Search Results (96)

The value of the Buddhist cave lies not only in the Buddha statues but also in the surface painting. Hyperspectral imaging technology, as an emerging and effective method for component identification, offers a non-contact and non-destructive approach to the preservation and restoration of oil paintings. This study employed hyperspectral cameras to capture common pigments on the surfaces of Buddhist caves. Then, the results were processed and used as a database to identify the paintings. Additionally, a series of experiments were conducted to examine the impact of binder, substrate types, and pigment sizes on the reflectance spectrum of the paints. The Spectral Angle Matching (SAM) algorithm was then used to analyze the Yuanjue Cave and Qiqushan Stone Carvings of the Tang Dynasty in China. The findings revealed that the position of absorption peaks in the reflectance spectra is not significantly influenced by the substrate but is affected by the binder. Moreover, the absorption depth varies regularly with particle size. Furthermore, the spectral matching results demonstrate that components can be accurately identified even for similar colors. Based on the pigment distribution, the study also inferred specific details of ancient paintings, including the painting steps and hidden information in the manuscript layout. These findings hold significant implications for the restoration of representative surface paintings of the Tang Dynasty Buddhist cave, providing a reference for the selection of restoration materials and methods. Full article

Alkali printing was one of the traditional techniques employed for printing on silk georgette in ancient China. This study investigates two degumming methods in alkaline printing processes, namely alkaline boiling and alkaline steaming, based on the principles of Tang Dynasty alkaline printing techniques. The effects of slaked lime concentration, steam temperature, and steam duration on the degumming rate of silk georgette are studied. Alkaline boiling is found to be rapid and effective, achieving a degumming rate of 27% at 80 °C in 30 min, whereas alkaline steaming requires a prolonged process with a maximum degumming rate of less than 20% before the water reaches its boiling point. Additionally, the differences in dyeing effects at various degumming rates, and the variations in pattern clarity and detail under alkaline steaming, were compared. Although both degumming methods can achieve the desired amount of degumming rate through process control, alkaline steaming allows for integration with methods like screen printing and rotary printing, offering better control over pattern freedom and detail. The combination of these two processes can further expand the artistic expression and application of traditional alkaline printing techniques in contemporary silk degumming printing. Full article

Dalian Island, located in the northwest of Pingtan County, Fujian Province, China, has been an important junction on the Maritime Silk Road since the Tang dynasty. This study focuses on sauce-glazed ceramic ware from the Song dynasty salvaged from the waters near Dalian Island Wharf. The composition, phase attributes, and microstructures of the marine organism remains attached to the ceramic ware were analyzed using an optical microscope, scanning electron microscope, and micro-Raman spectrometer to investigate the influence of marine organisms on the degradation of the ceramic ware. Long-term abrasion by sea wave-borne debris led to the increased surface roughness and wettability of the ceramic ware, facilitating the attachment of marine organisms. Differences in surface roughness between the inner and outer walls led to varying levels of biomass. Coralline algae secreted inducers to attract the larvae of macrofoulers. The attachment of different types of marine organisms had varying effects on the degradation of the ceramic ware. Firmly attached unitary organisms could alleviate the scouring of sea wave-borne debris and hinder the intrusion of foreign pollutants, thereby playing a ‘bio-protective’ role. In contrast, the group skeletons of modular organisms could reinforce the mechanically damaged surface but failed to block the intrusion of iron rust and other pollutants, resulting in chemical alterations of the glaze. Therefore, the specific species of the attached marine organisms should be considered in subsequent conservation efforts. Full article

In the first half of the seventh century CE, clusters of Buddhist cliff sculptures were carved into cliffs and boulders in Guangyuan, Mianyang, Bazhong, and other locations nestled in the northern Sichuan Basin. They mark the start of large-scale Buddhist grotto construction in Sichuan, significantly impacting the establishment of regional grotto traditions in southwestern China. Through analysis of site forms, statue types, and devotional inscriptions, this article argues that these Buddhist cliff sculptures represent a reintegration of divergent Buddhist practices and artistic conventions that emerged during the Southern and Northern Dynasties in northern and southern China. While their niche-based site structure and collective sponsorship through the yiyi association can be traced back to northern China in the prior two centuries, the sculptural style primarily reflects a regional tradition exemplified by the free-standing statues unearthed in Chengdu, central Sichuan in the Southern Dynasties. The construction of these sites, catalyzed by the influx of northern officials and monks into Sichuan toward the end of the Sui and the early Tang, provides valuable material for exploring the social integration of northern and southern China, as well as the religious dynamics between Buddhism and Daoism in northern Sichuan. Full article

