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Relevant bibliographies by topics / Dunhuang Caves (China)

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Academic literature on the topic 'Dunhuang Caves (China)'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Dunhuang Caves (China)"

1

Zhang, Xinyue. "The Dunhuang Caves: Showcasing the Artistic Development and Social Interactions of Chinese Buddhism between the 4th and the 14th Centuries." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 266–79. http://dx.doi.org/10.54097/ehss.v21i.14016.

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The Dunhuang Caves, situated in China's Gansu Province, are renowned globally for their significant collection of murals, sculptures, architecture, and ancient Buddhist manuscripts. These caves, established along the historic Silk Road, encapsulate a rich tapestry of cultural exchange and artistic evolution spanning from the 4th to the 14th centuries. Comprising sites like the Mogao Caves and the Yulin Caves, they not only stand as reservoirs of ancient Buddhist art but also highlight intersections between Buddhism and neighboring Central Asian and Chinese cultures. The evolution of the Dunhuang Caves' art is segmented into periods mirroring Chinese dynasties, showcasing diverse influences from various regions, marking the journey from purely religious symbols to a more secularized and inclusive representation. Concurrently, the Caves mirror the secularization trajectory of Buddhism in China. Beyond their artistic merit, the Dunhuang Caves played a pivotal role socially, reflecting the intertwined relationships between Buddhism, society, and the Chinese ruling elite. As Buddhism assimilated into Chinese life, its representation in the Dunhuang Caves evolved, ultimately serving both spiritual and political purposes. This study delves into the artistic progression and the multifaceted social implications of the Dunhuang Caves' existence.

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Hu, Xiao. "Usability Evaluation of E-Dunhuang Cultural Heritage Digital Library." Data and Information Management 2, no. 2 (August 2, 2018): 57–69. http://dx.doi.org/10.2478/dim-2018-0008.

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Abstract Digital libraries have been strategic in preserving and making non-movable cultural heritage information accessible to everyone with network connections. In light of their cultural and historical importance in the ancient “Silk Road,” murals and stone caves in Dunhuang, a remote city in northwest China,have been digitized, and the first batch of digitized visual materials has been made available to the general public through the e-Dunhuang digital library since May 2016. The aim of this study was to systematically evaluate e-Dunhuang from users’ perspectives, through usability testing with nine user tasks in different complexity levels and in-depth interviews with regard to a set of criteria in user experience. The results of quantitative analysis confirmed the overall effectiveness of e-Dunhuang in supporting user task completion and demonstrated significant improvements in several criteria over an earlier panorama collection of Dunhuang caves. The results of qualitative analysis revealed in-depth reasons for why participants felt satisfied with some criteria but had concerns with other criteria. Based on the findings, suggestions are proposed for further improvement in e-Dunhuang. As e-Dunhuang is a representative repository of digitized visual materials of cultural heritage, this study offers insights and empirical findings on user-centered evaluation of cultural heritage digital libraries.

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Shiru, Wang. "FORMATION OF THE ART DECORATION OF THE DUNGHUAN CAVES UNDER THE INFLUENCE OF EXTERNAL FACTORS." Spatial development, no. 6 (December 26, 2023): 3–10. http://dx.doi.org/10.32347/2786-7269.2023.6.3-10.

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The influence of external factors on the formation of the figurative concept of Dunhuang wall paintings is analyzed. The purpose of the article is to highlight the processes of forming the artistic decoration of Dunhuang caves under the influence of external factors. The relevance of the research topic is due to the need to draw the attention of world scientists to the problem of research and preservation of the Dunhuang complex, since some of the frescoes are in a state of emergency and the exchange of experience of restorers from different countries is necessary for their preservation. The tasks of the study were to determine the role and significance of external factors in the activation or decline of the Dunhuang complex, and based on this to argue the dependence of the figurative concept of Dunhuang wall paintings on external factors (political, ideological, economic, social, natural and climatic). It is proved that the appearance of the Dunhuang Buddhist cave temple complex and the processes related to its construction were largely determined by external factors: at first, the commitment of the rulers of China to the new religion of Buddhism contributed to the activation of the process of creating new sanctuaries, and later under the influence of local philosophical and religious traditions as well as cultural and artistic preferences, there is a transformation of Buddhist fresco traditions borrowed from India, which acquires a local color in the conditions of China. It should be noted that while preserving the general canonicality of wall painting in the process of developing artistic skills, it acquires greater realism and the means of artistic expression are diversified with portraits of benefactors, scenes from their lives and landscape compositions.

