofitsartifacts,whichisanurgentissuetobesolved.ThispapertakestheEnglishtranslationofceramicartifactnameintheJingdezhenImperialKilnFactoryastheresearchobject,summarizesandanalyzestheexistingtranslationproblems,toimprovethequalityofthetranslationofceramicartifactnameintheJingdezhenImperialKilnFactoryandpromoteceramicculturalexchanges.DuetothecurrentscarcityofresearchontheEnglishtranslationofPorcelainexhibitname,thisstudyhasbeenconducted.ChapterTwoOverviewofFunctionalEquivalenceTheoryThischapterdescribesthetheoryoffunctionalequivalence,oneisthebasicconceptoffunctionalequivalence,theotheristheprincipleoffunctionalequivalence,andthentheEnglishtranslationofmuseumexhibitnameiscarriedouttoreflecttheprofessionalismandimportanceoffunctionalequivalencetheoryintheEnglishtranslationstrategyofmuseumexhibitname.2.1BasicConceptsofFunctionalEquivalenceTheoryThetheoryoffunctionalequivalencewasdevelopedbytheAmericantranslationtheoristEugeneNida.AtheoryoftranslationproposedbyEugeneNida(1998),thecoreideaofwhichemphasizesthefunctionalequivalenceoftranslation.Nidaproposedthattranslationisnotonlyaboutchangingwordsbutmoreimportantly,aboutbeingabletomakethereaderunderstandandfeelsimilartotheoriginalreaderwhenreadingthetranslation.Nidabelievesthattheprimarytaskoftranslationistoconveythemeaningandmessageoftheoriginaltext,notjusttoreproducetheformoftheoriginaltext.Therefore,translatorsshouldpayattentiontothenaturalnessandreadabilityofthetranslatedtextinthetargetlanguageduringthetranslationprocess,toensurethatthetranslatedtextcanproduceasimilareffecttotheoriginaltextinthetargetculturalcontext.Thetheoryoffunctionalequivalenceisofgreatguidingsignificanceintranslationpractice,especiallywhendealingwithcross-culturaltranslation,whichemphasizestheneedfortranslatorstohaveadeepunderstandingoftheculturalbackgroundofthetargetlanguagetobetterachievefunctionalequivalencebetween

thetranslatedtextandtheoriginaltext.Inconclusion,functionalequivalencetheoryprovidesanewperspectivefortranslationstudiesandpractice,whileemphasizingthefunctionandpurposeoftranslation,andpromotesthedevelopmentoftranslationtheory.2.2PrinciplesofFunctionalEquivalenceTheoryFunctionalequivalencetheorymainlyconsistsofthesetwotheoriesSemanticEquivalencePrincipleandstylisticEquivalencePrinciple.ShiXishuandDuPing(2004)proposedthebasicconceptsofEnglishChinesetranslation,translationstrategiesandprinciples,differencesinmethodsandtechniques,andclassificationinvolvedandexplainedthesetwoprinciples.SemanticEquivalenceisoneoftheprinciplesinthetheoryoffunctionalequivalence,whichessentiallymeansthatthetranslatedtextmustaccuratelyconveythesemanticcontentoftheoriginaltext,whichisnotonlyasuperficialtextconversion,butalsoadeeppresentationofthehiddensemanticinformationoftheoriginaltext,andasolidbridgeformeaningtransmissiontheoriginlanguageandthetargetlanguage.JiaXiuhai(2008)proposedNida’s“equivalencetheory”holdsthatconveyingcontentandinformationintranslationismoreimportantthanpreservingtheformoftheoriginaltext,thatis,producingalevelofexpressioninthetranslationthatisequivalenttotheoriginaltext,sothatthetargetlanguageaudiencecanaccuratelycomprehendandstronglyfeelit,justasthesourcelanguageaudienceaccuratelycomprehendsandstronglyfeelsit.ThesemanticequivalencetheoryinhisresearchontheapplicationofthefunctionalequivalenceprincipleinEnglishChinesetranslation,whichisbasedonthreelevels:lexical,semantic,andpragmaticsemanticequivalence.Especially,thetheoryofsemanticequivalenceemphasizestheneedtoachievesemanticequivalencebetweenthetranslatedtextandtheoriginaltextasmuchaspossible.Thesemanticsherenotonlyincludetheliteralmeaningofvocabularybutalsoencompassthedeepmeaningconveyedbysentencesanddiscourse.Thegoalistoenablethetranslatedreaderstoobtainasimilarunderstandingandfeelingastheoriginalreaders,translatingnotonlyaconversionoflanguageformbutalsoatransmissionofmeaning.InthepracticeoftranslatingthenameofPorcelainexhibitsinmuseumsintoEnglish,theachievementofSemanticEquivalenceisofgreatsignificance.AnyslightsemanticdeviationisverylikelytomisleadforeignaudiencesabouttheperceptionandinterpretationofPorcelainexhibitsinthecontextofcross-culturalcommunication.ThePrincipleofStylisticEquivalenceinthetheoryoffunctionalequivalencerequiresthatthetranslatedtextbeconsistentwiththeoriginaltextinstyle.ZhangQiong(2003)pointedoutin“OnthePrincipleofEquivalenceandItsChoicesinTranslation”thatemphasisisplacedonequivalenceandreaderresponse.Itstartsfromthefundamentalpurposeoftranslation.Equivalenceisrequiredtopreventtranslationdistortion.Thetranslatorreorganizesthelanguagestructuretomakethetranslationauthenticandfluent.ThenameofPorcelainexhibitsoftenhavecertainculturalconnotationsandartisticstyles,andwhentranslatingthemintoEnglish,itisnecessarytochooseappropriatewordsandexpressionsaccordingtothecharacteristicsofPorcelainandthedisplayneedsofmuseums,toreflectitsuniquestyle.2.3MuseumTranslationfromthePerspectiveofFunctionalismEachexhibitcarriesarichandrichhistoricalmemory,witnessingthechangesinhumansociety.Againstthisbackground,themuseum’stranslationexhibitiontitleisgivenanimportantcorepurpose-toaccuratelyandefficientlyconveythemassiveandrichinformationcontainedinvariousexhibitionstothegeneralaudienceclearlyandaccurately.Thisisnotonlyatransmissionofinformation,butalsoarock-solidbridgeisdifferentcultures.Itcanovercomemanyobstaclestoculturaldifferencesandpromotein-depthanddiverseculturalexchangessothatpeoplewithdifferentculturalbackgroundscanUnderstandandappreciateeachotheronthisbridge.Inmuseumtranslation,functionalequivalencetheoryhasimportantguidingsignificance.Basedonthemethodsandprinciplesoffunctionalequivalencetheory,theintroductionandexplanatorytextofexhibitsinmuseumsoftencontainalargenumberofprofessionaltermsinvocabularytranslation.Whentranslating,itisnecessarytoaccuratelyconveytheirprofessionalmeanings.Therearefixedtranslationmethodsinrelatedfields,andfollowingprofessionalnormsisthebasisforachievingfunctionalequivalence.RaoXiaofeiandYaoYuan(2020)pointedoutthatthetranslationofceramicartifactsintheShanghaiMuseumcanfollowdealingwithculturallyloadedwordsthatinvolveculturalcharacteristics,itisnecessarytofullyconsidertheirculturalconnotationsandadoptappropriatetranslationmethods.YuShanshan(2018)pointedoutinthe“ResearchonEquivalentEnglishTranslationsofCeramicStylesinImportantMuseumsinChina”thatthenameofceramicstylesinChineseandEnglishunderfunctionalequivalencearedifferentfromtraditionaltranslations,notonlybasedontheoriginaltext.Thetranslationofwordswordforwordandsentenceforsentencetakesintoaccountthereader’slevelofacceptance.Basedontheprincipleoftranslation,strivetoachieveequivalenceinthebackgroundandcultureofceramiccollectionsasmuchaspossible.Thesentencestructureneedstobeadjustedinsentencetranslation,andthetranslationshouldbeadjustedaccordingtotheexpressionhabitsofthetargetlanguagetomakethetranslationmoreinlinewithEnglishexpressionhabitsandeasierforreaderstounderstand.Onlyinthiswaycanthesedifferencesbefullyconsideredduringthetranslationprocess,andthemostappropriatetranslationstrategiesandexpressiontechniquesareadoptedtoensurethattheexhibitioninformationcanbeTransmitittoeveryaudiencewiththebest,trulyrealizetheeffectspursuedbythetheoryoffunctionalequivalent,andmakemuseumtranslationalinktoconnectdifferentculturesandpromoteculturalexchanges.