目的论视角下博物馆文物简介的英译研究-以三星堆博物馆为例英语论文

Introduction1.1BackgroundoftheStudyTheSanxingduiculturalrelicshavereceivedwideattentionathomeandabroadassoonastheywereunearthed,andtheinternationalmediaimmediatelyregardedthearchaeologicaldiscoveryoftheSanxingduisiteasasignificantarchaeologicalachievement,believingthatitisoneofthemostimportantarchaeologicaldiscoveriesinChinaandoneofthegreatestdiscoveriesintheworldinthe20thcentury.Withthecontinuousadvancementofarchaeologicalwork,newculturalrelicscontinuetobeunearthed,andtheinternationalmediaalsocontinuetopayattentiontoandreportinatimelymannersothatSanxingdui’sinternationalattentioncontinuestoincrease.TheSanxingduifindchangeshowweseeancientChina.

WorkersdiggingatthisShukingdomsitefoundstrangebronzestatues,goldmasks,

ritualartifacts,andjadetoolsneverseenbefore.Theseartifactsdateback3,000yearstotheShangperiod,butlooknothinglikeitemsfromtheYellowRivervalley.ThisdiscoveryprovesdifferentpartsofearlyChinadevelopeduniquecultures.ItmakespeoplerealizethattheancientShucivilizationhadahighlydevelopedbronzeculture,andthosestrangelyshapedbronzestatues,bronzemasksandotherculturalrelicshavechangedpeople’sinherentcognitionofancientChinesebronzeculture,andalsoprovidedkeycluesforexploringtheorigin,developmentandexchangeofancientcivilizationsinsouthwestChina.Inthefieldoftranslationstudies,teleologyoffersanewwayofthinkingthatisorientedtowardsthepurposeoftranslation.TheintroductionofSanxingduiculturalrelicscontainsalargenumberofprofessionalwordsandcomplexancientculturalconcepts.Teleologycanguidetranslatorstoflexiblychoosetranslationstrategiesaccordingtodifferentpurposessuchassciencepopularizationandacademicexchangewithforeignaudiences,whichishelpfultoexpandtheinterdisciplinaryacademicresearchscopeofculturalrelicstranslation.Currentdiscourseonculturalheritagehasshiftedfrommaterialconservationtoaholisticemphasisonvaluetransmission.Sanxingduiculturalrelicsarenon-renewablepreciousheritage,andtheuseofteleologicaltranslationcanmakethetranslatedtexteffectivelyattractforeignaudiencesonthebasisofrespectingtheculturalconnotationandaccordingtothepurposeofdifferentcommunicationmedia(suchasforeignlanguageintroductionofmuseums,academicworks,culturaldocumentarysubtitles,etc.),soastoenhancetheinfluenceofSanxingduiculturalheritageonaglobalscale.1.2SignificanceoftheStudyMaJunjieandLiangQingfeng(2025)believedthatasthedemandforculturalexchangegrows,theapplicationofSkoposTheoryintranslationisbecomingincreasinglypromising.ByadaptingtranslationmethodsguidedbySkoposprinciples,translatorscanbetterservereadersandaudiencesfromdiverseculturalbackgrounds,enhancingcross-culturalcomprehensionglobally.Sanxingduiculturalrelics,asatreasureofculturalrelics,havereceivedextensiveattentionathomeandabroadonceunearthed.Theoretically,Skopostheoryemphasizesthatthetargettextshouldfunctioninthewayexpectedbythetargetrecipientinthetargetlanguagecontextandculture.BystudyingthetranslationofthebriefintroductionofSanxingduiculturalrelicsthroughthistheory,thetranslationcanbemoreinlinewiththereadinghabitsandculturalbackgroundofforeignaudiencessoastoattracttheirattention.Itcanstimulateforeignaudiences’interestinSanxingduicultureandimprovetheinternationalvisibilityandinfluenceofSanxingduiculturalrelics.SanxingduiculturalrelicscarrytheuniqueculturalconnotationoftheancientShucivilization,whichisobviouslydifferentfromothercivilizationsintheworld.Skopostheoryoftranslationcanbetterexplainthesedifferencestotheinternationalcommunity,reduceculturalbarriers,andpromotemutualunderstandingandcommunicationbetweendifferentcultures.Throughgoodtranslation,theintroductionofSanxingduiculturalrelicscanbedisseminatedtotheinternationalcommunitysothatmorepeoplecanunderstandthevalueandsignificanceofSanxingduiculturalrelics,therebyenhancingthepublic’sawarenessoftheprotectionofculturalheritage.WheninternationalvisitorsrecognizetheSanxingduiartifactsasasharedlegacyofhumancivilization,theirincreasedawarenesscanencourageactiveparticipationinpreservationefforts.This,inturn,strengthensthelong-termconservationofSanxingdui’sculturalheritage.Practically,sinceSanxingduianditsculturalrelicshaveastrongChineseculturalcolor,thetranslationofthebriefintroductionofSanxingduiculturalrelicsshouldreflectaccuracy,simplicity,andcultureasmuchaspossiblesothatithasitsowncharacteristics.Therefore,thetranslationofthebriefintroductionofSanxingduiculturalrelicscannotcompletelyfollowthetraditionaltranslationstandardof“faithfulness,elegance.”TheauthorfindsthatSkopostheoryoftranslationisgoal-orientedandemphasizesthatthepurposeoftranslationbehaviordeterminesthetranslationprocess.Intranslationactivities,themostimportantfactordeterminingthepurposeoftranslationistheintendedaudience,thatis,thetargetrecipient.Whentranslatingsuchculturallyrichcontent,Skopostheoryallowsthetranslatortochoosethepropertranslationmethodaccordingtothespecifictranslationpurpose,whichcanbetterconsidertheneedsofthetargetaudience.2LiteratureReview2.1StudiesonTranslationofMuseumRelicsBriefsatHomeDomesticscholarshavemademanyachievementsinthetranslationresearchofmuseumculturalrelicsintroduction.Firstofall,intermsofthecombinationoftheoryandpractice,domesticscholarshavedeeplystudiedthewesterntranslationtheoryandcombineditwiththeactualsituationofthebrieftranslationofChineseculturalrelics.LiMinghui(2019)emphasizedthatmuseumcaptionstargetgeneralaudiences,conveyinginformationandculturetointernationalvisitors.BaiJingyu(2010)investigatedculturaltranslationprinciplesandmethodsfromlinguisticandculturalperspectives,advancingtranslationtheoryanddisciplinedevelopment.Hisworkemphasizedcultivatingtranslators’cross-culturalawarenessandfosteringatransculturalapproachtotranslation.Secondly,ChenKeandWangfan(2025)thoughtthattransliterationpreservestheoriginallanguage’sdistinctivefeatures,enhancingthetranslation’sculturalauthenticityandhistoricalsignificance.Additionalnotescanprovidecontextualbackgroundtoimprovereaders’comprehension.AsforthesacrificialcultureandtotemsymbolsofancientShucultureintheintroductionofSanxingduiculturalrelics,thetranslationiscarriedoutbymeansoftransliterationandannotation,orbymeansofculturalanalogy.LiKairong(2001)maintainedthattranslatorsshouldapplyproperstrategiestoconveyprofoundculturalmeanings,particularlythepsychologicalconnotationsembeddedintraditionalvalues,religiousconcepts,socialnorms,andlocalpracticescharacteristicofChineseculture.Inaddition,scholarssuchasShiXinming(2007)activelyparticipatedintheformulationofculturalrelicstranslationstandardsintheconstructionoftranslationstandardsandnorms.Hecooperatedwithmuseumsandculturalrelicsprotectioninstitutionstoestablishaglossaryandtranslationnormsforthebrieftranslationofdifferenttypesofculturalrelics(suchaspottery,paintings,bronzes,etc.)toensuretheaccuracyandconsistencyofculturalrelicstranslation.LiuQingyuan(2005)proposedthatinartifacttranslation,whenaccuracyconflictswithclarity,prioritizingcomprehensibilityyieldsoptimalresults..YuanHonggang(2024)suggestedthatinmuseumcommentarytranslation,translatorsshouldgobeyonddirecttextconversion.Theyshouldtreatthesourcetextasoneofmanyreferencesandflexiblyadaptcontentbasedonthetargettext’spurposeandaudienceneeds.LiaoShengandQuZhen(2006)arguedthattranslatorsmodifyapproachesaccordingtorecipients’culturalbackground,ensuringeffectivecommunicationtakesprecedenceoverliteralfidelityduringculturalconflicts.2.2StudiesonTranslationofMuseumRelicsBriefsAbroadInthetranslationofbriefintroductionofmuseumrelics,foreignscholarsWhittle(1997)andHooper-Greenhill(2006)fullyconsideredthetranslationpurpose,audience,culturalbackground,andotherfactorstoensuretheaccuracyandreadabilityofthetranslation.Foreignscholarshavemadeanin-depthanalysisofthebrieftextofmuseumrelicstounderstanditsprofessional,accurateandculturalcharacteristics.Forexample,forprofessionaltermsinthefieldsofhistory,art,archaeology,etc.,theywillstudyhowtoaccuratelytranslatethemtoavoidmisleadingtheaudience.Bycomparingtheculturalbackground,languagehabitsandexpressionsofthesourcelanguageandthetargetlanguage,foreignscholarscanbetterunderstandanddealwithculturaldifferencesandfindappropriatetranslationstrategies.Forexample,whenstudyingtheEnglishtranslationoftheintroductionofChineseculturalrelics,wewillcomparethedifferentunderstandingsandexpressionsofhistory,religion,artandotheraspectsinChineseandEnglish.Foreignscholarswillconsidertheneedsandacceptabilityofthetargetaudience,sothatthetranslatedculturalrelicsbriefcanattracttheaudience’sinterestandbeeasytounderstand.Forexample,brieftranslationsofculturalrelicsaimedatthegeneralaudienceandprofessionalscholarswillusedifferentlanguagestylesandlevelsofdetail.Throughthecollectionandanalysisofalargenumberofmuseumculturalrelicsbrieftranslationcases,foreignscholarscansummarizeeffectivetranslationstrategiesandmethods,andfindexistingproblemsandshortcomings.Forexample,whenstudyingthetranslationofthebriefintroductionofculturalrelicsintheNationalMuseumofChina,hundredsofcaseswillbecollectedforclassificationandanalysis.3TheoreticalFoundation3.1DevelopmentandConnotationofSkoposTheoryInthe1970s,Reissintroducedfunctionalcategoryintotranslationcriticismforthefirsttime,linkedlanguagefunction,discoursetypeandtranslationstrategy,developedamodeloftranslationcriticismbasedontherelationshipbetweenSTandtargetfunction,andputforwardtherudimentsoffunctionalismtheory.Shebelievesthattheidealtranslationshouldbeacomprehensivecommunicativetranslation,thatis,itisequivalenttotheoriginaltextintermsofconceptualcontent,linguisticform,andcommunicativefunction,butthefunctionalcharacteristicsofthetranslationshouldbegivenpriorityinpractice.Nord(1997)summarizedandimprovedfunctionalisttheorycomprehensively.ForthefirsttimeinEnglish,shesystematicallyexplainstheinternalandexternalfactorsthatneedtobeconsideredintextanalysisintranslation,andhowtoformulatetranslationstrategiesthatsuitthepurposeoftranslationbasedonthefunctionoftheoriginaltext.Nordsortedoutthefunctionalisttheoriesandproposedthattranslatorsshouldfollowtheguidingprincipleof“functionplusloyalty