Abstract: For a long time, The Ocean to Cross was interpreted as a symbol of Sino-Japanese friendly exchanges in ancient times, but it results both from the misreading of the works in the context of “Sino-Japanese Friendship” and from the mistranslation in the process of textual translation, but not from the real reflection of the original connotation. Although The Ocean to Cross generates the image of Jian Zhen, Jian Zhen is remolded by the temporal context during the translation, breaks away from the original, and, in turn, restricts the interpretation of the original. At the same time, the mistranslation of the two versions by Lou Shiyi highlights the dominant role of China in the ancient Sino-Japanese relationship, changes the protagonists into Jian Zhen, and further consolidates the rationality of the misreading of the original by the temporal context by means of the reconstruction of the Kentoushi, Jian Zhen, and Japanese monks studying abroad. Inoue Yasushi's submission to the misreading of the times also reflects the failure of the original in deciding the translation, and the possibility of the counteraction of the translation to the original work in a particular historical and cultural context.

Key words: Sino-Japanese friendship, The Ocean to Cross, Inoue Yasushi, Misreading, Mistranslation

摘要： 长期以来,《天平之甍》被解读为中日古代友好交流的象征之作,但是这种认识是“中日友好”的时代语境对作品的误读与文本翻译转换过程的误译双重作用的结果,并非原作内涵的真实体现。《天平之甍》虽然生成了鉴真形象,但在译介过程中,“鉴真”接受了时代语境的重塑,脱离原作并反过来规约了对原作的解读。同时,楼适夷两个译本中的误译通过对遣唐使、鉴真、日本留学僧的重新建构,突出了古代中国对日关系的主体地位,改变小说的主人公为鉴真,进一步巩固了时代语境对原作误读的合理性。作者井上靖对时代误读的屈服也反映了在特定的历史文化语境中原作对译作决定作用的失效与译作反作用原作的可能。

关键词: 中日友好, 《天平之甍》, 井上靖, 误读, 误译