• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.172-181
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• 2023

Dunhuang murals are one of the most outstanding achievements in the art of traditional grotto painting in China, and are known as a "Wall Museum". As a representative of the heyday of Dunhuang murals, an in-depth exploration of Dunhuang murals from the perspective of color will help researchers understand the laws and connotations of color in Dunhuang murals during the Tang Dynasty and fully grasp the art of Dunhuang murals. The color system of the traditional Chinese "Five colors" concept expresses the cultural attributes and emotions of the Chinese people and has distinctive national characteristics. This thesis provides a theoretical grasp of the traditional Chinese "Five colors" view of color system, the Dunhuang murals of the Tang Dynasty, and the color configuration of the color composition principles, and uses the modern design principles of color composition to conduct an in-depth analysis of the configuration of the Dunhuang murals' use of color. Explore the unique characteristics of Tang Dynasty Dunhuang murals, and help modern designers master richer color application techniques by learning from and studying the harmonious patterns of Dunhuang murals to provide a new path for the dissemination of excellent Chinese traditional culture.

• Korean Journal of Oriental Medicine
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• v.13 no.1 s.19
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• pp.43-52
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• 2007

It is generally called that the Dunhuang Manuscript ${\ulcorner}Shanghanlun{\lrcorner}$ (敦煌本 ${\ulcorner}$傷寒論${\lrcorner}$ ) is all the series of documents relating to the Shanghanlun (傷寒論) included in one of the testaments, which was, in 1900, originally found in the Cangjing hole(藏經洞, Mogao cave(莫高窟), Dunhuang(敦煌), Gansu province(甘肅省). I tried to research on the ${\ulcorner}Fuhengjue$ Zangfuyongyao $Fayao{\lrcorner}$ (${\ulcorner}$輔行訣藏府用樂法要${\lrcorner$) in the Dunhuang Testament (敦煌遺書), which include main texts of the ${\ulcorner}Tangyejingfa{\lrcorner$ (湯液經法) upon which the ${\ulcorner}Shanghanlun{\lrcorner}$ (傷寒論) is based, because it seems to be in the category of the Dunhuang Manuscript ${\ulcorner}Shanghanlun{\lrcorner}$ (敦煌本 ${\ulcorner}$傷寒論${\lrcorner}$) in the broadly extended sense.

• Proceedings of the KSRS Conference
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• 2003.11a
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• pp.444-446
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• 2003

Mogao Grottos are located at the eastern foot of the Mingsha Mountain, 25km southeast of Dunhuang City. The caves were excavated into the cliff on the west bank of the Daquan River. The wall paintings in the caves are subject to the severe deterioration generated by recrystallization of salt. It relates with the movement of water/moisture in rock formation. Through the satellite image analysis and geological survey it has been clarified that the movement of ground water is governed by the fault system. The geographical nature is specified by the aggressive tectonic movement from the south.

• Journal of Acupuncture Research
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• v.19 no.4
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• pp.42-48
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• 2002

Background : There are many books on ancient medicine among the Dunhuang books found at a cave in Dunhuang, most of which were transcribed during Tang dynasty, reflecting ancient theories and practices. Objective and Material : To investigate the usage of the terms of three pairs of yin and yang as acupoint names, 4 books on acupuncture and moxibustion among Dunhuang books were examined. Results and Conclusion : Investigation of the usage of the terms of three pairs of yin and yang in the scripts and illustrations of 4 Dunhuang books which are also the names of 12 main meridians revealed that the terms of three pairs of yin and yang were used as the names of specific acupoints so called three pairs of yin and yang acupoints. The significance of the terms of three pairs of yin and yang as the names of specific acupoints are discussed focusing on the early form and development of meridian theory.

