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

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.

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.

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.

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.

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.

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."

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.

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.

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.

Buddhist Utopian vision shaped the art of Pure Land; so did many other factors, including the actual locale. Taking Mogao Cave 172 as the main case study, this article deciphers a visual paradigm of a Pure Land painting and cave in Dunhuang (Gansu, China) from the high Tang period (710–780 CE). By analyzing the visual contents and compositions, the painting medium, the cave spaces, and the cliff site, this study investigates the ways in which the architectural images and spaces in Cave 172 helped to convey the invitation to Pure Land. A close reading of the Western Pure Land painting in Cave 172 reveals the spatial construct of the Buddhist paradise that encouraged a transformative viewing experience. A situated visual analysis of Cave 172 with its auxiliary cave and neighboring caves illustrates the historical procedure in which Pure Land imageries were further integrated with the architectural spaces of caves and cave suites. As this study demonstrates, strategies of spatial layering, self-symmetry and scaling, and plastic and multimedia practices of cave-making enhanced the situatedness of the utopian vision.

The Mogao caves in Dunhuang are a UNESCO World Heritage Site located in the inland desert region of China. Within this site, cave 285 is one of the most important caves. Because a great deal of deterioration has taken place within this cave, a large amount of research has been carried out on the environmental effects of these changes. Results show that the east wall has been least affected by moisture, solar radiation, and daylight compared to the other walls and ceiling. However, the effects of deterioration, including scratches, detachment, and discoloration, are nevertheless seen on the east wall. In this study, we investigated the effects of adhesion and the collision of windblown sand as factors contributing to the deterioration of the east wall. We conclude that sand blown by high-velocity wind has led to detachment, flaking, and losses to the east wall including fading of the paintings.

Blue and Green landscape painting is an important component of Chinese landscape painting. The purpose of this paper is to explore the origins of blue and green colors in blue and green landscape painting and search for the reasons for the establishment of the blue and green landscape painting's style. Today's many researchers identify the murals of the Dunhuang Mogao Caves as the original form of Chinese Blue and Green Landscape Painting, and the Mogao Caves' painting style was significantly influenced by Indian Buddhist art. This paper employs a research approach that compares the stylistic convergence of early Chinese and Western Buddhist artworks. By combining the study of the trade history of the Silk Road, which helped spread Buddhism, and analyzing the origins of blue and green pigments, this paper finds that the use of blue and green colors showed signs that they spread with Buddhist art. The conclusion is that the earliest blue and green color in Chinese Blue and Green Landscape Painting originated from the Buddhist art in the western part of China and spread with Buddhism to the east China.

Although research on the natural ventilation of single-sided buildings is progressing, research on the natural ventilation of the Mogao Grottoes, which have special shapes and structures, is relatively limited. The purpose of this paper is to develop a correlation for calculating the natural ventilation rates of such grottoes. Field experiments were carried out on two typical caves to measure their meteorological parameters and natural ventilation rates to verify the validity of the proposed correlation. The results show that our correlation has good reliability and stability when predicting the natural ventilation rates of the caves. First, the new correlation has a small average deviation of 16.35%. The average deviations in the natural ventilation rates predicted by seven established correlations are as low as 17.85% and as high as 59.39%, revealing a large gap compared with the correlation proposed herein. Second, the maximum deviation in the outputs of the proposed correlation is only 7.70% between each case. Finally, a comparison between the calculated results and the values measured in Cave 328 shows that the correlation is also suitable for large-volume caves. The developed correlation provides theoretical support and a scientific method for preventive protection and a quantitative analysis method for the study of natural ventilation in caves.