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Qinglin, Guo, Hiromi Takabayashi, Toshio Nakamura, Chen Gangquan, Ken Okada, Su Bomin, Fan Yuquan, and Hiroshi Nishimoto. "Radiocarbon Chronology for Early Caves of the Mogao Grottoes at Dunhuang, China." Radiocarbon 52, no. 2 (2010): 500–510. http://dx.doi.org/10.1017/s0033822200045537.

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The Mogao Grottoes site at Dunhuang is one of the largest stone cave temples in China. The site features 735 caves with Buddhist mural paintings. To investigate the chronology of early caves of the Mogao Grottoes, radiocarbon dates were measured by accelerator mass spectrometry (AMS) on plant remains collected from 4 caves: 268, 272, 275, and 285. Caves 268, 272, and 275 are regarded (by archaeological analysis) to be the earliest existing caves in the Mogao Grottoes. The fourth cave, 285, features inscriptions on the north wall mentioning the oldest dates of the Chinese Mogao era. Plant materials, taken from the plaster layer of mural paintings and core materials from statues, were collected as samples (n = 11) for AMS 14C dating at Nagoya University. Two samples from cave 275 gave calibrated 14C ages of cal AD 380–430 (1 σ). The other samples resulted in a time interval of cal AD 400–550. The calibrated 14C ages obtained for the samples taken from painted murals and the statues in cave 285 are consistent with the date given by the inscription remaining on the cave's north wall.

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Liang, Jiani, Dexiang Deng, Xi Zhou, and Kaige Liu. "The Ecosystem Protection and Promotion of Mogao Grottoes." E3S Web of Conferences 199 (2020): 00010. http://dx.doi.org/10.1051/e3sconf/202019900010.

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The cultural heritage of the Dunhuang Mogao Caves is a valuable as set for China, but the site is located in Gansu Province in northern China, where the ecological environment is fragile, the environmental space is relatively small and the environmental carrying capacity is limited. In the process of accelerating the tourism development and construction of Mogao Caves cultural heritage, the ecological balance of the environment has been upset and problems have emerged. This paper investigates the ecological and environmental management and enhancement of the site, as well as the conservation and protection of the non-renewable resources of the Mogao Caves cultural heritage.

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WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (December 15, 2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.

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The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."

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Russell-Smith, Lilla. "Hungarian Explorers in Dunhuang." Journal of the Royal Asiatic Society 10, no. 3 (November 2000): 341–62. http://dx.doi.org/10.1017/s1356186300012943.

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Much has been written about the extraordinary artistic, religious and historic importance of the Thousand Buddha Cave Temples at Dunhuang, in Gansu province, western China. One hundred and twenty years ago, on 2 May, 1879, a Hungarian expedition reached Dunhuang. It is a little known fact that its members were to be the first western travellers to visit the cave temples there. Still less known is the influence of this expedition on Sir Aurel Stein, the Hungarian-born British archaeologist. This article examines a hitherto unstudied aspect of why Stein was in the position to become the first to arrive in Dunhuang after the important discovery was made. It is argued that the little known Hungarian expedition was a determining factor in prompting Stein to undertake the hazardous journey to Dunhuang. Furthermore the travel notes of these earlier Hungarian travellers throw light at the very unstable situation at the Dunhuang caves thirty years before Stein's visit. This information is likely to have influenced Stein's decision to take much of the material away for safe keeping as at the time of his visit the situation continued to deteriorate.

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Wang, Zhichen, and Young Soo Chang. "The Pearl Rounded Pattern in the Mogao Caves in Dunhuang." Institute of Art & Design Research 24, no. 1 (August 31, 2021): 1–12. http://dx.doi.org/10.59386/jadr.2021.24.1.1.

