Download E-books Uygur Patronage in Dunhuang: Regional Art Centres on the Northern Silk Road in the Tenth Century (Brill's Inner Asian Library) PDF

By Lilla Russell-Smith

This quantity is set the long-neglected, yet decisive effect of Uygur buyers on Dunhuang paintings within the 10th and 11th centuries. via an insightful creation to the hitherto little-known early heritage and artwork of the Uygurs, the writer explains the social and political forces that formed the flavor of Uygur consumers. The cultural and political results of Sino-Uygur political marriages are tested within the higher context of the position of high-ranking girls in medieval artwork patronage.

cautious learn of the iconography, method and elegance sheds new mild on vital work within the choice of the British Museum in London, and the Musée nationwide des Arts asiatiques-Guimet, in Paris, and during comparative research the significance of nearby artwork centres in medieval China and crucial Asia is explored. Richly illustrated with line drawings, in addition to color and black-and-white plates.

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31 The Uygurs within the gentle of the fabric and spiritual tradition of the Khaganate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty three the autumn of the principal powers and the increase of the local teams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty one The 10th century: inter-marriage and collaboration among the Uygurs and the Guiyijun regime in Dunhuang . . . . . . . . fifty eight Uygur donors in Xizhou and in Dunhuang: demonstrating neighborhood energy via artwork as propaganda . . . . . . . . . . . . . . sixty nine The Dunhuang caves throughout the Shazhou Uygur interval. . . . . . seventy five bankruptcy : The local shaping the vital: the transmission of local kind and iconography . . . . . . . . . . seventy seven The iconographic programme and magnificence of the Shazhou Uygur caves: comparisons with Bezeklik. . . . . . . . . . . . . . . . . . . . . . seventy seven difficulties of courting .. . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . . eighty one The earliest representations of Uygurs in Dunhuang: the envoy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Description of the Vimalakirtinirdefa. SUira. representation at Murtuq and its comparability tq Dunhuang examples . . . . . . . . . . . . . ninety one Workshop practices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety six A comic strip as facts of iconographic hyperlinks among Xizhou and Shazhou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety nine Cave 18 at Bezeklik: a version for the transmission of regjonal iconography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 VI CONTENTS bankruptcy TaRE£: Uygur banners painted in Dunhuang . . . . . . 111 . deciding on Uygur impression on Dun huang artwork . . . .. . . . . . . . . 111 . The query of inscriptions .. . . . . . .. . . . . . . .. . . . . . . . . . . 123 . The Uygur-influenced team ofDunhuang work . . . . . . . 124 . Comparisons with Dunhuang artwork: the formation ofUygur artwork? one hundred twenty five How the functionality of non secular paintings in Dunhuang affected workshop practices . . . .. . . . . . . . .. . . . .. . . . . . . . . . . . . . 134 . The impression ofManichaean paintings on Dunhuang portray . . . . 141 . The effect of Uygur Buddhist paintings . . . ... . . . .. . . . . . . . . . 153 . " Bodhisattva with Lotus": comparisons with Uygur determine paii1 tln g. . . . 164 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . " V. - 1ru G d uar . tan fth o W e " est . . . 168 . . . . . . . . . . . . . . . . . . . bankruptcy 4: Uygur brides as donors: the impression of the transitional interval of Uygur Buddhist artwork .. . . . .. . . . . . . . 173 . Th "Ad e . oratiOn f o G " uanym : okay a ey . pamtmg . . . . . . . . . . . . . . 173 . . . "The 5 Buddhas of the Vajradhatu Mal)c;lala" and the " Mal)c;lala of the Forty-Two peaceable Deities" . . . . . . . . . . . one hundred eighty Comparisons with Uygur Manicbaean portray . . . . . . . . . . . 189 . The donor figures . . . . . . . . . . . . . .. . . .. . . . . . . . . .. . . .. . . 193 . different work with related donor figures . . .. . . . . .. . . . . . . 197 . Clues to the identification of the donors . . . . . . . . . . . . . . . . . . . . . . 202 . Cultural points of Ganzhou's hyperlinks with Tibet . .. .. . . . . . . . . 208 " Manjusri on Wutaishan": the simultaneous local impact of the Uygurs and the Tanguts . . . . . . . . . . . . . . . . . . . . . . . 215 . different Uygur-influenced work: the unfold of the Uygur variety 221 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . neighborhood as opposed to important: a reassessment of tenth-century Dunhuang artwork within the context of Uygur impression .

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