Abstract. The cultural heritage of the Buddhist grottoes on the Gansu section of the Silk Road in China has important historical, cultural and artistic values. In order to better protect these precious cultural sites including through facilitating ongoing assessment of their condition, the Dunhuang Academy has created a pilot inventory based on the Arches open-source software platform. This paper first briefly introduces the most important grottoes and the representative caves in Gansu province. It then, in view of the diversity of the grotto architecture layout, describes the Arches semantic graph data modelling technology and how the flexibility of Arches Designer was used to design the resource models, which not only meet data management needs, but also ensure data interoperability and longevity through incorporation of the CIDOC-CRM ontology. In addition, through design of the grottoes map plugin and resource components within Arches, the simple interaction and intuitive visualization of grottoes information was achieved. The Dunhuang Academy’s deployment of Arches will serve the need for grottoes data management and provide support for the establishment of a more scientific and effective protection and management system for the grottoes on the Silk Road in Gansu province. It is hoped that this project will demonstrate the suitability of the Arches platform to support the management of other grotto sites outside of Gansu province, as well as for heritage management elsewhere in China.

Dunhuang Grottoes is one of the treasures of ancient Chinese art, famous for its exquisite murals and sculptures. The decorative patterns in the grottoes are rich and varied with brilliant colors, demonstrating the fusion of the cultures of the Central Plains and the Western Regions. The caisson motifs, in particular, are grand in scale and rich in variety, leaving a deep impression on people. These motifs complement the architectural structure of the grottoes, and together, they form a beautiful and harmonious artistic landscape. After China entered a fully industrialized society, the national culture of modern design in architecture became stronger and stronger, and caisson motifs are constantly being re-explored and applied to interior design. This study uses observational and case study methods to explore the relationship between traditional decorative motifs and modern design by examining the application of caisson motifs from the Mogao Grottoes in interior design. It is found that combining traditional caisson patterns with modern design is a feasible path, and the combination of traditional decorative elements and modern design, on the one hand, breaks the limitations of the current design, improves the aesthetic value and humanistic value of modern design works; on the other hand, it enriches the personality and emotion of the design works, enriches the expression of modern design, improves the overall image of modern design, and gives a new vitality.

This paper investigates the architectural turn of the largest Buddhist cave complex in late-medieval Dunhuang (in Northwest China) with a focus on the contemporaneous exterior structures. The structures include timber facades that cover the caves’ antechambers cut out from the vertical cliff, timber-structured ante-halls on the ground, and earthen shrines and pagodas on the cliff top. These exterior structures, albeit mostly non-extant, constituted the comprehensive built environment of the Mogao cave site. This paper first overviews the diversity of exterior structures through a theoretical reconstruction of several building types including gable-sided facades, eave-sided facades with baosha-dormers, and compound architecture comprising a double-or-triple-level pavilion-like facade and a cliff-top shrine. I then look into one of the three zones where the multiple façade types congregate. The three zones, namely, cave cloisters centered around the Southern and Northern Colossal Buddha Caves and “the Three-Story Pavilion,” defined and redefined the appearance of the mile-long complex by means of vertical extension against the pre-existing horizontal passageways and skylines. As the paper argues, the exterior structures were a collective attempt to transform the cave site into a palatial complex amid mountains, which was motivated by a longing for synchronizing the earthly and the heavenly realms.

This article examines religions in which the life of the spiritual leader is as important as the death, and where the narratives of death (and not just of life) enter the image cycles in art. The Buddha willed himself to die when he was eighty at Kushinagara. Buddhism is one of the rare world religions where there is a huge repertoire of mahaparinairvana images. Buddhism values the release from the cycle of rebirths and deaths. The sets and cycles of images that make up the representation of the death of the Buddha in sculpture and paintings in caves spread across Eurasia are described in detail. The death images are important spatially, materially and culturally. These images began to be made in Mathura, were perfected at Gandhara and travelled all the way across Central Asia to China and beyond. The relics left behind after cremation were enshrined in stupas. They represented a continuation of dharma, of the presence of the Buddha even after he had passed on. The article analyses in detail three caves – Cave 26 in Ajanta in Maharashtra, India; Cave 205 in Kizil in Kucha, Central Asia (East Turkestan) and Cave 148 in Mogao, Dunhuang, China. All three caves juxtapose monumental images of the Dying Buddha with different themes related to his death: The Temptation of Demon Mara in Cave 26, Ajanta; how King Ajatashatru was told of Buddha’s passing along with the cremation of the coffin with the mahaparinirvana Buddha in it in Cave 205, Kizil. Cave 148 at Mogao contains the most complete set of scenes and images representing events pre- and post- Buddha’s death in sculptures and murals. In addition, there are Chinese interpretations of the Pure Lands in large murals.