Architecture is the stone book of history, and the evolution of architectural styles showcases a non-verbal history constructed through images. As an important part of China’s historical and cultural heritage, the architectural forms and styles of Tibetan Buddhist temples were initially modeled on Tang dynasty temple architecture and gradually evolved into the most significant architectural types in regions such as Tibet and Qinghai in China. Religious architecture has also played a significant role in shaping regional cultural landscapes. Existing research on Tibetan Buddhist temples is primarily focused on qualitative studies of individual temple buildings. This research takes the spatiotemporal evolution of architectural styles of Tibetan Buddhist temples as an entry point and, for the first time, employs ArcGIS technology to visualize the spatial and geographical distribution of Tibetan Buddhist temples from the 7th to the 18th century, establishing a comprehensive academic vision that encompasses both historical stratification and cross-regional spatial correlations. By analyzing the cultural symbolic features embodied in the construction styles of Tibetan Buddhist temples and the visual characteristics reflected in their decorative arts, we propose two spatiotemporal dimensions for the formation and transmission of Tibetan Buddhist temple architectural styles: “Westward Transmission” and “Eastward Diffusion”. Firstly, from the 7th to the 9th centuries, the architectural style and construction techniques of Tang dynasty Buddhist temples were transmitted westward along the Tang–Tibet ancient road, integrating with local Tibetan elements to form the Tubo architectural style, which was further refined into the “Sino–Tibetan Combined Style” with strong visual characteristics around the 13th century. Subsequently, along with the spread of Tibetan Buddhism, this temple architectural style underwent an eastward diffusion from the 13th to the 18th century, reaching regions, such as Sichuan, Qinghai, Gansu, Inner Mongolia, Hebei, and Beijing, presenting a spatial gradient from west to east in the geographical dimension. On this basis, in this research, we construct a historical evolution mapping of Tibetan Buddhist temple architectural styles based on bidirectional transmission, attempting to elucidate that the intrinsic driving forces are religious and the cultural identity that guided the bidirectional transmission mechanism of these architectural styles under the historical context of the formation and dissemination of Tibetan Buddhism from the 7th to the 18th century. Full article

To address the challenges posed by the vast and complex knowledge information in cultural heritage design, such as low knowledge retrieval efficiency and limited visualization, this study proposes a method for knowledge extraction and knowledge graph construction based on graph attention neural networks (GAT). Using Tang Dynasty gold and silver artifacts as samples, we establish a joint knowledge extraction model based on GAT. The model employs the BERT pretraining model to encode collected textual knowledge data, conducts sentence dependency analysis, and utilizes GAT to allocate weights among entities, thereby enhancing the identification of target entities and their relationships. Comparative experiments on public datasets demonstrate that this model significantly outperforms baseline models in extraction effectiveness. Finally, the proposed method is applied to the construction of a knowledge graph for Tang Dynasty gold and silver artifacts. Taking the Gilded Musician Pattern Silver Cup as an example, this method provides designers with a visualized and interconnected knowledge collection structure. Full article

Taraxaci herba, as a traditional Chinese medicine, is the name of the Taraxacum genus in the Asteraceae family. Documented in the Tang Herbal Medicine (Tang Dynasty, AD 657–659), its medicinal properties cover a wide range of applications such as acute mastitis, lung abscess, conjunctival congestion, sore throat, damp-heat jaundice, and vision improvement. In the Chinese Pharmacopoeia (Edition 2020), more than 40 kinds of China-patented drugs containing Taraxaci herba were recorded. This review explores the evolving scientific understanding of Taraxaci herba, covering facets of ethnopharmacology, botany, phytochemistry, pharmacology, artificial cultivation, and quality control. In particular, the chemical constituents and pharmacological research are reviewed. Taraxaci herba has been certified as a traditional medicine plant, and its flavonoids, phenolic acids, and terpenoids have been identified and separated, which include Chicoric acid, taraxasterol, Taraxasteryl acetate, Chlorogenic acid, isorhamnetin, and luteolin; they are responsible for anti-inflammatory, antioxidant, antibacterial, anti-tumor, and anti-cancer activities. These findings validate the traditional uses of Taraxaci herba and lay the groundwork for further scientific exploration. The sources used in this study include Web of Science, Pubmed, the CNKI site, classic monographs, the Chinese Pharmacopoeia, the Chinese Medicine Dictionary, and doctoral and master’s theses. Full article

