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From the close of the second century both the Mathuran and Gandharan styles experienced mutual cross-fertilization. The skillful incorporation of the laksanas or marks suggests that the Gandharan image makers became more comfortable in incorporating native Indian notions of beauty. The bulky Mathura Buddha gradually gives way to the slender elegance of the Gandharan image. The result of this synthesis ennobled, refined, and purified the Buddha image that appeared in the Gupta period (c. 320–467 C.E.) The soft and supple body visible beneath the thin robe swells with life-giving breath. The round face sculpted with a feeling of perfect tranquility engaged in profound meditation conveys in the human form a sense of the transcendent. The Gupta style became the model for Southeast Asian images. Transcendence in bodily form is also seen in the walking Buddha in the round created during Thai culture’s Sukhotai period (c. 1240–1438). The Sukhotai-style image where the Buddha extends his right hand to touch the earth—a gesture known as bhumisparsa-mudra—signifying the defeat of Mara, lord of darkness, and the walking image with the abhaya-mudra (gesture of fearlessness and reassurance) are Thailand’s best-known styles. (191字)

热忆

从公元2世纪末开始，马图拉（Mathuran）和健陀罗（Gandharan）的 两种风格都经历了相互交融的影响。法印或记号的巧妙结合表明了健陀罗图像的绘作者在融合当地印度概念美的手法上变得更自然流畅。庞大的马图拉（Mathura）佛像也逐渐让位于优雅修长的健陀罗（Gandharan）佛像。这种融合使得在古普塔（Gupta）时期(公元320-407年）出现的佛像更加高贵、优雅、纯净。在薄薄的长袍下，那柔软而修长的佛身显得活灵活现，一种深深冥想时的全然宁静俨然映现在佛像丰满的脸庞上，给人一种超凡的感觉。古普塔（Gupta）风格是东南亚佛像的典范。佛像体型上的超然性也在泰国素可泰（Sukhotai）时期(公元1240-1438年)的立体行走佛像上得以显现。在素可泰（Sukhotai）风格的佛像上，佛陀右手触地，这是一种著名的bhumisparsa-mudra  姿势，象征着击败黑暗之神Mara。持着阿巴耶式abhaya-mudra（象征着无惧与安心）姿势的行走佛像是泰国最著名的佛像风格。

与君同醉

From the close of the second century both the Mathuran and Gandharan styles experienced mutual cross-fertilization.
从公元2世纪末开始，马图拉（Mathuran）和健陀罗（Gandharan）的 两种风格都经历了相互交融的影响。（经历了相互交融的影响，这样的搭配不恰当）
改为：从公元2世纪末开始，马图拉（Mathuran）和健陀罗（Gandharan）这两种风格互相渗透，彼此影响。
The skillful incorporation of the laksanas or marks suggests that the Gandharan image makers became more comfortable in incorporating native Indian notions of beauty.
外相或记号的巧妙结合表明了健陀罗图像的绘作者在融合当地印度概念美的手法上变得更自然流畅。
the laksanas：佛陀的三十二相，佛陀庄严美好的外相
改为：犍陀罗佛像的制作者将佛的三十二相巧妙地融合在一起，说明他们能更轻松地将印度本土美学观念融入其中。
The bulky Mathura Buddha gradually gives way to the slender elegance of the Gandharan image.
庞大的马图拉（Mathura）佛像也逐渐让位于优雅修长的健陀罗（Gandharan）佛像。（不需要加“也”字）
The result of this synthesis ennobled, refined, and purified the Buddha image that appeared in the Gupta period (c. 320–467 C.E.) 这种融合使得在古普塔（Gupta）时期(公元320-407年）出现的佛像更加高贵、优雅、纯净。（好）
The soft and supple body visible beneath the thin robe swells with life-giving breath. The round face sculpted with a feeling of perfect tranquility engaged in profound meditation conveys in the human form a sense of the transcendent.
在薄薄的长袍下，那柔软而修长的佛身显得活灵活现，一种深深冥想时的全然宁静俨然映现在佛像丰满的脸庞上，给人一种超凡的感觉。 （好）
建议：薄薄的长袍下，柔软而修长的佛像好像有呼吸一般，注入了生命。圆满的佛脸雕刻出一种全然宁静的感觉，沉浸在深深的禅境之中，使得佛像的体态带着超然之感。
The Gupta style became the model for Southeast Asian images.
古普塔（Gupta）风格是东南亚佛像的典范。（好）
Transcendence in bodily form is also seen in the walking Buddha in the round created during Thai culture’s Sukhotai period (c. 1240–1438).
佛像体型上的超然性也在泰国素可泰（Sukhotai）时期(公元1240-1438年)的立体行走佛像上得以显现。
改为：这种超然之感也体现在泰国素可泰时期（公元1240-1438年）的立像之上。
The Sukhotai-style image where the Buddha extends his right hand to touch the earth—a gesture known as bhumisparsa-mudra—signifying the defeat of Mara, lord of darkness, and the walking image with the abhaya-mudra (gesture of fearlessness and reassurance) are Thailand’s best-known styles.
在素可泰（Sukhotai）风格的佛像上，佛陀右手触地，这是一种著名的bhumisparsa-mudra  姿势，象征着击败黑暗之神Mara。持着阿巴耶式abhaya-mudra（象征着无惧与安心）姿势的行走佛像是泰国最著名的佛像风格。
Mudra：(梵文)手印，指瑜伽修炼时手的姿势。
改为：这种素可泰风格的佛像，佛陀右手触地——结降魔印——寓意击败魔王魔罗；而佛陀的立像结施无畏印（象征着无畏、使众生心安的手势），是泰国佛像最著名的风格。