Journal articles on the topic 'Dunhuang Caves'

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.

AbstractThe construction chronology of three of the earliest Dunhuang Mogao Grottoes (Caves 268, 272, and 275) has been the subject of ongoing debate for over half a century. This chronology is a crucial topic in terms of further understanding of the establishment of the Dunhuang Mogao Grottoes, early Buddhism in the Gansu corridor, and its relationship with Buddhism developed in the Central Plains. Building upon archaeological, art historical and radiocarbon (14C) dating studies, we integrate new 14C data with these previously published findings utilizing Bayesian statistical modeling to improve the chronological resolution of this issue. Thus, we determine that all three of these caves were constructed around AD 410–440, suggesting coeval rather than sequential construction.

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 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 digitization of dispersed collections offers the opportunity to do much more than simply image collections. The paper centres on major initiatives involving the British Library which are virtually reunifying significant collections dispersed around the world. Such virtual reconstruction of cultural heritage creates a different digital entity. The Codex Sinaiticus project has worked towards the July 2009 Web launch of the virtual reunification of all the leaves of one of the earliest extant Bibles. The approximately 400 leaves are physically located in St Catherine's Monastery, Mount Sinai, Leipzig University Library, the National Library of Russia, St Petersburg, and the British Library, London. The International Dunhuang Project is a very mature project that has been digitizing material from the Dunhuang caves and the Eastern Silk Road dispersed in London, Beijing, Dunhuang, St Petersburg, Berlin, Paris, Stockholm and Kyoto. These complex programmes have broad application to other cultural–historical projects, and some of the wider political, diplomatic and stewardship themes are developed.

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.

Dunhuang Art Cave (DAC), one of the most famous cultural heritage sites in the world, is confronted with serious natural efflorescence. How to virtually rebuild the caves and support their investigation and exploitation with computer graphics (CG) and Virtual Reality (VR) technologies is an urgent and important project. In this paper we discuss in detail the essential technical issues in our image-based virtual DAC navigation system. For DAC modeling of the cave architecture we employ 3D surface modeling, texture and 2D image-based modeling, murals, and painted statues. For DAC rendering we use the level of detail (LOD) method for murals and image-based rendering for painted statues. For DAC shadow generation we investigate a simple 3D model-based solution. Finally, this paper will show the general system architecture as well as demos of virtual navigation.

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.

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.

AbstractThis issue of Inner Asia ranges over diverse themes in the history and anthropology of Inner Asia. Lewis Mayo’s two-part article on ‘Illness, Threat, and Systems of Authority in Dunhuang’ is a notable contribution to the Journal because it relates history with anthropology in a theoretically innovative way. Medicine and politics,Mayo argues, are both forms of ‘event management’, and with this perspective we can see parallels between the management of disease at different historical periods in the same environment. The history of endemic disease in Dunhuang articulates a threefold linkage between sickness, geography and administrative power, in which each element helps to define and constitute the other. Describing the Dunhuang region involves constructing a history of the diseases to which that region has been prone, and the work that has been done in relation to them. On the one hand, modern public administration gives illness a geographical articulation, one that involves a distinctive local configuration of minerals and microorganisms. The geological and biological particularities of the Dunhuang area manifest themselves in the prevalence of certain kinds of diseases in the region, which public health authorities detect and seek to counteract. On the other, over a thousand years earlier, Dunhuang’s rulers were also scripting methods to keep the area safe from, threat, disease and instability. The battle against disease and misfortune was waged every year in an exorcism ceremony, but through analysis of particular late-9th-century texts Mayo relates an enhanced sense of threat to a specific political and institutional juncture – a particular combination of challenges to authority. In both cases, the prestige of physicians and political leaders rests in their calmness in the face of events, as well as their capacity to anticipate and prevent them. The medical manual, the gazetteer and the ritual guide all promise a mastery of events. Like the notion of the endemic disease, there is a regional profile to suffering, one that Mayo suggests is constituted by and helps constitute the local political order. The historical and anthropological analysis of illness must engage with the systems of authority whose actions and structures seek to regulate and eliminate it. In this sophisticated piece, Mayo argues that if we accept that our sufferings have an institutional form and often an institutional cause, we can grasp how the endless labour of reproducing co-ordination and regulation also generates its own structures of threat.

AbstractLiterary judgments (pan 判) were highly stylized prose pieces from the Tang dynasty written in response to legal and administrative controversies. The ability to compose judgments was the principal criterion by which candidates were selected for offices in the Tang bureaucracy. In this article, judgments written for cases that involved disputes between (prospective) spouses and their families are examined, with a focus on the use of extralegal considerations to resolve sensitive domestic conflicts. By analyzing select hypothetical judgments from Bai Juyi’s literary collection and three other judgments on family law cases (from a Dunhuang manuscript, a Tang miscellany, and the Song compendium Wenyuan yinghua 文苑英華), we may see how literary language and allusions played a role in eliciting the moral sensibilities and emotions of readers. For these cases, this strategy was more effective than arguments based on formal legal sources alone.

This paper examines the behavior of 16 transitive verbs, belonging to four different categories, in ten pre-Qin texts. The study reveals that in cases where no object is present, this is not arbitrary. Rather, there are clear restrictions on the non-occurrence of objects, which can be correlated with eight distinct situations. These can be accounted for in terms of the ten parameters proposed by Paul J. Hopper and Sandra A. Thompson in "Transitivity in grammar and discourse" (1980). In addition, the paper discusses the behavior of transitive verbs in the Dunhuang bianwen and concludes that the situation we observe in these later writings is rather different from what we find in the pre-Qin language.

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 % and 83.3 % 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.

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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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.