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The Buddha image is often embraced by halo and aureole (circles of light) that symbolize the Buddha’s immeasurable brilliance of truth and wisdom. The Buddha’s extraordinary wisdom is represented by the usnisa, a “bump” or extra cranial protrusion. These various features are not afterthoughts, but integral parts of the Buddha’s representation. Since the laksana (marks) were too numerous to include in any single image, the Mathuran artisans selectively chose the principal features to use for each Buddha image. In contrast the Gandharan Buddha image was inspired by Hellenistic realism, tempered by Persian, Scythian, and Parthian models. Sculptors crafted Buddhist images with anatomical accuracy, spatial depth, and foreshortening. The straight sharply chiseled Apollonian noses, brows, and mustaches capture a “frozen moment.” Their more realistic tradition transformed the usnisa into a topknot or turban; the Buddha’s curls were altered into wavy hair. Another obvious Mediterranean feature is the diaphanous (thin), togalike robe. The emaciated Buddha, an image rarely seen in Mathura, is another evidence of Hellenistic realism. (165字)

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佛陀圣像经常是光环或光圈环绕，标志着神佛不可估量的真知与智慧。佛陀的非凡智慧用佛顶，即一块隆起或多余的头盖骨凸起来展现。这些多样的特征不是后来添加的想法，而是佛陀公诸于世的整体中的一部分。因为叻沙那（符号）数量太多以至于不能包括每一个单独的圣像，马图拉工匠们只能选择性地把主要特征放入每个圣像中。与此相反，犍陀罗佛像的灵感来源于希腊现实主义，同时受到波斯、赛西亚帕提亚风格的影响调和而成。雕刻家们雕刻佛像时注重结构上的精准，空间的深度，并运用缩短透视的方法。这种写实手法锐利地捕捉到阿波罗神的“冰冷瞬间”，精准地雕刻出他的鼻子、眉毛和胡子。他们更趋向现实性的传统使神化的佛顶转化为普通的头饰或头巾；佛陀的卷发被转变为波浪卷。另一个明显的地中海特征是精致的（修身的），古罗马式的宽外袍。瘦削的佛陀像在马图拉并不常见，但这却是希腊现实主义的另一明显特征。

与君同醉

The Buddha image is often embraced by halo and aureole (circles of light) that symbolize the Buddha’s immeasurable brilliance of truth and wisdom.
佛陀圣像经常是光环或光圈环绕，标志着神佛不可估量的真知与智慧。（好）
The Buddha’s extraordinary wisdom is represented by the usnisa, a “bump” or extra cranial protrusion.
佛陀的非凡智慧用佛顶，即一块隆起或多余的头盖骨凸起来展现。
建议：多余改为“多出”
These various features are not afterthoughts, but integral parts of the Buddha’s representation.
这些多样的特征不是后来添加的想法，而是佛陀公诸于世的整体中的一部分。
建议：这些各种各样的特征不是后来添加的，而是佛陀整体形象中不可分割的一部分。
Since the laksana (marks) were too numerous to include in any single image, the Mathuran artisans selectively chose the principal features to use for each Buddha image.
因为叻沙那（符号）数量太多以至于不能包括每一个单独的圣像，马图拉工匠们只能选择性地把主要特征放入每个圣像中。
Laksana(marks)是指佛陀的三十二相与八十种好
建议：因为佛陀的三十二相和八十种好数量太多，无法在任一单个佛像中体现出来，马图拉工匠们只能选择性地把主要特征放入每个圣像中。
In contrast the Gandharan Buddha image was inspired by Hellenistic realism, tempered by Persian, Scythian, and Parthian models.
与此相反，犍陀罗佛像的灵感来源于希腊现实主义，同时受到波斯、赛西亚帕提亚风格的影响调和而成。
（少了一个顿号或“和”字）同时受到波斯、赛西亚、帕提亚风格的影响调和而成。
Sculptors crafted Buddhist images with anatomical accuracy, spatial depth, and foreshortening.
雕刻家们雕刻佛像时注重结构上的精准，空间的深度，并运用缩短透视的方法。（好）
The straight sharply chiseled Apollonian noses, brows, and mustaches capture a “frozen moment.”
这种写实手法锐利地捕捉到阿波罗神的“冰冷瞬间”，精准地雕刻出他的鼻子、眉毛和胡子。（好）
Their more realistic tradition transformed the usnisa into a topknot or turban; the Buddha’s curls were altered into wavy hair.
他们更趋向现实性的传统使神化的佛顶转化为普通的头饰或头巾；佛陀的卷发被转变为波浪卷。
建议：……佛陀的卷发由螺旋卷变为波浪卷。
Another obvious Mediterranean feature is the diaphanous (thin), togalike robe.
另一个明显的地中海特征是精致的（修身的），古罗马式的宽外袍。
建议：此处diaphanous最好译为“薄如蝉翼的”（因为原意为“薄得几乎透明的”）
The emaciated Buddha, an image rarely seen in Mathura, is another evidence of Hellenistic realism.
瘦削的佛陀像在马图拉并不常见，但这却是希腊现实主义的另一明显特征。
建议：这种特征是犍陀罗佛像的特征，而非马图拉佛像的特征，所以不需要用“但……却”
改为：瘦削的佛身是希腊现实主义的另一特征，鲜见于马图拉佛像。