南诏国时，这里是国王的鹿苑。
不过倒有一块南诏德化碑。
这位母亲是南诏的女娲。
石窟中有南诏王形象的三窟是南诏王族乌蛮民族祖先崇拜的遗迹，而非本主。
The three caves containing the Nanzhao kings' figures were the traces of the ancestor worship of the Nanzhao royal family and the southern minority nationalities.
南诏王室所造的石窟精华部分应为技艺成熟的四川工匠所为，而非本地的白族工匠。
The finest grottoes sponsored by th Nanzhao royal household were carved by highly - skilled craftsmen from Sichuan Province but not by the local Bai Craftsmen.
这个四处扩张、外表繁盛的王国，内部却潜藏着巨大的隐患，这些问题无时不困扰着南诏王。
Although he expanded the territory everywhere and made the kingdom thrive seemingly, the inner part hided enormous disaster. He was perplexed by this problem all the time.
本文从青铜时代、唐初、南诏大理国、元朝、从明代到民国等时期论述了大理地区的白族服饰的历史。
The paper discusses the history of Bai People's costume from the historical period stretching from the Bronze Age, early Tang Dynasty, Nanzhao Dynasty, Yuan Dynasty, Ming Dynasty to the Repub…
但是，就这样一个强盛的王朝，也是战争较多的王朝，特别是同吐蕃和南诏的战争时断时续，形成了拉锯战。
However, there were still many wars in such a powerful dynasty, especially those intermittent wars against Tubo and Nan Zhao, forming a long-term battle.
佛教密宗传入大理后，逐渐被当地的白族人民所吸取，到南诏大理国时达到极盛时期，金刚杵是密宗重要的法器之一。
After Esoteric Buddhism spread to Dali, it evolved among the Bai people and eventually reached its pinnacle during the period of Nanzhao and Dali Kingdom.
佛教密宗传入大理后，逐渐被当地的白族人民所吸取，到南诏大理国时达到极盛时期，金刚杵是密宗重要的法器之一。
After Esoteric Buddhism spread to Dali, it evolved among the Bai people and eventually reached its pinnacle during the period of Nanzhao and Dali Kingdom.
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