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PREFACE (BY RONG XINJIANG) / 001
INTRODUCTION: NEW PERSPECTIVES ON THE RELATIONSHIP BETWEEN DUNHUANG AND THE SILK ROAD
1 The Significance of the Silk Road to Dunhuang / 004
2 Dunhuang in Silk Road Studies / 008
3 The New Mission of Dunhuang (Studies) Amid the Silk Road Boom / 012
4 The Significance of Dunhuang to the Silk Road / 016
5 Dunhuang’s Historical Mission and Cultural Role on the Silk Road / 020
6 The Visual Silk Road: Silk Road Imagery in the Dunhuang Grottoes / 024
Conclusion / 028
CHAPTER 1 SILK ROAD IMAGERY IN THE CONTEXT OF VISUAL HISTORIOGRAPHY
1.1 Visual History and the Visibility of the Silk Road / 030
1.2 Visual Historiography and the Restoration of Silk Road History / 034
1.3 Visual Historiography and the Advancement of Silk Road Studies / 041
1.4 Visual Historiography and the Understanding of the Silk Road’s Value and Significance / 042
CHAPTER 2 DUNHUANG MURALS OF MERCHANTS ENCOUNTERING THIEVES AND SILK ROAD TRADE AND TRANSPORT IMAGERY
2.1 Basic Materials / 045
2.2 Imagery and Its Study / 047
2.3 Ethnic Characteristics of the Iconography of“Merchants” / 056
2.4 Historical Interests: The Multiple Meanings Represented in the Iconography of“Resented Robbers” / 066
2.5 Armed Hu Merchant Caravans / 078
2.6 Transport Methods of Hu Merchants on the Silk Road / 084
Conclusion / 100
CHAPTER 3 SILK ROAD SILK IMAGERY IN DUNHUANG MURALS
3.1 Introduction to the Issue / 101
3.2 Silk Imagery in Dunhuang Murals / 105
3.3 Silk as Currency in the Tang Dynasty / 127
3.4 Re-identification of Silk Road Silk Imagery / 132
Conclusion / 145
CHAPTER 4 THE HU XUAN DANCE AND SILK ROAD HU INFLUENCE IN THE SUTRA NARRATIVE PAINTINGS IN CAVE 220 AT MOGAO
4.1 Basic Materials / 146
4.2 The Background of the Hu Xuan Dance in the Sutra Narrative Paintings in Cave 220 / 156
4.3 Dance Imagery in Cave 220 and Comparisons with Hu Xuan Dance in Tang Tomb Murals in Chang’an / 166
4.4 Lamp Lighting Imagery in the Dance Murals of Cave 220 and Its Relation to Chang’an’s Lantern Festival / 182
4.5 Final Remarks: The Reflection of Chang’an’s Social Atmosphere in the Vimalakīrti Nirdesa Sutra Narrative of Cave 220 / 185
Conclusion / 193
CHAPTER 5 THE ABSENCE OF FEMALE HU XUAN DANCERS IN THE ARCHAEOLOGICAL REMAINS OF HU XUAN DANCE: REVISITING THE HU XUAN DANCE IMAGERY IN DUNHUANG MURALS
5.1 Raising the Issue / 195
5.2 The Predominance of Female Dancers in Hu Xuan Dance / 198
5.3 The Reasons for the Absence of Female Hu Xuan Dancers in Archaeological Remains / 216
5.4 Re-examining the Hu Xuan Dance Imagery / 228
Conclusion / 238
CHAPTER 6 THE EVIL PATH TO TREASURE OR THE IMAGERY OF BUDDHA BOLI’S DHARMA TRANSMISSION: A STUDY OF THE SUTRA NARRATIVE PAINTINGS IN THE SOUTH WALL MURALS OF THE MAIN ROOMS IN CAVE 217 AND CAVE 103 AT MOGAO
6.1 The Issue at Hand / 240
6.2 Analysis of the Artistic Mood of the Mural / 244
6.3 Identification of the Central Figures in the Mural / 246
