Question

谁能帮我翻译这篇文章啊 谢谢

Of all the arts that have flourished in India, draping cloth to dress the body is the most unique, yet the least studied, cultural treasure. It is also an ephemeral art -- as soon as a woman's sari or a man's dhoti is taken off, the particular style in which it encircled the body is lost, and the garment reverts to its flat rectangular form. If a particular style of draping becomes and remains unfashionable until all its wearers have died, the artistry of that style is permanently lost.
Draped garments have been worn in the Indian subcontinent from early civilizations to the present day. Over the centuries they have undergone innumerable fashion transformations. Many of the styles in which Indian women today drape their saris were developed in the 19th century under colonialism, when drapes were most numerous and indicative of caste.
During the 20th century, a large proportion of Indian men have begun wearing cut and sewn garments, in either Indian or European-influenced styles. In contrast, the larger proportion of Indian women wear draped garments, with the addition of cut and sewn blouses and petticoats. The style of draping saris has continued to change as women adopt regional styles or the national Nivi "Modern" sari, while giving up caste-specific or local styles.

Chantal Boulanger, a scholar from France, has traveled extensively throughout India during the last six years documenting styles of sari and dhoti draping. Through photographing and interviewing women, she has been able to collect both contemporary and now seldom worn historical styles, as well as both publicly and privately worn sari drapes.

Once a new drape was found, Chantal wore it through her daily activities in order to learn the more subtle intricacies of the style. As the body moves, the sari moves, putting stress on the wrapping and tying of cloth. Without knowledge of the small details in forming the drape, the sari might ride up and reveal too much of the body, or the drape might lose its shape and style.

Sari is defined by Boulanger as:
1. A piece of cloth of varying dimensions draped to form the main
garment and
2. A particular style of draping the cloth on the body of the wearer.
A sari has two dimensions: Its length, which may vary from two to nine yards, and its height, which varies from two to four feet.

Answer 1

所有艺术茂盛了在印度, 装饰布料穿戴身体是最独特, 最少被学习的, 最文化的珍宝。这并且是短暂艺术-- 当woman's 莎丽服或man's dhoti 离开, 它包围身体的特殊样式丢失, 和服装恢复对它平的长方形形式。如果特殊样式装饰变得和依然是不时髦直到所有它的穿戴者死了, 那样式艺术性永久地丢失。 被装饰的服装是破旧的在印第安次大陆从早期的文明对现在。在世纪期间他们接受无数的时尚变革。印第安妇女今天装饰他们的莎丽服的许多样式被开发了在19 世纪在殖民主义之下,当装饰是最众多和表示的世袭的社会等级。 在20 世纪期间, 印第安人的一个大比例开始佩带被切开的和被缝合的服装, 在或印第安或欧洲被影响的样式。相反, 印第安女服的更大的比例装饰了服装, 增加裁减和被缝合的女衬衫和衬裙。装饰的莎丽服样式继续改变当妇女采取地方样式或全国Nivi "Modern" 莎丽服, 当给世袭的社会等级具体或地方样式。 Chantal Boulanger, 一位学者从法国, 广泛地旅行了遍及印度在最近六年期间提供样式莎丽服和dhoti 装饰。通过拍摄的和采访的妇女, 她能收集当代并且现在很少被佩带的历史样式, 并且公开地和私下被穿着的莎丽服装饰。 新一次装饰被发现了, Chantal 佩带它通过她的每日活动为了学会样式的更加微妙的复杂。当身体行动, 莎丽服行动, 投入重音在包裹和栓布料。没有小细节的知识以形成装饰, 莎丽服也许向上拱和显露太多身体, 或装饰也许丢失它的形状和样式。 莎丽服由Boulanger 定义和: 1. 布变化的维度装饰形成扼要 服装和 2. 装饰布料特殊样式在穿戴者的身体。 莎丽服有二个维度: 它的长度, 也许变化从二到九码, 并且它的高度, 变化从二到四英尺。

Answer 2

太长了。。。。。。。。。。。