• Journal of the Korean Society of Costume
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• v.22
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• pp.159-176
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• 1994

This study's purpose is to find the ancient costume of the folk song's words on Dunhuang manuscripts in the background wass-carvings sculptures and several art works. Dunhuang had played the part of major route between ancient China and Europe. It is located on kam-suksong the west of China. 1. In the aspect of costume arrangement hair Styling is represented by Naegagyo, Wangyesa, Kyongburak, Bonkwyun, Pogurak, Chonsonja, Namgaja, Tongson-ga, Ojesa, Chanboja in Dunhuang manuscripts. tugue is sim-ilar to Sabyokkwanja in Naegagyo as of that time these kinds of Kwan-ja was very popular. It was told that emperor's wife concubine and maid of honor would wear kwnaja favorably. And the kinds of Tugeu is PuyongKwyunkye, Aangunkye, Chunkye from Kyuwanjon except Sangunkye, Ounkye in Dunhuangsa. 2. Jangdaegy is guoted from Kyuw-anjon -A series of the chinese history book-tells us about women's make-up . The narmes of make-up are Hongjang Unjan--g, Yiljang chwejang, Tam-ajang Murgjang, Sanagjang, Light-make up are referred in Naegagyo is included as packjang Besides we can find other make-up skills Huphwaro and Rujang from the Kaewonch onbon-wisa which was Yangkwibi's episodes. We can find the a corpus of song's words about cosmetic custom in Kor-ea. Which is 'Haecho' folk song in the souther-en costal regions 'Jinggum' folk song in Kim-hae regions and so on.... It's words is similar to Dunhuangsa in China. 3. Bichun inherited to China with India Bud-dism art in the middle of Dunhuang wall-pain-tings is one of the important Buddist saint. Sometimes it is painted with Giakchun Its arms of fly-dnacing in heaven with colored belt on body has almost the form of play on the musical instrument, We can see seasily the form in the painting of Buddist ser-mon. It was progressed and changed with the background of chinese traditional culture. When Dang's period came the color was chan-ged lighting dark blue has rhythmical and viv-id power of life. 4. Among the corpus of song's words which express the singers' system and rites of their tradition or habits. Dunhuang manuscripts des-cribes on behalf of the folk song's words in tra-ditional costume. This is following: (1) Naegagyo o sabyokwanja o Chyrasam o Rashang (2) Wangyesa o Sokryugun o Costume for fisher man (3) Bungajang of the chanboja o Ajang (4) Pongkwyun o Chongui (5) Tongsongs o Junofore (6) Namgaja o thin-Rasam (7) Yuchungnang o Hongsam o Sokryugun : The color of red costume (8) Kyongburak o Hongrasam o Sokryugun : Costume for charming woman Therefore traditional costume could be extracted according to the Dunhuang folk song's words out of culture such as learning rit-es three-obedience four-virtues and in-struction. As the same time it reflects ancient China's characteristics directly. I would endeavor to development for the history of the costume furher creative design and participat-ed in research activity with concerns forward continuously.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.60-67
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• 2014

In the history of ancient art, the form harmonizing Text and Image is founded in many genres of art. especially Buddhist art Image, which is used as important tool as the text to spread Buddhist ideas. This original literary form have switched the visual communication systems, patterns of speculation is another reason to have a symbolic system. The switch between Text and Image is very important on interpreting the aesthetic concept of the modern interpretation of visual media. Therefore, This research has investigated and compared the Wall paintings in Dunhuang to Animation 's Image Narrative. The original story of is based on the Buddhist Jataka tale of the same name, which were discovered as wall paintings made by unknown artists at the Dunhuang Mogao Caves.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.463-470
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• 2021

Due to natural and human factors, dunhuang frescoes in China have gradually degenerated. China has conducted digital transformation of frescoes since 1990. However, it requires expensive research costs. Most of the visitors passively accept transformation contents and lack subjective participation. The paper focuses on produces a prototype of Dunhuang frescoes on the CoSpaces EDU. It was implemented as a metaverse through procedures such as transforming the cave into 3D, mapping images to the cave model and developing CoBlocks. The research puts forward a more specific methodology without expensive costs of development. The paper makes it easier to realize the immersive and interactive virtual Dunhuang frescoes world, to improve the tourism contents and educational effect. This research carries on the statistics to the product result which develops according to the user experience of 100 different ages, has obtained the good feedback. The research results need to be improved is to strengthen the processing of graphic details. Therefore, Optimization and improvement of the result will be carried out in the future research.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.504-518
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• 2023