6.4 Analyzing the City Depicted in the Mural / 250
6.5 The Question of Livestock in the Mural / 251
6.6 Consideration of the Area Occupied by the Mural / 252
Conclusion: Centered on the Iconography of the Usnisa Vijaya Dharani Sutra / 253
CHAPTER 7 THE SILK ROAD IMAGERY OF DHARMA TRANSMISSION JOURNEYS IN DUNHUANG MURALS
7.1 Raising the Issue / 258
7.2 Buddha Boli Riding a Donkey / 263
7.3 Buddha Boli Wearing a Bamboo Hat / 272
7.4 The Pack Elephant and Silk Road Monks / 279
7.5 Borrowed Imagery of Literati Riding Donkeys / 290
Conclusion: Traces of Imagery of Dharma-Transmitting and Scripture-Seeking Monks in Medieval Times / 301
CHAPTER 8 THE DEPICTION OF THE JIBIN PEOPLE IN DUNHUANG MURALS
8.1 Relevant Background Information / 309
8.2 Dunhuang Murals Related to the Jibin People / 312
8.3 The Timing of the Translation of Classics and the Creation of Corresponding Sutra Narrative Paintings / 315
8.4 Analysis of the Jibin Figures in the Murals / 317
8.5 The Reasons Behind the Characteristics of the Jibin Depictions / 330
8.6 Ancient Chinese Understanding of India and Its Influence on the Depiction of Jibin Figures / 333
Conclusion / 340
CHAPTER 9 THE SILK ROAD IMAGERY AND MEMORY THROUGH THE DEPICTION OF FIGURES FROM THE KOREAN PENINSULA IN DUNHUANG GROTTOES
9.1 Background Information / 341
9.2 The Historical Significance of the Depictions of Peninsula Princes and Envoys in the Vimalakīrti Nirdesa Sutra Narrative of Cave 220 / 343
9.3 The Intent Behind the Selection of Peninsula Patterns in the Wutai Mountain Image of Cave 61 / 360
9.4 The Role of Peninsula Figures in the Demon Subjugation Sutra illustration / 368
9.5 The Depiction of Peninsula Figures in the Demon Army of the Demon Subjugation Sutra / 372
9.6 The Era of the Peninsula Monk Portraits in Cave 225 / 379
Conclusion / 386
CHAPTER 10 THE CULTURAL ATTRIBUTES OF SILK ROAD DEPICTIONS OF NON-BUDDHIST WOMEN IN DUNHUANG MURALS
10.1 Female Figures in Story Paintings of Early Dunhuang Caves / 389
10.2 Non-Buddhist Demonesses in the Demon Subjugation and Enlightenment Images / 395
10.3 Non-Buddhist Women in the illustration of Raudrksa’s Battle with Sariputra / 405
10.4 Brahmin Women in the Sutra of Repaying Kindness illustration / 409
10.5 Female Figures from India, Central Asia, and the Kizil Grottoes / 412
10.6 Phenomenological Summary: The Evolutionary Trajectory of Non-Buddhist Women in Dunhuang Murals / 417
10.7 Cultural Bias: Discriminatory Depictions of Foreign Women in Traditional Chinese Culture / 421
Conclusion / 439
CHAPTER 11 THE ART HISTORICAL SIGNIFICANCE OF ZHANG QIAN’S JOURNEY TO THE WESTERN REGIONS IMAGERY IN CAVE 323 AT MOGAO GROTTOES
11.1 The Cave and the Historical Facts of Its Iconography / 444
11.2 The Duality of Zhang Qian’s Mission to the Western Regions in Tang Ideology and the Transformation of the Imagery’s Role / 449
11.3 The Historical Memory and Art Historical Significance of Zhang Qian’s Journey to the Western Regions Imagery / 453