The direct ingestion of indoor dust particles at historical heritage sites is a primary exposure pathway for employees to heavy metals. Water-soluble ions (WSIs) and heavy metal levels, sources, bioaccessibility, and health risks associated with indoor dust in the Mogao Grottoes were analyzed using comprehensive methods to determine the differences in the concentrations and distribution characteristics of WSIs and heavy metals between statue dust and floor dust. The concentrations of WSIs and heavy metals and the magnetic values of χ lf and SIRM in indoor dust were higher than those in street dust and topsoil. The mean χ lf and SIRM of statue dust particles were 100.3 × 10 − 8 m 3 k g − 1 and 1686.9 × 1 0 − 5 Am 2 k g − 1 . Specifically, the concentration of Pb was 277 mg k g − 1 , 15-fold higher than the background value, indicating the continual receipt of heavy metals with high magnetic minerals during dust deposition. WSIs mainly originate from the weathering of surrounding rocks and earthen plaster; Pb originates from the shedding of paint of murals and sculptures; and Zn, Cu, and magnetic minerals originate from traffic sources. The bioaccessibility of heavy metals is high in the gastrointestinal phases of indoor dust. Overall, the health risks posed by heavy metals in indoor dust were low, with moderate to high risks in individual caves. Ingestion presents the highest noncarcinogenic and carcinogenic risk to employees. These results provide essential knowledge on indoor dust characteristics in the Mogao Grottoes, facilitating strategies for dust pollution mitigation and employee health risk control.

This article explores the origin of the Thunder God image and its iconographical features that appear in the <i>Exempla of Filial Sons in the Illustrated Guide to the Three Bonds</i> (Filial Sons, hereafter), published during the reign of King Sejong (r. 1418-1450), and <i>An Illustrated Guide to the Five Moral Imperatives</i> (<i>Five Moral Imperatives</i>, hereafter), compiled during the reign of King Chǒngjo (r. 1776-1800). As attested by the textual descriptions in the <i>Shanhai jing</i> and the <i>Lunheng</i> and the visual depictions in the pictorial stones from the Wu Family Shrine and the mural paintings in the Mogao Caves of Dunhuang, the Chinese iconography of Thunder God primarily takes on the form of a muscular man, sometimes added with beast-headed or winged variations, striking a series of drum connected together. Drawing on Buddhist paintings of the Koryŏ, the <i>Filial Sons</i> of the Chosŏn shows Thunder God as a beast-headed man with four sticks held in both hands and feet surrounded by a series of drum attached together. The Thunder God image in the <i>Five Moral Imperatives</i> continues to follow the iconographical convention adopted in the <i>Filial Sons</i> in the sense that it symbolizes thunder and lightning. However, it takes on a bird form as a schematization of the image of a bird-headed man with wings, which was widely adopted by the late Chosŏn painting. The earliest known case of depicting Thunder God as a bird-headed man with wings appears in the <i>Moon Reflection and the Biography of the Buddha</i> (<i>Wŏrinsŏkpo</i>). This particular iconography of Thunder God seems to have been inspired by the iconography of the Buddhist guardian Garuḍa and that of the Daoist Thunder Marshal “Heavenly Lord Deng, the Governor of Thunder,” depicted in the Daoist scripture Yushu jing, reflecting the transition from the form of a beast-headed man to a bird-headed man with wings. The latter form became the dominant iconography of Thunder God in the late Chosŏn period. It frequently appeared in the Eight Scenes of the Buddha’s Life or the Sweet Dew Painting. Yun Tu-sŏ (1668-1715) also adopted that iconography since it conformed to the depiction of Thunder God in the illustrations of books imported from Ming and Qing China.

