Human tresses

　　人類的頭發

　　Hairy old myths;The power of pilosity;

　　三千青絲飄萬年;頭發的魔力;

　　Blondes are dumber and brunettes moredependable. Or so it is said. But it is redheadswho have long been the more feared, revered,loathed and loved; hence the rumour that it takesmore than an average dose of anaesthetic tosedate a carrot-top. As Sylvia Plath, herself aTitian tigress of sorts, once remarked, Out of the ash I rise with my red hair, and eat menlike air.

　　據說，金發女郎有些傻氣，而深褐色頭發的女人比較可靠。但長期以來，人們又敬、又畏、又愛、又恨的卻是紅色頭發的人。因此有傳言說，給紅頭發的人進行麻醉都得多打一點麻藥。西爾維婭普拉斯本人就勉強算是一個長著提香式紅發 的母老虎，她曾經寫道：我站起身來 披著紅發走出灰燼 我大啖人肉 如同吞噬空氣。

　　Man s fascination with hair is almost as old as humanity itself. But humans have beencutting and coiffing their hair for at least 25,000 years, mostly with the aim of pleasingthemselves and distancing or differentiating themselves from others. Yves le Fur, curator ofa new show about hair at the Quai Branly museum in Paris, is well aware that one of theearliest depictions of styled hair is a paleolithic figurine known as the Venus ofBrassempouy, which was discovered in south-west France in 1894. But he hides hisanthropological light under a bushel and draws visitors into Cheveux Chris with a quicktour d horizon of stylists, styles and styled, from Gina Lollobrigida to Ingres and the sirens ofUlysses.

　　人們對頭發的迷戀幾乎和人類歷史本身一樣古老。但至少兩萬五千年以來，人們一直在修剪、打理自己的頭發，主要是為了滿足自己、勝過別人或是讓自己顯得與眾不同。巴黎的凱布朗利博物館舉辦了一場關于人類頭發的新展覽。展覽負責人伊夫樂福很清楚：對發型最早的刻畫之一是1894年在法國西南部出土的舊石器時代雕像。但他并未顯露自己在人類學方面的才華，而是快速而廣泛地涉及了 歷史上的一些造型師、發型和做發型的人，以此來把參觀者吸引到心愛的頭發這場展覽中來。

　　Having enticed the public in with the seductiveness of youthful locks, Mr le Fur moves on tohair loss and the show takes a serious and far more interesting turn. Middle age andchemotherapy are just two reasons why people lose their hair. Though often painful, at leastprivately, this is loss via a gradual process and in the case of the latter, is reversible.Examples of voluntary and instantaneous hair loss include styling by punk rockers of the1980s and the swastika-shaped shavings of neo-Nazi thugs. Either way, the visitor isreminded of what rapid hair loss has meant over time.

　　樂福先是用充滿朝氣、富有魅力的頭發展品吸引了觀眾的注意力，然后轉移到了脫發的話題上，于是展覽變得嚴肅了起來，卻也更加有趣。上了年紀和化學療法僅僅是人類脫發的兩個原因。盡管脫發的過程往往比較痛苦，但這是一個漸進的過程，而且如果因為化療而脫發，頭發還是可以再長回來的。而也有一些人出于自愿、快速地剃掉了自己的頭發包括八十年代的朋克搖滾歌手、以及在頭上剃出卍型記號的新納粹暴徒。無論如何，隨著時間推移，參觀者都明白了快速脫發意味著什么。

　　A ponytail of three thick curls severed at the nape is all that remains after a youngFrenchwoman named Emma surrendered to a Carmelite convent. Where today parents savefirst curls as a souvenir of babyhood, in the 19th century it became fashionable to work thehair of a dead beloved into a locket, bracelet or even a ring. One of the most touching piecesin the show is a small curl of blonde hair pasted onto a heart-shaped piece of mother-of-pearl. It was cut from the head of Louis XVI s heir, Louis-Charles, who was born just beforethe French Revolution and died in the Temple prison two years after his parents wereguillotined, having been put under the care of a shoemaker tasked with making him forget hisroyal origins.