11.4 Further Discussion: Inferring the Ethnic Inclinations of the Cave’s Patron from the Imagery of Zhang Qian’s Mission to the Western Regions / 454
CHAPTER 12 THE ILLUSTRATION OF THE MAITREYA SUTRA DEPICTING THE ELDER ENTERING THE TOMB IN THE DUNHUANG GROTTOES AND THE STUPA-TOMB ASSOCIATION: PICTORIAL REMAINS OF THE INFLUENCE OF SILK ROAD CULTURAL EXCHANGE ON TRADITIONAL FUNERAL CUSTOMS
12.1 Basic Materials / 465
12.2 The Schema of Stupa-Tombs and Funeral Customs / 470
12.3 The Artistic Intent Behind the Stupa-Tomb: The Characteristics of the illustration of the Maitreya Sutra During the Cao Yuanzhong Period / 473
12.4 Further Discussion / 483
CHAPTER 13 THE SILK ROAD CULTURAL ATTRIBUTES OF ELDERLY BURIAL TOMBS WITH CRENELLATED ROOFS IN DUNHUANG
13.1 The Image Characteristics of the Elderly Burial Scene in the Dunhuang illustration of the Maitreya Sutra / 487
13.2 The Schema Transformation of the“Elderly Burial Image” / 489
13.3 The Symbolic Meaning of Crenellations in Tomb Architecture / 492
13.4 Other Examples of Crenellations in Tombs / 500
13.5 The Attributes of Dancers in the“Elderly Burial Image” / 509
13.6 Possible Secular Funeral Influences of the Patron / 512
13.7 The Influence of Buddhist Stupas / 520
Conclusion / 526
CHAPTER 14 THE DEIFICATION OF WANDERING MONKS AND THE RECONSTRUCTION OF IMAGERY ON THE SILK ROAD: THE IMAGE OF THE WANDERING MONK IN THE SHUIYUE GUANYIN PAINTING OF CAVE 21 AT THE YULIN GROTTOES, GUAZHOU
14.1 Silk Road Factors Behind the Wandering Monk Theme and the New Identification of the Monk’s Key Role / 531
14.2 Reinterpreting the Wandering Monk Image: From the Buddhist Belief Environment of Dunhuang / 536
14.3 The Wandering Monk Image in the Wave of Imagery Reconstruction / 546
14.4 The Functional Role of the Wandering Monk Image in Cave 21 of the Yulin Grottoes / 550
Conclusion / 559
CHAPTER 15 SINICIZATION OF PERSIAN SASSANIAN-STYLE DECORATIVE LINKED PEARLS AND WINGED HORSES IMAGERY IN DUNHUANG MURALS
15.1 Overview of Materials / 563
15.2 Exploration of the Historical and Cultural Attributes of Linked Pearls and Winged Horses Imagery / 570
15.3 Differences and Connections between Winged Horses (Heavenly Horses) / 580
15.4 Cultural Fusion of Winged Horses and Heavenly Horses Imagery / 594
Conclusion / 595
CHAPTER 16 TRADITIONAL IDEOLOGICAL SIGNIFICANCE OF THE MOTIF OF LINKED PEARLS IN DUNHUANG’S SUI DYNASTY CAVES INFLUENCED BY PERSIAN CULTURE
16.1 Raising the Issue / 596
16.2 The Phenomenon and Causes Behind the Use of the Motif of Linked Pearls in Cave Murals Depicting Buddhist Robes and Bodhisattva Skirts / 599
16.3 Auspicious Cultural Attributes of the Motif of Linked Pearls / 607
16.4 Religious Meaning of the Motif of Linked Pearls in Buddhist Caves / 618
Conclusion / 631
EPILOGUE: ISSUES AND PROSPECTS IN THE STUDY OF SILK ROAD IMAGERY IN DUNHUANG GROTTOES / 633
BIBLIOGRAPHY / 649
ILLUSTRATED CATALOGUE / 709
POSTSCRIPT / 737