Labeling 3D point cloud data with traditional supervised learning methods requires considerable labelled samples, the collection of which is cost and time expensive. This work focuses on adopting domain adaption concept to transfer existing trained random forest classifiers (based on source domain) to new data scenes (target domain), which aims at reducing the dependence of accurate 3D semantic labeling in point clouds on training samples from the new data scene. Firstly, two random forest classifiers were firstly trained with existing samples previously collected for other data. They were different from each other by using two different decision tree construction algorithms: C4.5 with information gain ratio and CART with Gini index. Secondly, four random forest classifiers adapted to the target domain are derived through transferring each tree in the source random forest models with two types of operations: structure expansion and reduction-SER and structure transfer-STRUT. Finally, points in target domain are labelled by fusing the four newly derived random forest classifiers using weights of evidence based fusion model. To validate our method, experimental analysis was conducted using 3 datasets: one is used as the source domain data (Vaihingen data for 3D Semantic Labelling); another two are used as the target domain data from two cities in China (Jinmen city and Dunhuang city). Overall accuracies of 85.5&amp;thinsp;% and 83.3&amp;thinsp;% for 3D labelling were achieved for Jinmen city and Dunhuang city data respectively, with only 1/3 newly labelled samples compared to the cases without domain adaption.

Ground-based measurements were carried out during field campaigns in April–June of 2010, 2011 and 2012 over northwestern China at Minqin, the Semi-Arid Climate and Environment Observatory of Lanzhou University (SACOL) and Dunhuang. In this study, three dust cases were examined, and the statistical results of dust occurrence, along with physical and optical properties, were analyzed. The results show that both lofted dust layers and near-surface dust layers were characterized by extinction coefficients of 0.25–1.05 km−1 and high particle depolarization ratios (PDRs) of 0.25–0.40 at 527 nm wavelength. During the three campaigns, the frequencies of dust occurrence retrieved from the lidar observations were all higher than 88%, and the highest frequency was in April. The vertical distributions revealed that the maximum height of dust layers typically reached 7.8–9 km or higher. The high intensity of dust layers mostly occurred within the planetary boundary layer (PBL). The monthly averaged PDRs decreased from April to June, which implies a dust load reduction. A comparison of the relationship between the aerosol optical depth at 500 nm (AOD500) and the Angstrom exponent at 440–870 nm (AE440–870) confirms that there is a more complex mixture of dust aerosols with other types of aerosols when the effects of human activities become significant.

In this study we present the retrieval of the column-averaged dry air mole fraction of carbon dioxide (XCO2) from the TanSat observations using the ACOS (Atmospheric CO2 Observations from Space) algorithm. The XCO2 product has been validated with collocated ground-based measurements from the Total Carbon Column Observing Network (TCCON) for 2 years of TanSat data from 2017 to 2018. Based on the correlation of the XCO2 error over land with goodness of fit in three spectral bands at 0.76, 1.61 and 2.06 μm, we applied an a posteriori bias correction to TanSat retrievals. For overpass averaged results, XCO2 retrievals show a standard deviation (SD) of ~2.45 ppm and a positive bias of ~0.27 ppm compared to collocated TCCON sites. The validation also shows a relatively higher positive bias and variance against TCCON over high-latitude regions. Three cases to evaluate TanSat target mode retrievals are investigated, including one field campaign at Dunhuang with measurements by a greenhouse gas analyzer deployed on an unmanned aerial vehicle and two cases with measurements by a ground-based Fourier-transform spectrometer in Beijing. The results show the retrievals of all footprints, except footprint-6, have relatively low bias (within ~2 ppm). In addition, the orbital XCO2 distributions over Australia and Northeast China between TanSat and the second Orbiting Carbon Observatory (OCO-2) on 20 April 2017 are compared. It shows that the mean XCO2 from TanSat is slightly lower than that of OCO-2 with an average difference of ~0.85 ppm. A reasonable agreement in XCO2 distribution is found over Australia and Northeast China between TanSat and OCO-2.