　　一個叫做艾瑪的法國女人進入加爾默羅會修行以后，所留下的只有從后頸處剪斷的一條打了三個鬈的馬尾辮。今天，有些父母會把孩子初生的鬈發保留下來，當作對他們兒時的紀念;而在十九世紀，人們流行把逝去摯愛的頭發嵌進盒式吊墜、手鐲甚至是戒指里。本次展覽最為感人的展品之一就是粘在一塊心形珍珠母上的一小鬈金發。這是從路易十六的子嗣路易-查爾斯頭上剪下來的。路易-查爾斯生于法國大革命前夕，后來他的父母被送上了斷頭臺，而他被送給一名鞋匠撫養，鞋匠的任務就是讓他忘記自己的皇室出身。兩年后，路易-查爾斯死在獄中。

　　It should perhaps be obvious that such an exhibition in France would turn next to thesecond world war. But photographs of l puration, a grisly moment at the time of theliberation when the country rose up against those suspected of being collaborators, are stillshocking. Taking a cue from the purification of Republican women in Spain in the 1930s,French women who had slept with the enemy were marched on to public squares and shaved.

　　在法國，這樣的展覽接下來可能顯然要轉到二戰的方向上來。但這里展出的關于大清洗 的照片卻更加令人震驚恐怖的大清洗 發生在法國解放前后 ，當時全國人民起身反抗那些有通敵嫌疑的人。二十世紀三十年代，西班牙對支持共和的婦女進行了清洗。法國效仿此舉，將曾經與敵人有染的婦女押往廣場示眾并強行剃去了她們的頭發。

　　Jeering crowds accompanied this public depilation, adding to the stigma. A series of picturestaken by a Magnum photographer, Robert Capa, in Chartres in August 1944, just a weekbefore the liberation of Paris, are a testimony, three-quarters of a century later, to the hate,curiosity, shame and indifference of crowds. Even more striking, because it is so rarelyseen, is a montage of film clips of that time in which a group of women is trundled throughthe streets on a cart marked les poules boche while a soldier chucks one of them under thechin.

　　這種公開脫發過程還引來了一些圍觀人群的嘲弄奚落，更是加重了這些婦女的恥辱。1944年8月，在巴黎解放前的一個星期，馬格蘭攝影通訊社的攝影師羅伯特卡帕在沙特爾拍下了一組照片。事隔七十多年以后，這組照片仍然能證明當時圍觀人群的種種心理：厭惡、獵奇、羞恥和冷漠。還有一些電影片段的剪輯組合，從中可以看到一批婦女坐在推車上被推過大街，車身上標記著德國佬的姘頭，有個士兵輕佻地摸著其中一名婦女的下巴。這些剪輯組合很少公諸于世，因此更是令人驚訝。

　　Hair shorn on these occasions was never kept. In other civilisations the power of hair lay in itsimportance as a trophy believed to be infused with the strength or magic of its originalowner. It is this appropriation of hair that Mr le Fur explores in the final section of the show.From Peru to Gabon, and from India to China, coats, crowns and headdresses of human hairhave been made for centuries. It is easy, in these politically correct times, to forget thatsimilar practices were just as common in Europe and America. The Quai Branly museum maybe just six years old, but it is in its way old-fashioned, a throwback to a less timorous timewhen museums were proud to display human scalps and heads shrunken by Amazon tribes. By exhibiting such items, and putting them in an historical context, Mr le Fur hasincreased our knowledge and added to an exhibition that is hard to forget.

　　在這些場合里，人們從不保留剪下的頭發。而在其他一些文明中，頭發的魔力在于它作為紀念品的重要性 人們認為頭發具有原主人的力量或魔力。樂福在展覽的最后一個部分所探索的正是這種移用頭發的現象。從秘魯到加蓬，從印度到中國，數百年來人們一直在用頭發制作外衣、帽子和頭飾。在這些政治立場正確的時期，我們很容易忘記一點：類似行為在歐美也是司空見慣的。凱布朗利博物館可能只有六年的歷史，但它的展覽方式卻有些復古懷舊，回到了過去那種較為大膽的時期：以展出人類的頭皮和亞馬遜部落縮制而成的頭顱為榮。樂福展出了這些物品并把它們放在了歷史背景之中。通過這種方式，他讓參觀者大開眼界，也為一場令人難忘的展覽增添了樂趣。

　　Human tresses

　　人類的頭發

　　Hairy old myths;The power of pilosity;

　　三千青絲飄萬年;頭發的魔力;

　　Blondes are dumber and brunettes moredependable. Or so it is said. But it is redheadswho have long been the more feared, revered,loathed and loved; hence the rumour that it takesmore than an average dose of anaesthetic tosedate a carrot-top. As Sylvia Plath, herself aTitian tigress of sorts, once remarked, Out of the ash I rise with my red hair, and eat menlike air.

