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Thai sculptors seamlessly blended literary description with aesthetic sensitivity to create a figure that emanates great spiritual power. The asexual images exhibit no anatomical or skeletal features; the head is shaped like an egg; the torso is lionlike with broad shoulders, the arms smooth and tapering; the thick thighs resemble the stalks of a banana tree. The downcast eyes and high flame usnisa finial (top decoration) convey a spiritual radiance. This distinctive Thai style emerged after the Thai overthrew their Khmer (Cambodian) overlords. Khmer images were square-faced and topped by a conelike usnisa or a wide crown. The figure of Muchilinda, the naga-king (water serpent), protectively hovering over the Buddha is especially popular in Southeast Asia. While Theravada artists and sculptors of Southeast Asia have portrayed the historical Buddha and events related to his life, the ideas and goals of Mahayana introduced an important shift in visual and plastic representation. Mahayana artists in Central and East Asia have struggled to render the celestial Buddhas and bodhisattvas and transcendental Buddha Lands. Mahayanists understood nirvana to be the “other world” of Sukhavati, not the state of non-being of parinirvana. （187字）

莹莹^^

泰国雕塑家结合对其的文字描述及从中感受到的美学灵感，设计出一个发散着巨大的神通力的形象。佛像呈无色相，佛面作鹅蛋形，佛身壮硕如狮，佛肩宽阔，手臂光滑而纤细，大腿粗壮似香蕉树茎，佛目俯瞰众生，佛光作火焰状象征其神通。这种独特的泰国佛像艺术特点产生于高棉（柬埔寨）政权土崩瓦解后的时期。高棉统治时代的佛像佛面呈方形，头挽圆锥形高髻或戴冠。在如今的东南亚地区，以己身护佛的目瞋邻陀与阿波逻罗龙王的形象为众多善男信女所膜拜。东南亚小乘佛教的画家与雕塑家们通过艺术手法描绘史中记载的佛陀和其生平事件，而大乘佛教艺术家们的誓愿则是引入一个重要的造型再现。中亚与东亚的大乘佛教艺术家们立志于将天上的佛、菩萨和如梦似幻的极乐净土呈现给世人。大乘佛教主张的涅槃是将无量众生度到西方极乐世界，而非自我修行达到的证果境界。

与君同醉

Thai sculptors seamlessly blended literary description with aesthetic sensitivity to create a figure that emanates great spiritual power.
泰国雕塑家结合对其的文字描述及从中感受到的美学灵感，设计出一个发散着巨大的神通力的形象。
建议：泰国雕塑家将文字描述与艺术敏感紧密结合，创造出一个散发出强大灵力的形象。
The asexual images exhibit no anatomical or skeletal features; the head is shaped like an egg; the torso is lionlike with broad shoulders, the arms smooth and tapering; the thick thighs resemble the stalks of a banana tree. The downcast eyes and high flame usnisa finial (top decoration) convey a spiritual radiance.
佛像呈无色相，佛面作鹅蛋形，佛身壮硕如狮，佛肩宽阔，手臂光滑而纤细，大腿粗壮似香蕉树茎，佛目俯瞰众生，佛光作火焰状象征其神通。
建议：没有“呈无色相”这种说法。asexual应为：非男非女
no anatomical or skeletal features：无解剖或骨骼特征
改为：佛像非男非女，没有男女性的解剖或骨骼特征；佛头作鹅蛋形，佛身壮硕如狮，佛肩宽阔，手臂光滑而渐趋纤细，大腿粗壮似香蕉树干，佛目俯瞰众生，佛顶高高燃烧的火焰，象征其灵力向外辐射。
This distinctive Thai style emerged after the Thai overthrew their Khmer (Cambodian) overlords.
这种独特的泰国佛像艺术特点产生于高棉（柬埔寨）政权土崩瓦解后的时期。
Khmer images were square-faced and topped by a conelike usnisa or a wide crown.
高棉统治时代的佛像佛面呈方形，头挽圆锥形高髻或戴冠。（好）
The figure of Muchilinda, the naga-king (water serpent), protectively hovering over the Buddha is especially popular in Southeast Asia.
在如今的东南亚地区，以己身护佛的目瞋邻陀与阿波逻罗龙王的形象为众多善男信女所膜拜。
这里the naga-king (water serpent)是解释Muchilinda的意思，而非另一个形象
Naga是指七头神蛇
建议：在东南亚地区，一条名叫目瞋邻陀（Muchilinda）的龙，即七头神蛇（水蛇），盘在佛陀头顶保护佛陀，这样的艺术造型非常普遍。
While Theravada artists and sculptors of Southeast Asia have portrayed the historical Buddha and events related to his life, the ideas and goals of Mahayana introduced an important shift in visual and plastic representation.
东南亚小乘佛教的画家与雕塑家们通过艺术手法描绘史中记载的佛陀和其生平事件，而大乘佛教艺术家们的誓愿则是引入一个重要的造型再现。
建议：……而大乘佛教的观念和目标则是在可视性和可塑性两方面对佛像进行重大改变。
Mahayana artists in Central and East Asia have struggled to render the celestial Buddhas and bodhisattvas and transcendental Buddha Lands. Mahayanists understood nirvana to be the “other world” of Sukhavati, not the state of non-being of parinirvana.
中亚与东亚的大乘佛教艺术家们立志于将天上的佛、菩萨和如梦似幻的极乐净土呈现给世人。大乘佛教主张的涅槃是将无量众生度到西方极乐世界，而非自我修行达到的证果境界。（好）
建议：……而非圆寂进入虚无之境。