Search Results (11)

This article studies the unique funerary decorative and architectural programs of the Foyemiaowan tombs in Dunhuang, dating to the third and fourth centuries CE. While Dunhuang is known for its later Buddhist grottoes, its sophisticated pre-Buddhist religious landscape remains understudied. This article focuses on the elaborate screen walls constructed of painted pictorial bricks, which represent the celestial realm designed to visualize the soul’s transcendence to heaven. Based on iconographic analysis, this study discusses the highlighted decorative design of screen wall at Foyemiaowan and explains the different artistic logics behind the lavish exterior decoration of Foyemiaowan vis-à-vis the interior-focused programs of neighboring sites like Xincheng in Jiayuguan. This study situates visual and material symbols in the distinct arrangement of the whole tomb space, which together reflect local adoption and innovation of Central Plain traditions in Early Medieval Dunhuang. Full article

No depiction of the Medicine Buddha has been identified in the Mogao Grottoes prior to the Sui Dynasty. Through a re-examination of the sculptural program and the ink inscriptions in Mogao Cave 285, this study demonstrates that the preaching scene on the south side of the east wall, whose principal figure bears the inscription “Amitāyus Buddha”, exhibits a closer textual and iconographic correspondence with the Guanding jing than with the Pure Land texts proposed in prior research. Based on textual, iconographic, and spatial evidence, this study argues that the preaching scene on the north side, corresponding to the south scene, also derives from the Guanding jing, with the principal figure identified as the “Medicine Buddha of Lapis Lazuli Crystal Radiance”. This new discovery establishes that the east wall of Mogao Cave 285 contains the earliest depiction of the Medicine Buddha at the Mogao Grottoes, dating to the Western Wei Dynasty. This study substantially revises the established chronology of the Medicine Buddha cult in the Dunhuang region and calls for a reassessment of the textual foundations underpinning the artistic program of Mogao Cave 285. Full article

Despite being the most popular sutra tableau in Dunhuang, the utter lack of any comprehensive, or chronological academic analysis even in Chinese calls for a thorough research on the Medicine Buddha Sutra iconography at Dunhuang. This paper will explore the Medicine Buddha both in the literary form, the sutras, and the visual form, the sutra tableaux, when they first appeared in China during the Sui Dynasty. First, the relevant sections of the four Medicine Buddha Sutra translated in Chinese will be examined in detail. Then, the earliest four pictorial representations, namely Caves 417, 433, 436, and 394 at Dunhuang, will be scrutinized to establish a firm foundation of this said sutra tableau for later periods. By comparing the deities, and other special attributes presented in these images with what were recorded in the sutras, this paper reveals how the anonymous monastics and artists “re-presented” the Medicine Buddha from literary form to pictorial form, which embodies the intermediallity during the Sui Dynasty in Dunhuang. After analyzing how the textual elements such as the Medicine Buddha, attendant Bodhisattvas, Twelve Demigods, Four Heavenly Kings, and the magical life-prolonging instruments were depicted in the paintings, intermediality between the texts and imagery is brought to light. Two most decisive details, the small sizes of the cartouches for the inscriptions of the Twelve Demigods, and the number of Medicine statues that should be present at the ritual, clearly show the Medicine Buddha Sutra imagery painted during the Sui Dynasty in Dunhuang is based on the earliest Chinese edition, Sutra on the Initiation to Remove Unwholesome Deeds and Attain Salvation from Birth and Death Taught by the Buddha, translated by Śrīmitra. Full article