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The rounded pearl pattern is composed of continuous round beads, sometimes into strips, arranged on the edge of the main pattern or the fabric, sometimes in a rhombus shape filled with flowers, animals, or other shapes. The research method entailed literature research and the analysis of the artifacts of Dunhuang Mogao Grottoes. The conclusions are as follows: Foreigners mainly influenced the rounded pearl pattern that later became popular in China. At present, most academic researchers believe that it originated from the Sasan Dynasty of Persia. Migrating between different races in the northern Dynasties as the fusion and the contact relations of power in the east and west, east Asia, west Asia culture and arts, interact each other along the silk road, rounded pearl pattern was introduced into China during the Northern Dynasties, and the Chinese people extensively love them. Chinese people based on the main patterns to transform and apply them, at the Sui and Tang Dynasties has become a trendy decoration pattern. The research content is limited to the Sui and Tang Dynasties' ornamentation of animals and plants. In other periods, the study of the rounded pearl pattern mainly focuses on the filaments of the rounded pearl pattern and grotto temple patterns from Wei, Jin to Sui, and Tang Dynasties. This study sorted out rounded pearl patterns and included geometric figures, such as straight lines, bow, wheel, rectangle, and polygon. These pictures include a variety of different patterns, like animals and flowers. Under the influence of Sassanian civilization, the bead pattern appeared in the Northern Dynasty, which was very simple. The pattern gradually became more and more complex when the Sui Dynasty reached its peak. Entering the middle and late Tang Dynasty, the bead pattern slowly diminished and became monotonous again.

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Wang, Wanfu, Xu Ma, Yantian Ma, Lin Mao, Fasi Wu, Xiaojun Ma, Lizhe An, and Huyuan Feng. "Molecular characterization of airborne fungi in caves of the Mogao Grottoes, Dunhuang, China." International Biodeterioration & Biodegradation 65, no. 5 (August 2011): 726–31. http://dx.doi.org/10.1016/j.ibiod.2011.04.006.

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Hwang, Yoonah. "Materialized Wishes: Long Banner Paintings from the Mogao Caves of Dunhuang." Religions 14, no. 1 (December 29, 2022): 58. http://dx.doi.org/10.3390/rel14010058.

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This paper explores the religious function and meaning of long banner paintings from Cave 17 of the Mogao Caves in Dunhuang, in conjunction with material culture in Northwestern China in the ninth and tenth centuries CE. The so-called forty-nine-chi banners have peculiar traits such as extremely long lengths, an optional triangular headpiece, and a paired or single strip of textile on which a series of standing bodhisattvas are painted. The author focuses on the large number of textiles used for such banners and questions how the extraordinary length and material used contributed to fulfilling the donor’s wishes. By examining both the banners’ physical characteristics, such as the type of textiles, pigments, and configurations, and the theological background based on the Buddhist and Daoist scriptures about longevity, repentance, and healing, the author suggests that the long banners are a materialized form of longevity and prosperity by physically lengthening the banner with multiple bolts of silk. This paper further argues that depicting multiple bodhisattvas in a pictorial form on a long strip of textile was regarded equally as a powerful means for obtaining good health, prolonging life, eliminating sins, and thus being reborn in the Pure Land.

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Dissertations / Theses on the topic "Dunhuang Caves (China)"

1

Yen, Chih-hung. "Bhaiṣajyaguru at Dunhuang." London : University of London, 1997. http://catalog.hathitrust.org/api/volumes/oclc/68914537.html.

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Chan, Fung-lin, and 陳鳳蓮. "Digital Dunhuang: the use of new technology for off-site interpretation of a fragile heritage site." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48344461.

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The group cave-temples in Dunguang, Gansu Province of north-western China offer an unparalleled display of grotto art of over a thousand years from the fourth century to the fourteenth century. They represent a microcosm of ancient and medieval civilizations, providing us with enormous opportunities of heritage experience and understanding. However, these grotto treasures are extremely fragile. Over the centuries they have been suffering from serious deterioration and damage due to human and natural causes, and in recent decades the ever-increasing visitor load has posed even greater threat to the murals. The emerging trend of using advanced technology in the preservation and the interpretation of the grotto art offers new possibilities of remote access and interpretation which shall enhance understanding and enjoyment of the cultural treasures. This dissertation sets out to examine such trend of digital interpretation of heritage in off-site scenarios. The research includes a background of the study, the significance of the Dunhuang Caves, the application of new technology, followed by a case study of re-presenting and interpreting one of the Dunhuang caves in Hong Kong.
published_or_final_version
Conservation
Master
Master of Science in Conservation

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3

Lin, Fan 1972. "Visual images of Vimalakīrti in the Mogao caves (581-1036)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98553.

