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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...
以前人們認為，庫施只是全盤抄襲埃及模式，照搬所有元素，但如今我們了解到，
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.
其實他們有自己的篩選過程。他們選擇了那些能拓寬自己視野，加強統治者地位的元素，同時也保留了自己的文化特色。這一點在宗教中表現得最為明顯。
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."
庫施不只有來自埃及的神祇，如阿蒙神等，也有重要的本土神如獅神阿皮德馬克等，有時他們還被供奉在同一座廟宇里。
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.
塔哈爾卡的獅身人面像最初被安放在廟宇里，因此只有統治者與他身邊極為親近的人才能看到，如來自埃及與庫施的神職人員和官員等。
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.
在圣殿內部看到這樣的形象，庫施人會因為其中的非洲黑人特征而感到欣慰，而其埃及特色則會讓埃及人感覺自在。
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，塔哈爾卡的獅身人面像還有更為復雜的政治含義：它連接了當下與歷史。
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.
獅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.
它想傳達的意思十分明確:這位黑人法老，塔哈爾卡，與曾經統治過整個尼羅河流域的眾多埃及君主是一脈相承的。