”,thusperfectingthetheory.ReissandVermeer(2014)generallyintroducedthethreeprinciplesofSkoposTheoryandemphasizedtheinterculturalcommunicativenatureoftranslation.Theydrewonthecommunicativeandbehavioraltheoriesandputforwardthetheoryoftranslationbehavior,whichfurtherdevelopedthefunctionaltranslationtheory.3.2ThreeRulesofSkoposTheoryTheprincipleofteleologyisthefirstprincipleoftranslationteleology.Itemphasizesthatthepurposeoftranslationbehaviordeterminesthestrategyandmethodoftranslation.Inotherwords,theprocessoftranslationisnotasimpleconversionfromthesourcelanguagetothetargetlanguage,butanintentionalactivitycarriedoutaccordingtoaspecificpurpose.Thepurposeoftranslationmainlycomesfromtheexpectedfunctionofthetargettext,thetargetaudienceandthesceneinwhichtheTTisused.Theintendedfunctioncanbetoconveyinformation,evokeemotion.Forexample,whentranslatingtheintroductionoftheSanxingduibronzestatue,ifitisusedforacademicresearchpapers,thepurposemaybetoaccuratelyconveydetailedinformationoftheculturalrelic’ssize,productionprocess,historicalage,andstatusinancientShuculture.Ifitisusedfortourismbrochures,thepurposemaybetoattracttouriststovisitwithmorevividlanguage,focusingonhighlightingitsuniqueappearanceandculturalcharm.TheSkopostheorygivesthetranslatorgreatautonomy.Thetranslatorisnolongerjustafaithfulreproducerofthesourcelanguage,butadecisionmakerwhocoordinatestherelationshipbetweenthesourcelanguageandthetargetlanguageaccordingtothepurposeoftranslation(WangYaling,2020:49).Forexample,accordingtothepurposeoftranslation,thetranslatorcandecidewhetheritisnecessarytoaddordeletetheoriginaltext,adjustthewordorder,orchangethestyle.Theprincipleofintralingualcoherence,alsoknownasthe“coherencerule,”requiresthatthetranslationmustconformtotheexpressionhabitsofthetargetlanguage,beabletobeunderstoodbythetargetrecipient,andmakethetranslationmeaningfulinthetargetlanguagecultureandthecommunicativeenvironmentinwhichitisused.Asifthetranslationitselfshouldformalogicalandsmoothwhole,thereaderwillnotbeconfusedwhenreadingthetranslation.Coherencebringsancientartifactstolife.ThatSanxingduibronzemaskisnotjusta“metalface”.It’sa“ritualcommunicator”,transformingarchaeologicalfactsintoculturalunderstanding.“Monsterpattern”describesitsappearance,but“guardianemblem”revealsitssacredroleonritualvessels.Everytranslationchoicedecideswhetherreadersseedeadobjectsorlivinghistory.InSkopostheory,theprincipleoffidelitymeansthatthereshouldbeacertaindegreeofcoherencebetweentheTTandtheoriginaltext,whichisnotformalequivalenceinthetraditionalsense,butarelativelyflexiblerelationshipbasedonthepurposeoftranslation.ItrequiresthetranslatortobeasfaithfulaspossibletotheoriginaltextonthebasisofconsideringthepurposeoftheTTandthecoherencewithinthetargettext.Butthefidelityhereisflexible,andthedegreeandwayoffidelityshouldbejudgedaccordingtothespecificpurposeoftranslation.Theprincipleoffidelityissubordinatetotheprincipleofpurpose.Thepurposeoftranslationdeterminestheextentanddegreeoffidelity.Theprincipleofloyaltyandtheprincipleofconsistencyworktogether.Whileensuringthatthetranslationiscoherentandreadableinthetargetlanguage,thefidelitytotheoriginaltextshouldalsobeconsidered.4CaseAnalysis4.1AnalysisoftheCharacteristicsofCulturalRelicsBriefTextofSanxingduiMuseumInthissection,theauthorconductsanin-depthdiscussionfromtheperspectiveoftheSkopostheory,combiningexamplesfromthelexical,syntactic,anddiscourselevels.Theselectionofartifacttranslationstrategiesisentirelydeterminedbytheintendedpurpose,whichistoachieveeffectivecross-culturalcommunicationforculturalpromotion.