Yaodi Pao Zhuang (Monk Yaodi Distills the Essence of the Zhuangzi, 藥地炮莊), written by Ming dynasty scholar Fang Yizhi (1611–1671), was one of the greatest annotations of Zhuangzi 庄子 in the late Ming dynasty. However, the Buddhist thought in Yaodi Pao Zhuang has scarcely been examined. Drawing on the revival of the consciousness-only (vijñaptimātratā, 唯識) theory during the Ming dynasty, this study discussed how Fang Yizhi transformed the theory to annotate Zhuangzi in Yaodi Pao Zhuang through literature comparison and logical analysis. Meanwhile, from a speculative viewpoint drawing on Yi studies (studies of the Yi Jing, 易學), Fang Yizhi demonstrated that “storehouse consciousness” (alaya-vijnana, 阿賴耶識) could have contrasting properties of defilement (samklesa, 染) and purity (suddha, 淨). Moreover, he proposed “consciousness is wisdom” to replace the consciousness-only view of “transforming consciousness into wisdom” prevailing in the Tang dynasty, thus providing the conditions for the interpenetration of the consciousness-only doctrine into Zhuangzi. This study’s results highlight the positive implications of Fang Yizhi’s mutually supportive interaction model of Buddhism, Confucianism, and Daoism for addressing contemporary cultural conflicts. Full article

The Sutra of the Buddha’s Mother (Fomu jing 佛母經), a Chinese Buddhist scripture, is closely linked to the Mahāmāyā Sutra (Mohe Moye jing 摩訶摩耶經). However, there is a significant difference between the two sutras regarding the narrative story of the Buddha’s nirvana and meeting with his mother, namely the difference in the disciple who travels to Trāyastriṃśa Heaven to inform the Buddha’s mother. The substitution of Aniruddha with Upāli could be attributed to Upāli’s inclusion in Tang dynasty commentaries on “Ānanda Asking the Buddha Four Questions,” where he is depicted as a prominent disciple in the gathering prior to the Buddha’s nirvana. This narrative preference was also reflected in the Mohe Moye jing. To a certain extent, this confusion reflects the process of ‘between translation and composition,’ or the compiling and mixing of various texts from different sutras and sources to create a new scripture in the Chinese context. In the nirvana images, which contain the inscriptions, the presence of Upāli becomes an important symbol for identifying the classical texts on which the frescoes were painted. 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

This study analyzed ancient DNA from the remains of horses unearthed from the Shihuyao tombs. These were found to date from the Han and Tang Dynasties in Xinjiang (approximately 2200 to 1100 years ago). Two high-quality mitochondrial genomes were acquired and analyzed using next-generation sequencing. The genomes were split into two maternal haplogroups, B and D, according to a study that included ancient and contemporary samples from Eurasia. A close genetic affinity was observed between the horse of the Tang Dynasty and Akhal-Teke horses according to the primitive horse haplotype G1. Historical evidence suggests that the ancient Silk Road had a vital role in their dissemination. Additionally, the matrilineal history of the Akhal-Teke horse was accessed and suggested that the early domestication of the breed was for military purposes. Full article

The advent of 3D virtual presentation technology for clothing has led to the gradual popularisation of digital virtual clothing in the modern fashion industry. However, there remains a gap between the application of this technology and the integration of cultural attributes in the field of digital communication of traditional cultural clothing. Consequently, the objective of this paper is to propose the establishment of a fusion system integrating archaeological research on traditional culture with emerging virtual presentation technology. This paper draws inspiration from the replicability and easy dissemination of digital products to combine cultural archaeology and digital technology. The aim is to provide ideas for the diversity of dissemination of cultural heritage. The research object is Diplomatic Envoys, a Chinese mural painting of the Tang Dynasty that depicts friendly exchanges between countries. The research is divided into two research stages. A CLO3D software-based digital restoration test was conducted to reproduce the costumes of officials and foreign envoys depicted in the Tang Dynasty mural. The FAHP model was employed to verify the accuracy of the restoration results. The experiment demonstrated that the digitally reconstructed clothing exhibited a high degree of similarity to the unearthed mural figure clothing object. Furthermore, the restoration result passed the credibility verification, resulting in a ‘credible’ outcome. The application of digital virtual simulation clothing restoration methods offers two key advantages. Firstly, in comparison with traditional clothing restoration methods, digital restoration enables the rapid assessment of the resulting clothing effect, thereby reducing the likelihood of secondary damage to cultural relics due to manual errors. Secondly, the benefits of digital technology facilitate the convenient storage, replication, and dissemination of clothing data information. Data can not only be extended to online exhibition halls but also to game animation, clothing production, and other fields for the purposes of creative redesign and information dissemination. Furthermore, these benefits can penetrate the education industry to disseminate information to the public through all-round display models and explanations. Full article

