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

By Lilla Russell-Smith

This quantity is ready the long-neglected, yet decisive impact of Uygur buyers on Dunhuang artwork within the 10th and 11th centuries. via an insightful advent to the hitherto little-known early historical past and artwork of the Uygurs, the writer explains the social and political forces that formed the style of Uygur buyers. The cultural and political results of Sino-Uygur political marriages are tested within the better context of the position of high-ranking ladies in medieval paintings patronage.

cautious research of the iconography, process and magnificence sheds new mild on very important work within the selection 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 relevant Asia is explored. Richly illustrated with line drawings, in addition to color and black-and-white plates.

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The banners are spirally twisted round the flagpoles or staffs held through the demons. the nearest parallel to this is visible on a later Tangut portray. 10'� either Kyra Sarnosyuk and Ksenia Kepping who supply various interpretations to the Tangut portray agree that the outsized folded banners have crucial Asian connotations. one hundred and five The colouring of the most panel is particularly diverse from Dunhuang work, and it may be top in comparison to the color palette hired within the case ofUygur Manichaean illuminated manuscripts. The dominance of the blue historical past contrasts with the brilliant reds, vegetables and the lavishly utilized gold. The brushwork is especially varied from the calligraphic chinese language line often hired in Dunhuang. using managed, even and sometimes tremendous skinny strains can most sensible be saw ' with regards to Sakyamuni, whose around face has a truly fme define jam-packed with a red flesh color. The folds of his gown are proven with many parallel strains, one other function noticeable in Uygur Manichaean and a few Buddhist fragments. 106 extra attainable Uygur good points contain ' the floral styles on Sakyamuni's decrease garment. a number of authors have drawn awareness to the significance of fabric designs in early Tibetan paintings, and feature proven that those frequently resemble latest textiles the development of which now continue to exist in ceiling designs. 107 The floral trend proven resembles the ceiling layout of numerous Shazhou Uygur temples (l>late 43). 108 this can be, in fact, a mannered model of Tang floral motifs. The explosion of the colors within the halo and mandorla, should be in comparison to the super vibrant haloes and mandorlas one hundred and one· Water-Moon Guanyin (x-2439), M. Piotrovski: U! st Empire if the Silk street, Buddhist artwork . from Khara Khoto X-XIII centuries, Milan: EJecta: 1993, cat. no. forty six. ! 05 okay. senia Kepping: 'The Guanyin Icon: Chinggis Khan's final Campaign': M. Ghose-L. Russell-Smith (eds. ): From NtSa to N'! Jia (forthcoming) and Kira Samosyuk: "The Reassessment of the which means of an icon from Khara Khoto within the mild of a Tibetan textual content from Dunhuang", Deborah Klimburg-Salte1�Eva Allinger: Buddhist artwork and Tzbewn Patronage: 9th. to Fourteenth Centuries, Leiden: Brill, 2002, p. 70. I06 particularly a fraction exhibiting the seated Buddha, CATB, cat no. sixty seven and a well-known portray exhibiting Manichaean electae, ibid. , cat. no. 554. additional fragments of Manichaean gowns comprise ibid. cat. nos. 578, 583, 584. The Mauichaean choose. ae were released in other places e. g. Z. Gulacsi: Manic/wean artwork: 2 hundred I, cat. no. eighty two, pp. 182-184-. 107 for instance, see "The Sumtsek ceilings and their painted cloth motifs" in Rogez: Goeppcr: Alch. i-Ladakh's Hidden Buddhist Sanctuary the Sumtsek, London: Serindia, 1996, pp. 225-265. 108 DHMGK, vol. five, pl. 133. UYGUR BANNERS PAINTED IN DUNHANG one hundred forty five with geometric styles from Bezeklik (Colour Plate 8). 109 The very / vibrant halo at the back of Sakyamuni's head, with the development swirling in one course, is common of Uygur portray. In usual Dunhuarrg-style work the styles of nimbi and mandorlas look symmetrical as if a replicate were positioned of their centre (Figures 15-16).

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