• International Journal of Advanced Culture Technology
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• 제11권3호
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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.

• 한국한의학연구원논문집
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• 제13권1호통권19호
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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.

• 대한원격탐사학회:학술대회논문집
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• 대한원격탐사학회 2003년도 Proceedings of ACRS 2003 ISRS
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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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• 제19권4호
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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.

• 복식
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• 제22권
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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.

• 한국콘텐츠학회논문지
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• 제14권11호
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• pp.60-67
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• 2014

예술의 역사에 있어 문자와 형상이 어우러지는 형태는 고대 예술의 여러 장르에서 발견된다. 특히 불교예술의 도상은 문자와 동등한 의미전달 수단으로서 교리를 선전하는 중요한 도구였다. 이는 원래의 문학적 형식이 회화적 형식으로 소통체계가 전환됨을 말하며, 사유방식도 다른 기호적 체계를 가진다. 문자와 형상의 상호 전환은 현대 영상매체의 미적개념을 해석하는데 매우 중요하다. 그러므로, 본 논문은 형상적 사유를 통한 현대 대중매체의 시각예술에 대한 해석의 실마리를 고대 돈황벽화 <구생록본생도>에 나타난 도상적 서사와 애니메이션 <구색록>의 영상이미지 표현과의 비교분석을 통해 살펴보았다.

• 디지털융복합연구
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• 제19권11호
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• pp.463-470
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• 2021

중국의 둔황 벽화는 자연과 인위적인 요소로 인하여 점점 퇴화되고 있으며 중국 둔황 벽화에 대한 보호연구는 1990년부터 벽화의 디지털 트랜스포메이션을 실시하였다. 그러나 값비싼 연구비용이 필요하고 대부분 관람객들은 디지털미디어에서 관람을 수동적으로 받아들이며 메타버스형 참여가 부족했다고 판단된다. 본 연구는 둔황 고굴 벽화를 연구범위로 정하고, 메타버스를 위해 COSPACES EDU 플랫폼에서 프로토타입을 제작하였다. 둔황벽화를 3차원으로 변환시키고 동굴모형에 이미지를 매핑하여 관광과 교육을 위한 코블록스 블록을 개발하는 등의 절차를 통하여 구현하였다. 또한 사례 연구를 통해 비싼 개발비용을 사용하지 않는 구체적인 방법론을 제시하여 몰입형 둔황벽화 세계를 쉽게 구축하고 관광 콘텐츠와 교육효과를 높이기 위한 프로세스를 개발 제안하였다. 그리고 100개의 유저 체험 설문 피드백을 기준으로 개선해야 할 연구 방향은 문화제 디테일에 대한 퀄리티를 강화하는 것으로 나타났다. 향후 연구를 통해 이를 보완, 최적화해야 할 것으로 판단된다.

• 복식문화연구
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• 제31권4호
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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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• 제12권2호
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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.

• 건축역사연구
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• 제22권5호
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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).