术语“缠枝”的详细信息

英译术语:

winding branches

汉语语境:

契丹首饰在融汇、吸收北方草原民族以及中原汉族文化因素的基础上，并结合自身的创新，形成了独具特色的妆饰艺术。摩竭耳环、琥珀璎珞、盾面指环为契丹人所特有，且男、女皆可使用。耳饰的凤鸟、飞天造型，手镯表面的花蝶、婴戏及缠枝花装饰题材，与唐、宋艺术一脉相承。步摇、镯端的龙首造型和环面的立体动物装饰，则体现了与北方草原金器传统的关联。唐、宋盛行的插梳习俗、宋代异彩纷呈的簪、钗，在契丹人中并不流行，或很少使用。契丹人喜欢佩戴的指环、璎珞、项链，在唐、宋时期则很少见到，或并不使用。这种差异的形成，应与汉人、契丹人文化传统、生活习性的差异，发式、服装的不同相关。

英语语境:

Through synthesizing and drawing on elements of the cultures of the steppe peoples of the north and the Han people of the Central Plains, along with the creation made by the Khitan people, the Khitan head ornaments had formed a unique decorative art. The Makara motif ear-rings, agate girdles and shield-surface rings were unique jewellery items of the Khitan people, which were worn by males and females alike. Some design motifs in their jewellery were in the tradition of the arts of Tang and Song Dynasties: the phoenix and apsaras designs on the ear ornaments, the particular designs on bracelets, such as butterflies among blossoms, children-at-play decoration, and winding branch decoration of blossoms, etc. Other design elements were related to traditions of gold wares of the northern steppe: the forms of dragon heads and three dimensional entwined animals on buyao ornaments and bracelets. The popular custom of placing an ornamental comb in the hair during Tang and Song periods and the Song practice of placing different coloured hairpins in coiffures were rarely adopted or had no currency among the Khitan people. Likewise, the custom of wearing rings, agate girdles and necklaces, etc, followed by the Khitan people can be hardly seen in Tang and Song dynasties. These differences were undoubtedly the results of the diverse cultural traditions, and different styles of coiffure and dress between the Han and Khitan peoples.

英译术语:

interlocking spray

汉语语境:

“对波纹”是丝绸纹样中的一种骨架构图的名称，它也是装饰艺术中的流行纹样，盛行于南北朝至隋唐。而以“对波”形式排列的“忍冬纹”，实即合抱式缠枝卷草。“对波”形式的图案，在印度早期佛塔石雕上已经出现，以后经由犍陀罗艺术的融汇和演变，然后东传。东传之后，这一类纹样的骨架及骨架内外图案的排列方式均被接受，而把骨架内外填充的诸多异域因素一步一步中土化，并且赋予纹样以新的名称。

英语语境:

Design of double waving was one of master architectonic design pattern for silk printings. It was also the popular pattern design applying to decorations during the Northern and the Southern Dynasties and the Sui and Tang Dynasties. The well-known honeysuckle design arranging in a structure of double waving were actually presented in a form of interlocking sprays. This confronting waving design appeared on stone stupa in the early period of Indian Buddhist Art, which was then introduced widely eastwards to other countries after its integration with the Gandharan Art. Following the accession process of the confronting waving design, some new elements were added in by different minds and hands, and new names were given to the novel creation works too.