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 impact of Uygur consumers on Dunhuang artwork within the 10th and 11th centuries. via an insightful advent 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 buyers. The cultural and political results of Sino-Uygur political marriages are tested within the higher context of the position of high-ranking ladies in medieval paintings patronage.

cautious learn of the iconography, approach and magnificence sheds new mild on very important 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 local paintings centres in medieval China and vital Asia is explored. Richly illustrated with line drawings, in addition to color and black-and-white plates.

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1 in the direction of a definition of Uygur artwork . . . . . . . . . . . . . . . . . . . . . . . eleven The multi-cultural element of critical Asian artwork. . . . . . . . . . . . . . thirteen bankruptcy ONE: The making of the Uygur consumers . . . . . . . . . . . 19 The patron's target: the functionality of non secular artworks . . . . . . 19 Uygur snap shots of consumers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 The foundation of the Uygurs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 The Uygurs within the gentle of the cloth and spiritual tradition of the Khaganate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty three the autumn of the relevant powers and the increase of the neighborhood 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 local energy via artwork as propaganda . . . . . . . . . . . . . . sixty nine The Dunhuang caves through the Shazhou Uygur interval. . . . . . seventy five bankruptcy : The nearby shaping the principal: the transmission of nearby type and iconography . . . . . . . . . . seventy seven The iconographic programme and elegance of the Shazhou Uygur caves: comparisons with Bezeklik. . . . . . . . . . . . . . . . . . . . . . seventy seven difficulties of relationship .. . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . . 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 caricature 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 . settling on Uygur impact on Dun huang artwork . . . .. . . . . . . . . 111 . The query of inscriptions .. . . . . . .. . . . . . . .. . . . . . . . . . . 123 . The Uygur-influenced staff ofDunhuang work . . . . . . . 124 . Comparisons with Dunhuang paintings: the formation ofUygur paintings? a hundred twenty five How the functionality of spiritual artwork in Dunhuang affected workshop practices . . . .. . . . . . . . .. . . . .. . . . . . . . . . . . . . 134 . The effect ofManichaean paintings on Dunhuang portray . . . . 141 . The impact of Uygur Buddhist artwork . . . ... . . . .. . . . . . . . . . 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" . . . . . . . . . . . a hundred and eighty Comparisons with Uygur Manicbaean portray . . . . . . . . . . . 189 . The donor figures . . . . . . . . . . . . . .. . . .. . . . . . . . . .. . . .. . . 193 . different work with comparable donor figures . . .. . . . . .. . . . . . . 197 .

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