(ShengYuranandGaoGe,20024:8).ForthetranslationofthebriefintroductiontoSanxingduiculturalrelics,differenttranslationstrategieswillbeselectedaccordingtodifferentaudiencegroupsandcommunicativepurposes.Amongthem,literaltranslationandfreetranslationaretwocommonandimportantmethods.SkoposPrincipleBaker(2018)pointedoutthatthetranslationofculturallyproprietaryitemsrequiresthesearchforfunctionalequivalentsinthetargetlanguageculture.ForprofessionalresearchersoraudienceswithacertainunderstandingofChineseculture,literaltranslationconformstothepurposeofdisseminatingaccurateacademicinformationtoprofessionalfields.Forexample,whentranslatingtheculturalrelicname“青铜神树”itisliterallytranslatedas“BronzeSacredTree.”Withthispreciseterm,professionalscanclearlyrefertothisculturalrelicinresearchandacademicexchanges,meetingtheirneedsforconductingresearchandcommunicationthroughaccurateterms.Anotherexampleisthat“玉璋”isliterallytranslatedas“JadeZhang,”whichaccuratelyconveystheuniqueChineseculturalrelicnameandhelpsprofessionalsclarifythereferenceinresearchexchanges,thuspromotingthedisseminationofacademicinformationintheprofessionalfield.Culturalcommunicationthrivesonauthenticityandthat’swhywekeeptermslike“Sanxingdui”untranslated.Imaginevisitingthearchaeologicalsiteandseeingthoseprotruding-eyedbronzemaskslabeledsimplyas“ancientfaces”.Bypreservingtheoriginal“Sanxingdui”insteadoftranslatingitas“Three-StarMound”,weinviteglobalaudiencestoexperienceChinesecultureonitsownterms.CoherencePrincipleWhenthetranslationpurposeistointroduceSanxingduiculturalrelicstothegeneralpublicandstimulatetheirinterest,freetranslationhasmoreadvantages.Thegeneralpublichaslimitedknowledgeoftechnicaltermsandculturalbackgrounds.Freetranslationdescribesthecharacteristicsofculturalrelicsthroughvividandeasy-to-understandlanguage,makingthetranslationlogicalandeasytounderstandinthetargetlanguagecontext,thusachievingintratextualcoherence.Forexample,whendescribingthebronzemask,theoriginaltext“其造型奇特，面部轮廓极具张力”isfreelytranslatedas“Themaskhasapeculiarshapewithahighlydynamicfacialcontour.”Ordinaryreaderscaneasilyimaginetheuniqueappearanceofthebronzemask,thusstimulatingtheirinterestinSanxingduiculture.Anotherexampleisthat“青铜纵目面具”isfreelytranslatedas“BronzeMaskwithExaggeratedProtrudingEyes.”Byvividlydescribingthecharacteristicsofthemask’seyes,thepubliccanquicklyunderstandtheuniquefeaturesoftheculturalrelic,whichconformstothecognitivehabitsofthepublicandpromotestheircuriosityaboutSanxingduiculture.LoyaltyPrincipleInthecontextoftourismpromotion,freetranslationcanenableforeigntouriststodirectlyfeelthecharmofculturalrelics,enhancethetourismexperience,meetthepurposeoftourismculturecommunication,andatthesametimereflecttheloyaltyprinciple.Nord(1997)emphasizedthattranslationisasocialrelationshipbetweenpeople.WhenintroducingthesacrificialcultureofSanxingdui,thesentence“古蜀人在祭祀仪式上,献上珍贵祭品,以表虔诚之心”isfreelytranslatedas“Duringthesacrificialceremonies,theancientShupeopleofferedprecioussacrificestoshowtheirsinceredevotion,whichwasacorepartoftheirculturaltraditions.”ThisnotonlyconveysthecontentofthesacrificialactivitiesbutalsosupplementsitscorepositionintheculturaltraditionsoftheancientShupeople,helpingforeigntouristsunderstandthesacrificialcultureandenhancingtheirtourismexperience.Whentransmittinginformation,thetranslationismaximallyfaithfultotheculturalconnotationscontainedintheoriginaltextandispresentedinawaythatiseasyforthetargetlanguageaudiencetoaccept.4.2TheApplicationofSkoposRule4.2.1AttheLexicalLevelExample1:SourceText(hereinafterreferredtoasST):青铜面具TargetText(hereinafterreferredtoasTT):BronzeMaskThegoaloftranslationisoftentoaccuratelyconveyspecificthingsaboutChineseculturetoEnglishreaders.“BronzeMask”clearlyindicatesthatitisaMaskmadeofBronze,whichenablesEnglishreaderstoquicklyunderstandthecoreinformationandeffectivelyachievethepurposeofculturalcommunication.Example2:ST:石壁TT:StoneBiFromthepointofviewofthepurposeprincipleofSkopostheory,therearesomeadvantagesintranslating“石壁”into“stoneBi”.Purposeofculturalcommunication:Topreserveculturalcharacteristicsandconveyspecificculturalconnotationstoacertainextent,thetranslationof“StoneBi”hascertainsignificance.“Bi”canbeseenasatransliterationoftheconceptof“壁”,whichretainsthecharacteristicsofChinesepronunciation,sothatreaderswhodonotknowChineseculturecanhaveaccesstouniqueChinesevocabularyandculturalelements,andpromoteculturalexchanges.WhenthetranslationisaimedattheaudienceswhohaveacertaininterestinandunderstandingofChineseculture,thistranslationmethodcantriggerthemtofurtherexplorethepossiblemeaningof“石壁”intheChineseculturalcontext;forexample,itmaybeassociatedwithsomedistinctivestonewalllandscapesandculturalrelicsonthestonewall,soastosatisfytheirdesireforculturalknowledge.Concisepurpose:Insomespecificapplicationscenarios,suchasshortlogos,headings,etc.,“StoneBi”ismoreconciseandclearer.Inthecaseoflimitedspace,thisconcisetranslationcanquicklyconveythebasicinformation,letthereaderquicklyknowthatthereferenceis“石壁”relatedthings,avoidlengthyandcomplexinterpretivetranslation,inlinewiththepurposeofconcisecommunicationofinformation.Example3:ST:青铜凤鸟TT:BronzePhoenix-shapedBirdCleartranslationpurpose:ThepurposeoftranslationistointroduceChineseculturalrelicstothetargetlanguagereaders,whoaremostlyforeignaudiencesunfamiliarwithChineseculture.ThetranslationmakesclearthatthematerialoftheobjectisBronzethrough“bronze”,sothatreaderscanquicklyunderstanditsbasicproperties.“Phoenix-shapedBird”furtherexplainsthat“Phoenix”(Phoenix)isadivinebirdimagethatisalsorecognizedinWesternculture;althoughitisdifferentfromtheChinese“phoenix”(凤凰)culture,itcanevokereaders’associationswiththisword,“shapedbird”means“...形状的”,“Bird”indicatestheformofabird,whichhelpsreaderstoconstructthegeneralappearanceoftheobjectintheirmind,andhelpstorealizethepurposeofintroducingtheculturalrelictoreaders.Adapttothetargetcontext:IntheEnglishcontext,“Phoenix”isawidelyrecognizedword.Theexpression“Phoenix-shapedBird”canmakeiteasierforEnglishreaderstounderstandandaccept.If“凤”isdirectlytransliteratedinto“feng”,readerswhoareunfamiliarwithChineseculturemaybeconfused.However,theassociationwith“Phoenix”reducesthedifficultyofunderstanding,makesthetranslationmoresuitablefortheculturalbackgroundandcognitivelevelofthetargetlanguagereaders,andbetterrealizesthepurposeofinformationtransmission.Servingthecommunicationfunction:OneofthepurposesofthetranslationistospreadChineseculturalrelicsandculture.