As part of a comprehensive environmental assessment of the Dun-Gel railway project located in Dunhuang city, Gansu Province, China, a wind tunnel experiment was proposed to predict surface shear stress changes on a sand dune when a bridge was built upstream it. The results show that the length of the wall shear stress shelter region of a bridge is about 10 times of the bridge height (H). In the cases that the interval of the bridge and sand dune (S) is less than 5 H, normalized wall shear stress on the windward crest is decreased from 1.75 (isolated dune) to 1.0 (S = 5.0 H, measured downwind bridge pier) and 1.5 (S = 5.0 H, measured in the middle line of two adjacent bridge piers). In addition, the mean surface shear stress in the downstream zone of the sand dune model is reduced by the bridge pier and is increased by the bridge desk. As for the fluctuation of surface shear stress ( ζ ) on the windward crest, ζ decreases from 1.3 (in the isolated dune case) to 1.2 (in the case S = 5.0 H, measured just downwind the pier) and increases from 1.3 (in the isolated dune case) to 1.6 (in the cases S = 5.0 H, in the middle of two adjacent piers). Taking the mean and fluctuation of surface shear stress into consideration together, we introduce a parameter ψ ranging from 0 to 1. A low value indicates deposition and a high value indicates erosion. On the windward slope, the value of ψ increases with height (from 0 at toe to 0.98 at crest). However, in the cases of S = 1.5 H, ψ is decreased by the bridge in the lower part of the sand dune at y = 0 and is increased at y = L/2 compared with the isolated dune case. In other cases, the change of ψ on the windward slope is not as prominent as in the case of S = 1.5 H. Downstream the sand dune, erosion starts in a point that exists between x = 10 H and 15 H in all cases.

Mount components and textile borders represent important elements of Asian paintings. However, they are often side-lined or not considered an integral part of the original piece, as they may be later additions or may have been replaced during historic conservation or mounting interventions. Nevertheless, evidence is sometimes present that textile borders are contemporaneous to the production of the paintings they frame or, in the case of paintings found in archaeological contexts, to the time of deposition. Even when not contemporaneous with the paintings, the mount textiles are often of significant historic interest in themselves, showing a range of complex textile techniques and materials, and highlighting the re-use of fabrics. In all these cases, the study and reconstruction of the original colours of the borders enable further understanding of the holistic visual impact originally intended for the composition, as well as of the role of colour itself, which was used to emphasise, complement or contrast important pictorial themes or motifs in the paintings. Furthermore, the identification of dyes and dyeing techniques has the potential to support the production date and provenance of the paintings. In this study, the textile borders and some additional mounting elements of six paintings (late 9th–10th century CE) from the Library Cave, Mogao Grottoes, Dunhuang, China, one rare Korean portrait painting dated 1789 CE, and two Tibetan thangkas (18th century) were investigated with the aim to identify the dyes present. Fibre optic reflectance spectroscopy (FORS) was used to obtain information non-invasively and, when sampling was possible, high-performance liquid chromatography-tandem mass spectrometry (HPLC-MS/MS) was used to obtain molecular identification of the dyestuffs employed in their production. Typical Asian dyes, such as gromwell (Lithospermum erythrorhizon), sappanwood (Biancaea sappan), safflower (Carthamus tinctorius), turmeric (Curcuma longa) and pagoda tree flower buds (Sophora japonica), were identified. Some of the dyeing techniques were commensurate with the geographical and temporal provenance assigned to these pieces. Considerations about fading and discolouration of the dyes enabled valuable additional information to be obtained that complements the evidence gleaned from the study of the paintings and informs conservators and curators on best practices in the preservation and display of these precious and delicate artworks.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). 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AbstractThe Dunhuang Mogao Grottoes are a significant cultural heritage site in the Silk Road, famous for its wonderful murals and statues. The rainfall causes the changes of humidity in the caves, which can easily activate the salts diseases of murals. In order to prevent the deterioration of the murals, the environmental monitoring tests were conducted to analyze the microclimate changes of the cave in rainfall weather, and proposed the risk prevention measures and suggestions. The results indicate that the temperature of caves has small change, but the humidity shows a clear trend of increase. The humidity and the duration of high humidity increases with the increase of the rainfall grade and frequency. The optimal starting time for environment control in the cave is when aatm and acave are consistent, and the relative humidity is controlled below 62%. The caves with lower layer, larger degree of openness and small volume are most vulnerable to water vapour diffusion. The environment monitoring should pay more attention to the continuous rainfall weather and the vulnerable caves. The research has great significance for the prevention of ancient mural deterioration.