ChapterThreeAnalysisoftheNameofPorcelainExhibitsThischapterdescribestherulesforthenamingofPorcelain,andthennaturallyintroducesthem,leadingtotheproblemsthatariseintheprocessoftranslatingthenameofPorcelainexhibitsintoEnglishthatrequiretheattentionoftranslators.3.1NamingRulesforPorcelainExhibitsThenameofPorcelainexhibitsusuallyfollowscertainrules,includingthedynasty,vesseltype,ornamentation,anduse.DynastiesareoneoftheelementsinthenamingofPorcelain,pointingouttheperiodinwhichthePorcelainwasmadeandtheuniquestyleandcraftsmanshipcharacteristicsofPorcelainfromdifferentdynasties,whichisessentialforunderstandingthehistoricalbackgroundandculturalvalueofPorcelain.WangYuxin(2023)alsopointedoutthattakingShanghaiMuseumceramicsasanexample,thefocusisontheresearchoftranslatingblueandwhitePorcelain.Forexample,“TangSancai(唐三彩)”,“SongPorcelain(宋瓷)”,and“MingblueandwhitePorcelain(明青花瓷)”areallnamedafterdynasties.ThekilnmouthreferstotheplaceoforiginorfiringofPorcelain,anditrepresentsthePorcelain-makingprocessandstyleofaparticularregion.However,differentkilnshavetheiruniquecharacteristicsintermsoftheproductionprocess,glazecolor,andornamentation.Forexample,“Rukiln(汝窑)”,“Dingkiln(定窑)”,and“Gekiln(哥窑)”areallnamedafterthekilnmouth,andthenameofthekilnmouthcanalsobeaplacename,suchas“Jingdezhenkiln”.TheshapeandpurposeofthePorcelainisacentralpartofthenaming.Thenamingofthevesseltypeisusuallycombinedwithitsshape,characteristics,andfunctions,suchas“bottle(瓶)”,“bowl(碗)”,“plate(盘)”,“pot(锅)”,“jar(罐)”.Forexample,“jadepotspringbottle(玉壶泉瓶)”,and“plumbottle(梅瓶)”areallnamedaccordingtothetypeofvessel.ThedescriptionofthetypehelpstheaudienceunderstandthefunctionofthePorcelain.OrnamentationisthedecorativepatternonthesurfaceofPorcelain,anditsnamecanbeaspecificpatternname,suchas“dragonpattern(龙纹)”,“phoenixpattern(凤纹)”andsoon.Ornamentationnotonlyhasaestheticvaluebutmayalsocontainspecificculturalsymbolism.GlazecoloristheglazecolorandtextureonthesurfaceofPorcelain,andthecommonglazecolorsare“whiteglaze(白釉)”,“greenglaze(青釉)”,“blackglaze(黑釉)”,“yellowglaze(黄釉)”andsoon.Thedescriptionoftheglazehelpsforeignvisitorsunderstandthevisualeffectandcolorpreferencesoftheporcelain.Inmuseums,thenamingconventionsofporcelainexhibitsnotonlyhelptheaudiencebetterunderstandthehistoricalbackgroundandculturalvalueofPorcelainbutalsoprovideanimportantreferenceforacademicresearch.Ifthesenamingconventionscanbeaccuratelyunderstoodandtranslated,itisofgreatsignificanceforcross-culturalcommunicationandthestudyofEnglishtranslationofculturalrelics.3.2DifficultiesinTranslatingtheNameofPorcelainExhibitsintoEnglish3.2.1ProcessingofCulturalInformationYuShanshan(2018)pointedoutinherresearchontheequivalentEnglishtranslationofceramicshapesinimportantmuseumsinChinathatunderfunctionalequivalence,thenameofChineseandEnglishceramicshapesdifferentandaredifficulttoanalyzeintermsofnamingstructure,glazecolorandtheprinciplesoffreetranslationandtransliteration.ThenameofthePorcelainexhibitscontainstraditionalChineseculturalinformation,suchashistoricalallusions,mythsandlegends,poems,andsongs.Allusionslike“ZhaojunoutofthefortressTutan(昭君出塞图坛)”carrythediplomaticsituationandnationalintegrationprocessoftheHanDynasty,fulloffamilyandcountryfeelingsandthespiritofsacrifice;Thereisalsothe“HongmenBanquetPicturePlate(鸿门宴画盘)”,behindwhichisabanquetwithhiddenmurderousintentionswhenChuandHanfighting.Thereisalso“HouYiShootingtheSunTattooZun(后羿射日纹身尊)”,“HouYiShootingtheSun(后羿射日)”symbolizesthefearlesscourageandextraordinaryimaginationofancienthumanbeingstoresistnaturaldisasters.TherearealsomanyexamplesofpoemsandsongsbeingintegratedintothenameofPorcelain,and“EastFenceChrysanthemumCup(东栏菊杯)”usesTaoYuanming’spoem“PickingChrysanthemumundertheEastFence”.TherearemanyotherculturalinformationthatareoftennotdirectlyexpressedinEnglish,whichmakestranslationdifficult.Forexample,the“EightImmortalsCrossingtheSea(八仙过海)”isaChinesefolklorestory,andifitisdirectlytranslatedas“EightImmortalsCrossingtheSea”,foreignaudienceswillmostlikelybeconfused,becausetheylackthecorrespondingculturalknowledge,whichmakesitdifficulttoachievetheunderstandingeffectpursuedbythetheoryoffunctionalequivalence,sothatthereadersofthetranslatedtextcangainsimilarunderstandingeffectsasthereadersoftheoriginaltext.3.2.2ChangesandGapsinWordMeaningsTheevolutionofPorcelainnamesfromancienttimestomoderntimesislikeaninvisibleclue,connectingthechangesinculture,aesthetics,crafts,andsociallifeindifferenteras.Bycomparingancientnameswithmodernnames,thetranslatorcanunderstandmoredeeplytheroleofPorcelaininthelongriverofhistory.Taking“ShadowCeladon(影青瓷)”asanexample,itisaPorcelainwithauniquestylefiredbytheJingdezhenkilnintheSongDynasty.Theancientname“ShadowGreen(影青)”vividlydepictstheblue-whiteandelegantglazecolorofthisPorcelain.Itcanbeseenunderthelightandcarvedpatternsonthebody,whichseemstohaveauniquevisualeffectofswayinglightandshadow,reflectingtheSongDynasty’sadvocacyoffreshness,nature,implicit,andconstraint.Aesthetictaste,asthesuperbPorcelain-makingprocessatthattime,canperfectlycombineglazecolorwiththelighttransmittanceofthebody.Inmoderntimes,shadowceladonissometimescalled“blue-whitePorcelain(青白瓷)”.Thistitlefocusesmoreonthestraightforwarddescriptionofitsglazecolor.Comparedwithancientname,itlackssomepoeticandexquisitecommunicationofcraftsmanshipdetails.Thisnameevolutionreflectsthesimplesummaryoftheappearanceandcoloroftheobjectsfromancienttimestomoderntimes,reflectingthechangesinaestheticsandcognition.Atthesametime,withthetimes,theusefunctionandaudienceofPorcelainmaychange.TheevolutionofthenamecanreflectthesechangesandhelpusunderstandtherelationshipbetweenPorcelainandsociallife.Forexample,therewasakindofPorcelaincalled“Spit(唾壶)”inancienttimes,fromthenameItcanbeseenthatitwasmainlyusedtocarryoutsalivaandwasasanitaryinstrumentinthedailylifeofthearistocraticclassatthattime.Thisnameclarifiesitsspecificfunctionsandusagescheme.Inmoderntimes,thename“Spit(唾壶)”islittleknown,andsimilarfunctionshavebeenreplacedbymodernsanitaryproducts.Ifforeignvisitorsseea“Spit(唾壶)”inamuseum,modernaudiencesmayfinditdifficulttounderstanditspurpose.Theevolutionofthisnamerevealsthatwiththeprogressofsociallifeandthetransformationofhygieneconcepts,Porcelainwithspecificfunctionshasgraduallywithdrawnfromthehistoricalstage,reflectingthehugechangesinthefunctionsofPorcelainuseandaudienceneeds.3.2.3BalanceMaintainingProfessionalismandAdaptingtoReaders’ReadabilityThenameofPorcelainexhibitswithtechnicaltermsareamajorproblemintheprocessoftranslatingmuseumexhibitsintoEnglish,whichgreatlyhindersthesmoothdisseminationofculturalinformation.Thesetermshavespecificdescriptions,whichcanbedifficultfortheaverageforeignvisitorwhodoesnothaveadeepknowledgeofChinesecultureandPorcelainexpertise.Therefore,translatorsneedtomaintainthebalanceofprofessionalismandimprovereaders’readabilityintheprocessoftranslatingexhibittitlesintoEnglish.First,translatorsshouldnotabandonprofessionalinformationbecausetranslatorsblindlycatertoreadability,resultinginatranslationthatonlyhasapopularintroduction,andlosesthePorcelainculture;Second,shouldnotignorethecomprehensionabilityofordinarypeoplebecauseweareobsessedwithprofessionalismandaccuracy,andmakethetranslationdifficulttounderstand.OnlybymaintainingthisbalancecanthecharmofChinesePorcelainculturespreadaroundtheworld.