“BronzePhoenix-shapedBird”clearlyandaccuratelyconveystheinformationof“青铜凤鸟”,highlightingthematerialandmorphologicalcharacteristicsoftheculturalrelics,whichishelpfulforforeignaudiencestohaveamoreintuitiveunderstandingofChinesebronzeculturalrelicsininternationalculturalexchanges.Thus,itcanpromotethedisseminationofChineseculturalrelicsandrealizethepurposeoftranslationinculturalcommunication.4.2.2AttheSyntacticLevelExample4:ST:三星堆遗址出土的青铜神树，造型奇特，充满了神秘色彩。TT:ThebronzesacredtreeunearthedfromtheSanxingduiSitefeaturesauniqueandmysteriousdesignthatisfullofenchantment.OneofthepurposesoftranslationistointroducetheculturalrelicsunearthedattheSanxingduiSitetoEnglishreaders.“ThebronzesacredtreeunearthedfromtheSanxingduiSite”clearlypointsout“theBronzesacredtreeunearthedfromtheSanxingduiSite”,allowingreaderstoquicklylocatekeyinformationandunderstandthesaidobject.Thetranslation“featuresauniqueandmysteriousdesignthatisfullofenchantment”emphasizesthatthebronzedivinetree“hasauniqueandmysteriousdesignthatisfullofenchantment”,sothatEnglishreaderscanappreciatetheuniquecharmoftheculturalrelic.StimulatetheirinterestinSanxingduicultureandachievethepurposeofculturaldisseminationandknowledgetransfer.4.2.3AttheTextualLevelExample5:ST:在中国古代神话中，乌为沟通天地人神的使者，人鸟合一的形象被赋予了神性。三星堆出土的青铜鸟足神像，人身鸟足，倒立，按罍顶尊。尊盖上有一立人，头戴高冠、双手握龙。这一罕见的青铜艺术杰作是中原商文化与古蜀地域文化的完美结合。TT:InancientChinesemythology,birdswereregardedasmessengersbridgingthegapbetweenhumansandgods,andthedeitystatuesmerginghumanandbirdformswereassociatedwithdivinity.Thebronzebird-footeddeitystatueunearthedfromSanxingduifeaturesahumanbodywithbirdfeet,depictedinaninvertedposition,andpressingdownonleiwithazunonhishead.Onthezun’slidstandsafigurewearingatallcrownandholdingadragoninhishands.ThisrarebronzemasterpiecerepresentsaperfectfusionoftheCentralPlainsShangcultureandtheancientShuregionalculture.Purposeoforiginalarticle:TointroducetoChinesereaderstherelevantsituationoftheunearthedbronzebird-footidolinSanxingduiandthecharacteristicsofitsculturalintegration,anddisseminatethisuniqueancientculturaltreasureanditsculturalvalue.Thepurposeoftranslation:TomakeEnglishreadersunderstandthedistinctivebronzebird-footdeityinSanxingdui,China,andthesignificanceofitsuniqueshapeandtheintegrationoftheCentralChineseShangcultureandtheancientShuregionalculturereflectedbehindit,whichplaysaroleinspreadingancientChineseculturetotheoutsideworldandpromotingcross-culturalcommunication.Forexample,thetranslationaccuratelyconveysthekeymodelingfeaturesofthebronzebird’sfootstatue,suchas“humanbird’sfoot,handstand,press,罍”andthestandingmanonthestatuecover,wearingahighcrownandholdingadragoninbothhands,soastorealizethepurposeoflettingthetargetreadersunderstandtheimageofthisculturalrelic.Example6:ST:四川出土的汉代播钱树由陶质树座、青铜树干及树枝等构成。青铜树枝上有西王母、朱雀、羽人、动物、钱纹等造型。摇钱树上的朱雀寓日神，与三星堆神树上的神乌意义一样。三星堆神树与摇钱树应有源流关系。TT:TheHanDynastymoneytreeunearthedinSichuanconsistsofapotterytreebase,bronzetrunk,andbranches.ThebronzebranchesfeaturevariousfiguressuchastheQueenMotheroftheWest,VermilionBird,featheredhumans,animals,andmoneypatterns.TheVemilionBirdonthemoneytreerepresentsthesungod,similarinsignificancetothedivinebirdsonthemythicaltreatSanxingdui.ThereLislikelyacornectionorsharedoriginbetweenthemythicaltreeatSanxingduiandthemoneytree.Realizationofthepurposeofinformationtransmission:Thetranslationaccuratelyconveystothetarge