AbstractGender transformation of Guanyin (Avalokitesvara in India) in China is an intrinsically fascinating research topic. Besides the inner source from the scriptures, literatures and epigraphs, iconological analysis is usually as the external evidence of Guanyin’s gender recognition. However, the ambiguous gender of the Guanyin image is often intentional and can be objectively assessed. Can computer vision be applied to the recognition objectively and quantitatively? In this paper, VGGNet (VGGNet is a very deep convolutional network for large-scale image recognition proposed by Visual Geometry Group of Oxford University) is applied to propose an automatic gender recognition system. To validate its efficiency, abundant experiments are implemented on the images of Dazu Rock Carvings, Dunhuang Mogao Caves, and Yungang Grottoes. The following conclusions can be made according to the quantitative results. Firstly, VGG-based method can be effectively applied to the gender recognition on non-Buddhist and Buddhist images. Compared with five classical feature extraction methods, VGG-based method performs not much better on non-Buddhist images, but superior on Buddhist images. Furthermore, the experiments are also carried out on three different training datasets, real-world facial datasets, including CUHK (CUHK is a student face database of Chinese University of Hong Kong). IMFDB (IMFDB is an Indian movie face database.) and CAS-PEAL (CAS-PEAL is a Chinese face database created by Chinese Academy of Sciences (CAS) with varying pose, expression, accessory, and lighting (PEAL). The unsatisfactory results based on IMFDB indicate that it is not valid to apply Indian facial images as a training set to the gender recognition on Buddhist image in China. With the sinicization of Buddhism, there were more Chinese rather than Indian characteristics on Buddhist images in ancient China. The results based on CAS-PEAL are more robust than those based on CUHK, as the former is mainly composed of mature adult faces, and the latter consists of young student faces. It gives the evidence that Buddha and Bodhisattva (Guanyin included) were as ideally mature men in original Buddhist art. The last but the most meaningful is that besides the time factor, the relationship between image making and the scriptures, or the intentional combination of male and female features, the geographical impact should not be ignored when we talk about the gender transformation of Guanyin in ancient China. The gender of Guanyin frescoes in Dunhuang Mogao Caves painted in the Sui, Tang, Five, Song and Yuan dynasties were always with prominent male characteristics (with tadpole-like moustache), while bodhisattvas in Yungang Grottoes engraved in the Northern Wei Dynasty were feminine even though they were made earlier than those in Dunhuang Mogao Caves. It is quite different from the common idea that the feminization of Guanyin occurred in the early Tang Dynasties and completely feminized in the late Tang Dynasty. Both the quantitative results and image analysis indicate that there might be a common model in a specific region, so the image-making of Guanyin was affected much more by geographical rather than temporal factor. In a word, it is quite a complicated issue for the feminization of Guanyin in China.

The British Library’s Stein collection contains about 14,000 scrolls, fragments and booklets in Chinese from a cave in the Buddhist Mogao Caves complex near Dunhuang in north-west China. This article describes storage and access solutions for the collection in the context of a busy research library and the currently ongoing Lotus Sutra Manuscripts Digitisation project. The article presents the various technical and organisational challenges that its rehousing presents to the library conservators. Restricted by the existing storage facilities, budget limitations and tight project deadlines, the conservators must provide housing that is adequate for the scroll format, is practical and prevents dissociation, but is also cost- and time-effective. With the best storage practice in mind, they have developed original solutions, balancing the specific housing requirements and constraints. These storage solutions allow the conservators to ensure the long-term safety and accessibility of the collection while laying down a foundation of standardisation that will ensure a homogeneity of approaches for future projects.