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This thesis examines the visual images of Vimalakirti, an ancient Indian lay Buddhist, painted on the walls of the Buddhist cave complex at Dunhuang, Gansu province, between 581 and 1036. The sixty-nine Vimalakirti, paintings preserved at Dunhuang are a valuable source for the exploration of historical, religious, and artistic dimensions of wall paintings and sutras. These visual images, together with other textual sources such as sutras, commentaries, and inscriptions, suggest a variety of interesting questions: Why was this theme repeatedly represented? Do the images all have the same prototype? Is there a spiritual function contained in the layout of the caves and composition of the wall paintings? Did the meaning of these images change according to historical context? Did the patrons have a political scheme in mind when commissioning these devotional artworks? While it is difficult to provide definitive answers to all these questions, this thesis will attempt to clarify them and offer preliminary answers on the basis of available visual and textual sources.
The introduction of this thesis includes an overview of basic concepts related to wall paintings, a short history of the transmission of the Vimalakirti,-nirdesa Sutra, and a review of past scholarship on Vimalakirti, paintings and related subjects. The body of the thesis is divided into three main chapters. The first chapter describes the important visual representations of Vimalakirti, before the Sui dynasty. The second chapter of the thesis will provide an introduction to representations of Vimalakirti, at Dunhuang from the late sixth to the early eleventh centuries. The third chapter examines the social functions and symbolic meanings of the Vimalakirti, paintings at Dunhuang.

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Schmid, David Neil. "Yuanqi medieval Buddhist narratives from Dunhuang /." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3043951.

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Lok, Wai-ying, and 駱慧瑛. "The significance of Dunhuang iconography from the perspective of Buddhist philosophy: a study mainly based onCave 45." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199321.

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This study explores the significance of Dunhuang 敦煌 iconography from the perspective of Buddhist philosophy. The time span of the Dunhuang iconography of the Grottoes runs from the 4th to the 14th centuries. This wide coverage makes it extremely valuable for revealing the developments in art, history, culture, and religious activities in China, and neighbouring regions along the Silk Road. Most scholars have approached the Dunhuang Grottoes from the perspectives of art, history, or archaeology. However, studying the Dunhuang Grottoes from the perspective of Buddhist philosophy has remained under-researched, and therefore, less exhaustively dealt with. It is in Dunhuang Mogao 莫高 Cave 45 that one can see the most well preserved Buddha statue group, and the only Guanyin S?tra 觀音經, i. e. the Chapter of the Universal Gateway of Avalokite?vara Bodhisattva 普門品 from the Saddharmapu??ar?ka S?tra 妙法蓮華經, painted on one entire wall. This dual association has rendered Cave 45 the most ideal source for this research. In this research, Buddhist iconography will be studied in the light of Buddhist philosophy. The study also takes into account triangulation of data collected through various sources, namely: (1) Field trips in Dunhuang and related areas for primary data collection; (2) Image analyses of data collected from primary and secondary sources; (3) Verification of data in the light of both ancient and modern Buddhist literature. The research will be focused on identifying Buddhist philosophy from the mural paintings of the Guanyin S?tra and on the conceptualized understanding of the material as presented in the paintings. The causes of suffering will be identified after examining the thirty-three manifestations / appearances of Avalokite?vara as depicted here. The scenes of various desires as identified and conceptualized in the mural painting of the Cave 45 will also be studied. The Buddha statue in the centre of the statue group portrays cessation of suffering. The statues of bodhisattvas and disciples along both sides, with different facial expressions and body gestures, portray the different levels of cessation of suffering, all leading to ultimate awakening and full emancipation. In this connection, the missing pair of statues in the statue group will also be explored and identified. It is true that Dunhuang iconography, as exemplified through Cave 45, can be approached from many perspectives. However, the primary objective of this study is to show that the Dunhuang iconography is designed as an artistic portrayal of the fundamental teachings of Buddhism.
published_or_final_version
Buddhist Studies
Doctoral
Doctor of Philosophy

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Wu, Ming-Kuo. "The Jataka tales of the Mogao Caves, China in anthropological perspective." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Dissertations/Spring2008/m_wu_041808.pdf.

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7

Ning, Qiang. "Art, religion and politics Dunhuang Cave 220 /." 1997. http://catalog.hathitrust.org/api/volumes/oclc/38535268.html.