Not enough attention has been paid to the artistic approach of depicting human figures at the center of double-scroll patterns in Chinese Buddhist art. Originating from Greco-Roman culture, this motif entered China from the overland Silk Road around the late 5th century, evolving into two systems. The Hexi Corridor system, centered on Dunhuang, predominantly features lotus-born beings holding vines. The figural types evolved from lotus-born beings to celestial beings, bodhisattvas, and buddhas, with postures ranging from vine-holding to mudra-forming, lotus-tray-lifting, music-playing, and dancing, demonstrating a clear trajectory of development. The Northern Central Plains system, successively centered in Pingcheng, Qingzhou, and Yecheng, developed a relatively complete sequence only in buddha figures. The motif first spread through the Hexi Corridor before influencing the Northern Central Plains. It was adapted from its original Mediterranean context of mythological themes and funerary or temple use to illustrate Buddhist doctrines in China, absorbing elements of Han, Western Regions, and Central Asian cultures. By clarifying the motif’s origin, spread, evolution, and adaptation through systematic analysis of material evidence, this article reveals an intrinsic connection between Greco-Roman culture and Chinese Buddhist art, enriches the history of Sino-foreign cultural exchange, and reflects how Buddhism absorbed diverse cultural elements to achieve Sinicization. Full article

With the development of international cultural heritage, the positive shift from historic environments to historic urban landscapes has been explored in China. At the same time, China is also trying to extend its heritage corridors to historic urban landscape corridors; thus, the spatial organization characteristics and themes of historic landscapes are being explored. This study took the Dunhuang Oasis area as an example and, based on regional, cultural, and natural heritage sites and man-made environmental characteristics, identified and evaluated historic urban landscape corridors. The least cumulative resistance model was applied to identify historic landscape corridors, and the multicenter evaluation model was used to classify the historic landscape corridors. From the perspective of corridor identification, the military defense and historic landscapes of the city ruins together reflect the human need for “city administration–border defense–ancient trade and commerce”. Grottoes and scenic landscapes are more dependent on the Gobi Desert, mountains, and other areas intertwined with the oasis. The drainage system and water conservancy landscape consists of four stable landscape corridors containing east, west, north, and south canals, which are the basic driving force for the growth of the town. From the corridor hierarchy, we studied layer formation from the Dunhuang urban area, the western and northern local oasis dry canal, Mingsha Mountain–Crecent Spring, etc., as interconnected trunk corridors. The periphery of the Dunhuang urban area encompasses the southern trunk canal, southeastern Mogao Grottoes–Sanwei Mountain road, and other branch corridors. This study determined the composition and level of importance of historic landscape corridors, while at the same time enhancing the visual representation and skyline organization, which can be used for territorial spatial planning and research in functional urban areas. Full article

This article delves into the exploration of a significant sign, the “viśvavajra”, found in the caisson ceilings of Buddhist esoteric art in Dunhuang’s Mogao Caves. These caissons, featuring the viśvavajra sign in the center, were prevalent from the mid-Tang period to the Western Xia dynasty (ninth to thirteenth centuries) and are recorded by The Overall Record of Dunhuang Mogao Grottoes under description as “Jiaochu Jingxin”. Similar caissons are also found in Western Buddhist Caves near Dunhuang, and Yulin Caves in Guazhou County, indicating a distinct regional character. Focusing on a well-preserved and intricately detailed example from Cave 361, this article aims to elucidate the specific tantric significance of the viśvavajra at the center of the caissons within the broader context of Buddhist art. Drawing from related tantras, the discussion explores how the sign and its surrounding compositions align with a particular homa (fire offering) maṇḍala, specifically the śāntika maṇḍala crucial to numerous Tantric Buddhist rituals. Furthermore, the article examines the evolution of caisson of this type of maṇḍala over time. By comparing the mid-Tang example from Cave 361 with the late Tang period’s Cave 14, a noticeable shift in format becomes apparent. The viśvavajra sign takes on new significance, embodying “the samaya of all Tathāgatas”. Ultimately, the article explores how the significance of the viśvavajra sign transforms into an allusion to Vairocana or Rocana under the Sino-Tibetan Esoteric Buddhist context in the Hexi Corridor during the early Northern Song and Western Xia dynasty. Full article