　　據說，金發女郎有些傻氣，而深褐色頭發的女人比較可靠。但長期以來，人們又敬、又畏、又愛、又恨的卻是紅色頭發的人。因此有傳言說，給紅頭發的人進行麻醉都得多打一點麻藥。西爾維婭普拉斯本人就勉強算是一個長著提香式紅發 的母老虎，她曾經寫道：我站起身來 披著紅發走出灰燼 我大啖人肉 如同吞噬空氣。

　　Man s fascination with hair is almost as old as humanity itself. But humans have beencutting and coiffing their hair for at least 25,000 years, mostly with the aim of pleasingthemselves and distancing or differentiating themselves from others. Yves le Fur, curator ofa new show about hair at the Quai Branly museum in Paris, is well aware that one of theearliest depictions of styled hair is a paleolithic figurine known as the Venus ofBrassempouy, which was discovered in south-west France in 1894. But he hides hisanthropological light under a bushel and draws visitors into Cheveux Chris with a quicktour d horizon of stylists, styles and styled, from Gina Lollobrigida to Ingres and the sirens ofUlysses.

　　人們對頭發的迷戀幾乎和人類歷史本身一樣古老。但至少兩萬五千年以來，人們一直在修剪、打理自己的頭發，主要是為了滿足自己、勝過別人或是讓自己顯得與眾不同。巴黎的凱布朗利博物館舉辦了一場關于人類頭發的新展覽。展覽負責人伊夫樂福很清楚：對發型最早的刻畫之一是1894年在法國西南部出土的舊石器時代雕像。但他并未顯露自己在人類學方面的才華，而是快速而廣泛地涉及了 歷史上的一些造型師、發型和做發型的人，以此來把參觀者吸引到心愛的頭發這場展覽中來。

　　Having enticed the public in with the seductiveness of youthful locks, Mr le Fur moves on tohair loss and the show takes a serious and far more interesting turn. Middle age andchemotherapy are just two reasons why people lose their hair. Though often painful, at leastprivately, this is loss via a gradual process and in the case of the latter, is reversible.Examples of voluntary and instantaneous hair loss include styling by punk rockers of the1980s and the swastika-shaped shavings of neo-Nazi thugs. Either way, the visitor isreminded of what rapid hair loss has meant over time.

　　樂福先是用充滿朝氣、富有魅力的頭發展品吸引了觀眾的注意力，然后轉移到了脫發的話題上，于是展覽變得嚴肅了起來，卻也更加有趣。上了年紀和化學療法僅僅是人類脫發的兩個原因。盡管脫發的過程往往比較痛苦，但這是一個漸進的過程，而且如果因為化療而脫發，頭發還是可以再長回來的。而也有一些人出于自愿、快速地剃掉了自己的頭發包括八十年代的朋克搖滾歌手、以及在頭上剃出卍型記號的新納粹暴徒。無論如何，隨著時間推移，參觀者都明白了快速脫發意味著什么。

　　A ponytail of three thick curls severed at the nape is all that remains after a youngFrenchwoman named Emma surrendered to a Carmelite convent. Where today parents savefirst curls as a souvenir of babyhood, in the 19th century it became fashionable to work thehair of a dead beloved into a locket, bracelet or even a ring. One of the most touching piecesin the show is a small curl of blonde hair pasted onto a heart-shaped piece of mother-of-pearl. It was cut from the head of Louis XVI s heir, Louis-Charles, who was born just beforethe French Revolution and died in the Temple prison two years after his parents wereguillotined, having been put under the care of a shoemaker tasked with making him forget hisroyal origins.