The objective of this study was to explore the symbolism associated with phoenix patterns in China and the temporal aesthetic characteristics of these patterns found in Dunhuang Mogao Grottoes. The study involved collecting examples of clothing designs featuring phoenix patterns from China Fashion Week and the Vogue website, spanning from spring and summer of 2016 to fall and winter of 2022. After collecting and organizing these examples, representative cases were selected for analysis. The objective was to identify effective techniques for incorporating phoenix patterns within the context of Dunhuang Mogao Grottoes and provided insights for future clothing design and textile pattern design research. Phoenix patterns boasted a lengthy history and were laden with symbolic meaning. Early renditions of phoenix patterns found at Mogao Grottoes in Dunhuang were relatively simplistic in design, mainly employing elements like rhythm, coordination, balance and symmetry to convey a sense of nature and gravity. Over time, these patterns evolved under the influence of the prevailing cultural backdrop, employing repeated emphasis to portray notions of abundance and tenacity. Furthermore, regarding the use of phoenix patterns in clothing, there were four prevalent expression techniques: embroidery, beading, printing, and knitting. Traditional techniques like embroidery and beadwork often prioritized aesthetic features like coordination, emphasis, and symmetry, thereby showcasing the opulent characteristics of phoenix patterns. On the other hand, printing and knitting techniques used a single phoenix pattern or a modified version to simplify designs by emphasizing or repeating aesthetic characteristics while adhering to a modern artistic approach.

• The International Journal of Costume Culture
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• v.12 no.2
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• pp.210-214
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• 2009

Cave 79 of Kumtura grottoes, is the best preserved cave, which has an important meaning for research on Uighur costume. This paper is intended to analyze the costume characteristics of female donors in Cave 79 by comparing image materials between Dunhuang murals and other murals in Xinjiang province. In Cave 79, female donor wears red robe with tight sleeve, whose collar is crescent-shaped decorated. Two different opinions are upheld for this decoration. One regards this as the turn-down collar, while the other believes this as decoration on V-neckline. Red robe is quite common in female donors of Xinjiang and Dunhuang murals and a female in fresco is wearing a crown in a triangle red headwear style, regarded as red silk and drooping at head. Female donors wear an extra coat, kame hair clasp, red jacket, light-colored high-waist skirt with a long-tail waistband, and tangerine Pibo (silk ribbon) with scattered small flowers. All these costume styles are commonly-used by Han females. The kame headwear is also the common ornament for Han females and the female's hairstyle is in cone shape on head by a white kame. Current costumes are similar but not completely same.

• Journal of architectural history
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• v.22 no.5
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• pp.23-35
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• 2013

This study aims to investigate the architectural characteristics of the Da-bo stupa by examining the correlation among architectural languages and by studying the features of its architectural components and transitional changes shown in Da-bo stupa line drawings in Dunhuang Mogao Grottes. The results are as follows. 1st, the Da-bo stupa of Dunhuang faithfully follows the sutra of lotus, and although the form changes, the fundamental essence of Bo-tap-yong-chul and two seated Buddhas provided by the Gyun-bo-tap-pum in the sutra of lotus is consistent. 2nd, the pagoda body can be periodically divided into parasol, stupa, and royal palace types. The parasol type has an incomplete tower body, which makes distinguishing each of its architectural components difficult. The stupa type appeared between the early (AD 618-712) and middle (AD 766-835) Tang dynasty. It combines the form of Indian stupa type and East Asian wood structural architecture. The royal palace type, which appeared between the peak period of the Tang (713-765) and Sung Dynasties, shows the standardized pattern of the Da-bo stupa described as two seated Buddhas and Bo-tap-yong-chul. 3rd, the use of a stylobate does not appear in the early construction of Da-bo stupa, only in the later period, in the form of high pillars. Forms include many Su-mi-jwah and three-way stairways and Dab-do, but as time passes, the forms are simplified to the form of high pillars. 4th, the purpose of early Da-bo stupa was to provide space for Da-bo-yu-rae of Gyun-bo-tap-pum; hence, it did not have sangryoon(the top part). However, after it was influenced by general pagodas, sangryoon was established. Toward the Tang Dynasty, sangryoon has come to emphasize the forms of boryoon(nine wheels) or dome. However, this form is eventually simplified to only retain bo-joo(the orb).