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The word 'palace', which Evans used to describe the large buildings he excavated, suggests royalty, but in fact these buildings seem to have been religious, political and economic centres.
雖然埃文斯稱他挖掘出的那些大型建筑遺址為“宮殿”，暗示著某種王權, 但其實它們更像是宗教、政治與經濟中心。
They were architecturally complex places, housing a great variety of activities, one of them the administration of trade and produce, organising the large population of skilled artisans who wove cloth and worked the imported gold, ivory and bronze.
它們的建筑結構復雜，能舉辦多種活動,如貿易與生產管理:把大量編織布匹與加工進口黃金、象牙、青銅的手工藝人組織起來。有這些技術精湛的手工藝人，就不會有這尊雕像的誕生。
Frescoes in the palace at Knossos show large gatherings of people, suggesting that these were also ceremonial and religious centres.
克諾索斯宮殿的壁畫描繪了大量聚集的人群，表明這里也是宗教中心或禮儀場所。
Despite over a century of excavation,the Minoans remain enticingly enigmatic.
雖然對米諾斯的考古挖掘已進行了一個多世紀，但它仍保持著讓人著迷的神秘感，我們所掌握的知識仍然極為零碎，令人沮喪。
Objects like this little bronze statue of the Bull Leaper tell us a lot about Crete's key historic role in the mastery of metals which, in a few centuries, transformed the world.
類似跳牛飛人雕像這樣的物品向我們展示了克里特歷史的一個方面，它精湛的金屬加工工藝將在幾個世紀之后改變世界。
And it also asserts the enduring fascination of mythical Crete as the perpetual site where we confront the most disturbing links between man and beast in ourselves.
它同時也擁有神話中克里特的永恒魅力，讓我們了解人類與牲畜間最復雜的關系。
When Picasso in the 1920s and 30s wanted to explore the bestial elements that were shaping European politics, he turned instinctively to the palace of Minoan Crete, to that encounter between man and bull that still haunts us all ... the Minotaur.
二十世紀二三十年代，畢加索想要找出改變歐洲政治本質的野性元素，他憑直覺將目光投向了米諾斯的宮殿，投向地下迷宮，投向仍時時困擾著我們的人與公牛…與米諾陶洛斯的戰爭。
