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"It used to be considered that the Kushites were slavishly borrowing things from Egypt and just copying Egyptian models, but what we see...
以前人们认为，库施只是全盘抄袭埃及模式，照搬所有元素，但如今我们了解到，
they're picking and choosing, they're choosing the things that are enhancing their view of the world, the status of their ruler and so on, and they're retaining many of their local cultural elements as well.
其实他们有自己的筛选过程。他们选择了那些能拓宽自己视野，加强统治者地位的元素，同时也保留了自己的文化特色。这一点在宗教中表现得最为明显。
You see this particularly in their religion because, not only do you get the Egyptian gods like Amun, but you also get the major local Kushite gods such as Apademak, being worshipped sometimes in the same temples."
库施不只有来自埃及的神祇，如阿蒙神等，也有重要的本土神如狮神阿皮德马克等，有时他们还被供奉在同一座庙宇里。
As originally placed in the temple, Taharqo's sphinx would have been seen only by the ruler and by his closest circle - which would have included priests and officials from both Egypt and Kush.
塔哈尔卡的狮身人面像最初被安放在庙宇里，因此只有统治者与他身边极为亲近的人才能看到，如来自埃及与库施的神职人员和官员等。
Coming upon it in an inner sanctuary, Kushites would have been reassured by its black African features, while Egyptians would have immediately felt at home with its peculiarly Egyptian iconography.
在圣殿内部看到这样的形象，库施人会因为其中的非洲黑人特征而感到欣慰，而其埃及特色则会让埃及人感觉自在。
Taharqo's sphinx is a very sophisticated piece of political imagery, for it's not just a mix of north and south, it also combines the present with the long distant past.
除了南北特色的融合之外，塔哈尔卡的狮身人面像还有更为复杂的政治含义：它连接了当下与历史。
The form of the lion's mane and his ears closely resemble elements found on Ancient Egyptian sphinxes as far back as the 12th Dynasty, that's about a thousand years before this.
狮子的鬃毛和耳朵十分接近一千年前第十二王朝所釆用的雕刻形式。
The message is clear: this black pharaoh, Taharqo, stands in a long line of great Egyptian rulers, who have held dominion over all the lands of the Nile.
它想传达的意思十分明确:这位黑人法老，塔哈尔卡，与曾经统治过整个尼罗河流域的众多埃及君主是一脉相承的。