The spread of Christianity to China initiated a process of indigenization, particularly evident in Christian art. This study explores the indigenization of early 20th-century Chinese Christian paintings through literature reviews, case studies, and comparative research. The analysis covers four forms of primary research. First, it explores the indigenization of Christian concepts, tracing their development from the introduction of Nestorian Christianity in the Tang dynasty through the establishment of Fu Jen Catholic University in the Republican era. Matteo Ricci’s implementation of the “Ricci Rule” during the late Ming dynasty, subsequently expanded by Celso Costantini, played a crucial role in the indigenous adaptation of Christian painting in China. The second facet focuses on the Beijing Catholic School of Painting, led by Chen Yuandu, a group that innovated Chinese Christian art by integrating local artistic expressions with traditional depictions of saints, assimilating symbols from Chinese literati painting, and preserving time-honored Chinese painting techniques. The third facet examines the strategy behind Christian painting methods. Fourth, this study discusses how the Fu Jen School faced varied reception and evaluations from domestic and international audiences under the complex social currents of the Republic of China and how the artists reflected the national spirit and artistic responsibility in their narrative paintings. Fundamentally, the practice of Christian painting at the early 20th-century Catholic School is not only an innovative artistic endeavor but also a significant case of cultural exchange between East and West and religious localization. Full article

Luo Shen 洛神 (The Goddess of the Luo River), also known as Fu Fei 宓妃 (Consort Fu), governed the Luo River and was a deity with distinctive representativeness and influence in the Luoyang area of China. To date, research has been centered around literary works and paintings, particularly Luoshen Fu 洛神賦, with little exploration into the belief of the Goddess of the Luo River. In this paper, specific and detailed textual research is made on the origins and historical transformations, as well as functional shifts, of the Goddess of the Luo River from the perspective of belief in the deity. Based on extant ancient documents and stele inscriptions and combined with anthropological field research, five new ideas are described. First, rituals honoring the Luo River were present in ancient times, yet the deity of the Luo River was initially a male entity called Luo Bo 洛伯, not the goddess Consort Fu. Second, Consort Fu first appears in Li Sao 離騷 as a goddess from the Kunlun Mountains. Third, during the Eastern Han dynasty (25–220), driven by the political and cultural needs of rulers to maintain regime stability, the Goddess of Kunlun, Consort Fu, became the Goddess of the Luo River. Fourth, in the medieval period, the image of the Goddess of the Luo River underwent a historic transformation, evolving from a deity governing the Luo River to a beauty yearning for secular love, merging with the historical figure of Zhen Fei 甄妃 (Consort Zhen) from the Cao Wei dynasty (220–266), forming a unified literary and artistic figure that significantly broadened the social influence of the Goddess of the Luo River. Fifth, the state-sponsored worship of the Goddess of the Luo River reached its peak during the Tang (618–907) and Song (960–1279) dynasties, and afterward, it gradually declined to a local folk belief due to a shift in the political center. The transition of the belief in the Goddess of the Luo River from official to folk realms, deeply intertwining with people’s lives, is a historical reflection of the eastward shift in the imperial center after the Tang dynasty. It also signifies a transformation of the function of the belief in the Goddess of the Luo River, from a political guardian deity ensuring the nation’s peace and the government’s stability to a protective deity for ordinary people’s family stability and prosperity of descendants. Full article

Belief in the Thunder God has been important in China since ancient times. During the Tang Dynasty (618–906), the Thunder God was personified and incorporated into official rituals. Due to the increasing presence of Tantric Buddhism in China during the Tang Dynasty, in Daoism (particularly the Divine Empyrean lineage 神霄派), several Thunder Gods formed a military organization, among which Deng Bowen (鄧伯溫) was considered as a marshal who largely preserved the characteristics of the Thunder God from the Tang Dynasty, featuring traits of a half-human and half-bird. This study focuses on interreligious influences and aims to elucidate the logic that informs the evolution of the Chinese Thunder God’s image through Deng Bowen’s case. Through the analyses of iconography and text analysis, this study discusses how Deng’s image was blended with the image of the Hindu deity Garuda (迦樓羅), which was introduced to China during the Tang Dynasty through Tantric Buddhism. This study will also explore how Deng’s image evolved from before the Tang Dynasty to the period after the Song Dynasty and will indicate that the Tang Dynasty was a significant period for the development of Thunder God worship as well as its iconography. Full article