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Abe, Stanley Kenji. "Mogao Cave 254 a case study in early Chinese Buddhist art /." 1989. http://catalog.hathitrust.org/api/volumes/oclc/23748969.html.

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"敦煌寫經書法研究." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074130.

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There are five chapters. Chapter 1 reviews the publishing of catalogs, the methods used to identify fake copies, and previous scholarly studies. I will also define the research scope, objective and methodology of the study. Chapters 2 to 4 explain the relationships between official sutra copies and Buddhist ones, religion and scripture calligraphy, and the copyists and their calligraphy. Through analysing the colophons at the end of the manuscripts and the style of the calligraphy, I intend to show the impact of politics, religion and the status of the copyists on the calligraphy. Chapter 5 focuses on the artistic style of the calligraphy of Dunhuang scriptures, explores the concepts of Xiejing Style and Beiliang Style , and highlights the stylistic differences and similarities in different geographical areas.
This study demonstrates that Dunhuang scriptures are an important part in the history of Chinese calligraphy. The quality of the calligraphy varies: some may be masterpieces while others common everyday writings.
This thesis investigates the calligraphy of Buddhist and Daoist scriptures found in Dunhuang and Xinjiang, spanning from the Jin dynasty to the Song dynasty. The calligraphy of the copied scriptures is analyzed in its specific social and historical context. Based on historical records, contemporary references and the actual objects themselves, this study uses a textual, comparative research method to give an overview of the calligraphy and to describe its course of development in an approach that is as faithful to history as possible.
毛秋瑾.
呈交日期: 2005年12月.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 143-149).
Cheng jiao ri qi: 2005 nian 12 yue.
Advisers: Jao Tsung-i; Harold Mok Kar-leung.
Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4016.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 143-149).
Mao Qiujin.

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10

Ho, Judy Chungwa. "Tunhuang cave 249 a representation of the Vimalakirtinirdesa /." 1986. http://catalog.hathitrust.org/api/volumes/oclc/21839542.html.

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Books on the topic "Dunhuang Caves (China)"

1

1955-, Hu Liangxue, and Tong Dengjin 1941-, eds. Dazu shi ku yu Dunhuang shi ku de bi jiao. Chengdu Shi: Ba Shu shu she, 2008.

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1938-, Agnew Neville, ed. Ancient sites on the Silk Road: Proceedings of the second international conference on the conservation of grotto sites, Mogao Grottoes, Dunhuang, People's Republic of China, June 28-July 3, 2004. Los Angeles: Getty Conservation Institute, 2010.

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Jiarong, He, ed. Tonkō hekiga monogatari. Beijing: Xin shi jie chu ban she, 2008.

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Jiarong, He, ed. Tonkō hekiga monogatari. Beijing: Shin Sekai Shuppansha, 2008.

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Whitfield, Roderick. Cave temples of Dunhuang: Art and history on the silk road. Los Angeles: Getty Conservation Institute and the J. Getty Museum, 2000.

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Susan, Whitfield, and Agnew Neville 1938-, eds. Cave temples of Dunhuang: Art and history on the silk road. London: British Library, 2000.

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Agnew, Neville. Conservation of ancient sites on the Silk Road: Proceedings of the second international conference on the conservation of grotto sites, Mogao Grottoes, Dunhuang, People's Republic of China, June 28-July 3, 2004. Los Angeles: Getty Conservation Institute, 2010.

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Dunhuang wen xian tan xi: Dunhuang documents. Beijing: Ren min mei shu chu ban she, 2005.

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Dunhuang Shi Ku Gong Yang Ren Yan Jiu Shu Ping: The Research Review on the Donors of Dunhuang Grottoes. Zhejiang University Press, 2016.

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Ren lei de Dunhuang. Lanzhou Shi: Dunhuang wen yi chu ban she, 2005.

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Book chapters on the topic "Dunhuang Caves (China)"

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Chen, Yifei. "Research on the Tiles with Patterns of Dunhuang Mogao Cave Art, China." In Proceedings of the 2nd International Conference on Culture, Design and Social Development (CDSD 2022), 146–53. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-018-3_14.

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"Dunhuang (Gansu, China): Mogao Caves." In Asia and Oceania, 262–66. Routledge, 2012. http://dx.doi.org/10.4324/9780203059173-61.

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