术语“琢”的详细信息

英译术语:

grinding

汉语语境:

石器的制作是一个动态的生产系统，包含一系列的生产程序，从选料到制作以及后期的使用修整均包含在内。石刀的原料采办主要是当地获取，充分考虑工具特性和使用方式。石刀制作过程完善，主要包括打制、琢制、磨制、刃部加工和钻孔等工序，而这些工序根据石料特点和工具用途采用多样的加工方式，工具形态的设计也充分考虑工具使用方式。出于节约原料和提高使用效率的考虑，大辛庄商代石刀的制作存在二次加工和一器多用现象。

英语语境:

The manufacture of stone tools was a series of dynamic productive system which included material selection, manufacture, application and repairing work at a later stage. The raw material for the stone knife was mainly obtained from the local areas. On the basis of the full considerations of the features, the making processes of stone knife can be divided into forging, grinding, chipping, grounding, blade making and drilling, etc. These processing methods were different according to characteristics of stone material and stone tool usage, while designs of the tool shape also had a close link to the tools'usage. For the sake of saving material cost and improving utilization efficiency, the manufacture of stone knifes at Daxinzhuang site in Shang Dynasty had the cases of secondary processing and multi-use functions.

英译术语:

jade carving

汉语语境:

公元前4000年前后，长江下游地区由马家浜文化进入到崧泽文化，环太湖周边水系承载了聚落群形成和发展的重任。崧泽文化晚期，集群发生了大规模移动，鉴于木材、石材、玉材等资源优势，最终选定良渚遗址群所在地作为发展基地。良渚文化时期玉文化反映的原始宗教信仰，体现在聚落等级和聚落规模、墓主身份和地位等方面，其形成过程也就是琮、璧、钺和神人兽面像的形成过程。崧泽文化时期祭器和礼器的形式丰富多样，而良渚文化时期琢玉工艺则形成了固定和僵化的格式，作为身份地位的标识和神秘主义的表达，这些变化预示着社会变革的来临。随着资源的枯竭、艺术创造力的消怠甚至迷失以及外部因素的冲击，良渚文化降下了帷幕。

英语语境:

Around 4000 B. C. when the lower reach of the Yangtze River just transited from the Majiabang Culture to the Songze Culture, the Taihu Lake basin became a key area where settlements were formed and developed. When it came to the late period of the Songze Culture, these settlements started migrating to seek better resources such as woods, stones and jades, and finally settled in the area which later developed into the Liangzhu Culture. The primitive religious belief represented in the jade culture of Liangzhu can be seen in the grade and scale of the settlement and the identity and social status of the tomb owner. Along with the forming of the jade culture, jade objects such as cong, bi, yue and animal-faced shaman figures were produced. While in Songze Culture the ritual and sacrificial wares enjoyed a great variety, the jade carving (carve gems or carve jade) in Liangzhu was formalized in some standardized style as an expression of social status and mysticism. Such cultural change indicated the forthcoming of a social change: the Liangzhu Culture came to an end with the exhaustion of resources, the missing of artistic creativity and the affects from external factors.