The emotions perceived by tourists and their effects in the tourism context are increasingly highlighted in tourism studies. In the cultural heritage tourism context, tourists’ emotional experience comes from their cognitive evaluation of the natural environment and the humanistic environment and triggers deep cognitive processing and prosocial behavior, further building tourists’ identity with culture and enhancing their awareness and heritage conservation behavior. Based on the theory of emotional evaluation and positive emotional expansion and construction, this study constructed the research model of emotional arousal—positive emotional experience—tourists’ cultural identity—heritage protection behavior. Three hundred and ninety-seven tourists’ data were empirically tested using the World Heritage Site, the Dunhuang Mogao Grottoes, as a case site. The study found that in the cultural heritage tourism context, the cognitive evaluation of the natural and humanistic environment has the effect of inducing positive emotional experience among tourists; positive emotional experience positively influences tourists’ cultural identity and heritage conservation behavior; and they are part of the mediating variables of tourists’ emotion elicitation and cultural identity. The results of this study will further enrich the theoretical research on emotions in the cultural heritage tourism context and also help the relevant departments of cultural heritage tourism further enhance tourists’ cultural identity and heritage conservation behaviors from the perspective of tourists’ emotional experience. The future research could focus on investigating the emotional triggers’ impact on tourists’ cultural identity and heritage conservation behavior in relation to a particular cultural experience activity. Full article

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. Full article

In 2020, a WeChat mini-programme called the Dunhuang E-Tour (云游敦煌) was launched during the COVID-19 pandemic to showcase one of China’s most important religious heritage sites, the Dunhuang Mogao Grottoes (also known as the Dunhuang Caves), and it attracted a considerable number of online tourists. Unlike the colonial image of Dunhuang in Chinese public discourse, the mini-programme does not focus on Dunhuang’s history; rather, it provides a dynamic and interactive representation of Dunhuang’s religious murals, painted sculptures and cave architecture. To reflect the impact of the mini-programme’s digital mechanisms on users’ experience, this study adopts an analytical framework that combines the walkthrough method and religious tourist perspectives to explore the image of the digital Dunhuang and how it was shaped. The analysis finds that the functions of the Dunhuang E-Tour create a culturally rich image of Dunhuang, which subverts its decades-long Dunhuang image as a site of loss in Chinese public discourse. This difference in images mirrors the potential impact of China’s recent cultural policy of ‘cultural confidence’ in relation to its cultural and creative industries. Full article

Currently, urbanization driven by global capital flows entails a main trend in many large cites in China, while global capital investment in small inland cities especially in western China is extremely scarce, where their globalization characters the powerful nationalization power and market activation. Dunhuang, a small inland city in western China, has transformed successfully from an agricultural county to an international tourist city, a platform for worldwide cultural communication, and a node city in the Belt and Road region because of its unique and brilliant resources: Mogao Grottoes and Dunhuangology. Therefore, this paper develops a conceptual framework of the multiple cooperative mechanisms and globalization path (MCMGP) of Dunhuang, elaborating the process of industrial transformation, urban globalization, and multiple cooperative mechanisms between government and market actors based on interviewing records and statistics. Findings show that the MCMGP features government-led intervention, resource orientation, and centralization that embodies the driver of state-owned enterprises (SOEs). Also, the MCM in Dunhuang’s globalization contains the mechanism of enrolment, mobilization and action, governance and global marketing, distributed in the two phases. Equally important, in response to the Belt and Road Initiative (BRI) and Silk Road (Dunhuang) International Cultural Expo (SRDICE) from the state, the city government has significantly reinvested and refined cultural tourism via governance mechanisms, carving out a key node city in the Silk Road and elevating an international tourist city. Environmentally, Dunhuang’s tourism internationalization enhances the process of the development of a sustainable shared mobility industry. Furthermore, its tourism development and social–ecology system maintain the synergistic relationships which international tourism promotes such as urban ecosystem and public welfare and in turn, social–ecological enhancement serve Dunhuang’s international tourism well. Practical implications of how Dunhuang’s experience may have lessons for others are discussed in China’s peculiar socialist market economy discourse. Full article

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. Full article