　　一個叫做艾瑪的法國女人進入加爾默羅會修行以后，所留下的只有從后頸處剪斷的一條打了三個鬈的馬尾辮。今天，有些父母會把孩子初生的鬈發保留下來，當作對他們兒時的紀念;而在十九世紀，人們流行把逝去摯愛的頭發嵌進盒式吊墜、手鐲甚至是戒指里。本次展覽最為感人的展品之一就是粘在一塊心形珍珠母上的一小鬈金發。這是從路易十六的子嗣路易-查爾斯頭上剪下來的。路易-查爾斯生于法國大革命前夕，后來他的父母被送上了斷頭臺，而他被送給一名鞋匠撫養，鞋匠的任務就是讓他忘記自己的皇室出身。兩年后，路易-查爾斯死在獄中。

　　It should perhaps be obvious that such an exhibition in France would turn next to thesecond world war. But photographs of l puration, a grisly moment at the time of theliberation when the country rose up against those suspected of being collaborators, are stillshocking. Taking a cue from the purification of Republican women in Spain in the 1930s,French women who had slept with the enemy were marched on to public squares and shaved.

　　在法國，這樣的展覽接下來可能顯然要轉到二戰的方向上來。但這里展出的關于大清洗 的照片卻更加令人震驚恐怖的大清洗 發生在法國解放前后 ，當時全國人民起身反抗那些有通敵嫌疑的人。二十世紀三十年代，西班牙對支持共和的婦女進行了清洗。法國效仿此舉，將曾經與敵人有染的婦女押往廣場示眾并強行剃去了她們的頭發。

　　Jeering crowds accompanied this public depilation, adding to the stigma. A series of picturestaken by a Magnum photographer, Robert Capa, in Chartres in August 1944, just a weekbefore the liberation of Paris, are a testimony, three-quarters of a century later, to the hate,curiosity, shame and indifference of crowds. Even more striking, because it is so rarelyseen, is a montage of film clips of that time in which a group of women is trundled throughthe streets on a cart marked les poules boche while a soldier chucks one of them under thechin.

　　這種公開脫發過程還引來了一些圍觀人群的嘲弄奚落，更是加重了這些婦女的恥辱。1944年8月，在巴黎解放前的一個星期，馬格蘭攝影通訊社的攝影師羅伯特卡帕在沙特爾拍下了一組照片。事隔七十多年以后，這組照片仍然能證明當時圍觀人群的種種心理：厭惡、獵奇、羞恥和冷漠。還有一些電影片段的剪輯組合，從中可以看到一批婦女坐在推車上被推過大街，車身上標記著德國佬的姘頭，有個士兵輕佻地摸著其中一名婦女的下巴。這些剪輯組合很少公諸于世，因此更是令人驚訝。

　　Hair shorn on these occasions was never kept. In other civilisations the power of hair lay in itsimportance as a trophy believed to be infused with the strength or magic of its originalowner. It is this appropriation of hair that Mr le Fur explores in the final section of the show.From Peru to Gabon, and from India to China, coats, crowns and headdresses of human hairhave been made for centuries. It is easy, in these politically correct times, to forget thatsimilar practices were just as common in Europe and America. The Quai Branly museum maybe just six years old, but it is in its way old-fashioned, a throwback to a less timorous timewhen museums were proud to display human scalps and heads shrunken by Amazon tribes. By exhibiting such items, and putting them in an historical context, Mr le Fur hasincreased our knowledge and added to an exhibition that is hard to forget.

　　在這些場合里，人們從不保留剪下的頭發。而在其他一些文明中，頭發的魔力在于它作為紀念品的重要性 人們認為頭發具有原主人的力量或魔力。樂福在展覽的最后一個部分所探索的正是這種移用頭發的現象。從秘魯到加蓬，從印度到中國，數百年來人們一直在用頭發制作外衣、帽子和頭飾。在這些政治立場正確的時期，我們很容易忘記一點：類似行為在歐美也是司空見慣的。凱布朗利博物館可能只有六年的歷史，但它的展覽方式卻有些復古懷舊，回到了過去那種較為大膽的時期：以展出人類的頭皮和亞馬遜部落縮制而成的頭顱為榮。樂福展出了這些物品并把它們放在了歷史背景之中。通過這種方式，他讓參觀者大開眼界，也為一場令人難忘的展覽增添了樂趣。