ChapterFourStrategiesforTranslatingtheNameofPorcelainExhibitsintheShanghaiMuseumThischapterintroducesthatinthetranslationprocessofthenameofPorcelainexhibitsintheShanghaiMuseum,thetranslationmainlyfocusesonthenameoftheexhibits,theirshapes,patterns,glazecolors,kilnname,personalname,storyname,assupplementaryexplanationssuchashistoricalbackground,functions,anddynasties.ThemaintranslationstrategiesareLiteralTranslation,FreeTranslation,TransliterationandAnnotation.ItalsolistsexamplesofthenameofPorcelainexhibitsintheShanghaiMuseumthatadoptthecorrespondingEnglishtranslationstrategies.4.1LiteralTranslationIntheEnglishtranslationofthenameofPorcelainexhibitsintheShanghaiMuseum,LiteralTranslationismainlyusedtodirectlytranslatethename,shapes,patterns,glazecolors,andculturalbackgrounddescriptionsoftheitems.,ThisisaverycommontranslationstrategythatfocusesondirectlyandaccuratelytranslatingtheoriginallanguageintoEnglishexpressionbasedonitssemanticandgrammaticalstructure.ForPorcelainnamethathaveclear,concise,andwidelyrecognizedcorrespondingEnglishvocabularyandfixedexpressions,literaltranslationisundoubtedlythepreferredchoice.IntheEnglishtranslationofthenameofPorcelainexhibits,thedirecttranslationisoftenrealizedbythesethreeaspects,whicharemainlyfromthevesselshape,glazecolor,andpatternofPorcelain.4.1.1VesselshapesInthetranslationofPorcelainexhibitionproductname,therearethesetypesofliteraltranslationtoolsPlate,Bowlandsoon.Example1:SourceText:宋代汝窑天青色釉盘TranslationText:PlatewithCelestial-blueGlaze,RuKiln,SongDynasty“Plate”directlycorrespondstotheChinesewordfor“plate(盘)”andisthemostdirecttranslationofPorcelainshapes.“Plate”usuallyreferstoshallowandflatcircularorellipticaltablewareorcontainers,whichhasahighdegreeofcompatibilitywiththebasicformandpurposeof“Plate”inChinese.PlatewithCelestial-blueGlaze,RuKiln,SongDynastyisatypeofPorcelainwithaspecifichistoricalandculturalbackground,butfromthebasiccharacteristicsofitsshape,itconformstotheconceptofashallow,flat,circularcontainerdescribedby“Plate”.Therefore,using“Plate”todirectlytranslate“Plate”canaccuratelyconveythebasiccharacteristicsofthePorcelain’sshape.CanhelppeoplewhoarenotfamiliarwithChineseaccuratelyunderstandthattheshapeofthisPorcelainisdisc-shaped.Forprofessionalarchaeologists,arthistorians,orforeignerswhohavesomeresearchonChinesePorcelain,whentheyseethe“Plate”,theycanimmediatelyformageneralimpressionoftheshapeofthePorcelainintheirminds,whichhelpsthemtoconductmorein-depthresearchandclassificationofthisPorcelain.Internationally,“Plate”isacommonlyusedtermtodescribethistypeofdevice.Usingthisliteraltranslationfacilitatescommunicationandexchangewithscholars,collectors,enthusiasts,andothersfromdifferentcountriesininternationalexchanges,avoidingcomprehensionbarrierscausedbytranslationambiguityortheuseofobscurevocabulary,andenablingtheinformationofPlatewithCelestial-blueGlaze,RuKiln,SongDynastytobedisseminatedmorewidelyandaccurately.Example2:SourceText:建窑黑釉兔毫纹盏TranslatedText:Black-GlazedHare’s-Fur-PatternedBowl,JianKiln“Bowl”inEnglishreferstocontainerssuchas“bowl(盏)”,whichareusuallycircular,open,andhaveadeepbellyshape,usedtoholdfood,andliquids.Black-GlazedHare's-Fur-PatternedBowl,JianKilnisasmallcontainer