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Between Virtual and Real: A New Architecture of the Mogao Caves (Dunhuang, China), 781-1036 CE = = 即真亦幻: 敦煌石窟建筑的唐宋之变 .

Record Type:	Electronic resources : Monograph/item
Title/Author:	Between Virtual and Real: A New Architecture of the Mogao Caves (Dunhuang, China), 781-1036 CE =/
Reminder of title:	即真亦幻: 敦煌石窟建筑的唐宋之变 .
Author:	Zhou, Zhenru.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
Description:	944 p.
Notes:	Source: Dissertations Abstracts International, Volume: 84-12, Section: A.
Contained By:	Dissertations Abstracts International84-12A.
Subject:	Art history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30246408
ISBN:	9798379708139

Between Virtual and Real: A New Architecture of the Mogao Caves (Dunhuang, China), 781-1036 CE = = 即真亦幻: 敦煌石窟建筑的唐宋之变 .
Zhou, Zhenru.

Between Virtual and Real: A New Architecture of the Mogao Caves (Dunhuang, China), 781-1036 CE =即真亦幻: 敦煌石窟建筑的唐宋之变 . - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 944 p.

Source: Dissertations Abstracts International, Volume: 84-12, Section: A.

Thesis (Ph.D.)--The University of Chicago, 2023.

This item must not be sold to any third party vendors.

Caves, cut into a cliff rather than built on the ground, provide an alternative approach to defining space. The most provocative of them provoke fundamental questions about the very nature of architecture-what it is and how it functions. This dissertation investigates how the architecture of the Mogao caves near Dunhuang-a major cave complex in northwest China built from the fourth to the fourteenth centuries-transformed a desert cliff site into a Pure Land, a Buddhist paradise on earth. Through analyzing five selected landmark caves, cave composites, and cave clusters at Mogao, this dissertation locates the architectural turn in new design and construction paradigms of the Tibetan (778-848) and the Guiyijun (848-1036) periods. The new architecture played critical roles in the history making and placemaking of Mogao by mediating between the past and present times and bridging actual and visionary places. Because it evolved from the particular site of Mogao and was paradigmatic in the Dunhuang-Anxi region, this mode of architecture is termed the Dunhuang style.The dissertation begins by investigating a special cave composite as a microhistory that epitomizes the architectural transformation of the Mogao cave complex. Known as the three-story pavilion, this composite comprises three decorated caves arranged vertically plus the famous Dunhuang library cave, all covered by a three-level timber facade. Chapter 1 reconstructs the process of the pavilion's becoming, highlighting its continual redevelopment and reintegration throughout the ninth to eleventh century. The next four chapters contextualize the pavilion's complex form and the changes in the architectural developments of the Mogao cave complex during the Guiyijun period. It examines how four new paradigms-synthesis of pictorial and spatial arts, competition for verticality, externalization of Pure Land imagery, and cave grouping-made the cave architecture more comprehensive and the Mogao site more wondrous. Chapter 2 investigates how a pagoda-themed cave could embrace multiple pagoda imageries that are conveyed through pictorial, plastic, and architectural mediums and that institute a ritual place endowed with miraculous forces. Chapter 3 demonstrates the leading role of the colossal-image caves and their multilevel porches in shaping the overall imagery of the Mogao complex as heavenly palaces of unparalleled height. Chapter 4 understands the sweeping refurbishments of the Mogao cliff of the tenth century as a new paradigm of Pure Land art, which integrated the interior and open-air murals and the timber-framed porches into a tangible image of the sacred realm. Chapter 5 discusses the key roles that the central-altar caves that were commissioned by the Guiyijun leaders played in shaping the old district of Mogao into an allusion to the future Buddha Maitreya's Pure Land, the only Pure Land prophesied to appear in the mundane world.

ISBN: 9798379708139Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Buddhist art

Between Virtual and Real: A New Architecture of the Mogao Caves (Dunhuang, China), 781-1036 CE = = 即真亦幻: 敦煌石窟建筑的唐宋之变 .
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245 1 0 $a Between Virtual and Real: A New Architecture of the Mogao Caves (Dunhuang, China), 781-1036 CE = $b 即真亦幻: 敦煌石窟建筑的唐宋之变 .
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2023
300 $a 944 p.
500 $a Source: Dissertations Abstracts International, Volume: 84-12, Section: A.
500 $a Advisor: Lin, Wei-Cheng.
502 $a Thesis (Ph.D.)--The University of Chicago, 2023.
506 $a This item must not be sold to any third party vendors.
520 $a Caves, cut into a cliff rather than built on the ground, provide an alternative approach to defining space. The most provocative of them provoke fundamental questions about the very nature of architecture-what it is and how it functions. This dissertation investigates how the architecture of the Mogao caves near Dunhuang-a major cave complex in northwest China built from the fourth to the fourteenth centuries-transformed a desert cliff site into a Pure Land, a Buddhist paradise on earth. Through analyzing five selected landmark caves, cave composites, and cave clusters at Mogao, this dissertation locates the architectural turn in new design and construction paradigms of the Tibetan (778-848) and the Guiyijun (848-1036) periods. The new architecture played critical roles in the history making and placemaking of Mogao by mediating between the past and present times and bridging actual and visionary places. Because it evolved from the particular site of Mogao and was paradigmatic in the Dunhuang-Anxi region, this mode of architecture is termed the Dunhuang style.The dissertation begins by investigating a special cave composite as a microhistory that epitomizes the architectural transformation of the Mogao cave complex. Known as the three-story pavilion, this composite comprises three decorated caves arranged vertically plus the famous Dunhuang library cave, all covered by a three-level timber facade. Chapter 1 reconstructs the process of the pavilion's becoming, highlighting its continual redevelopment and reintegration throughout the ninth to eleventh century. The next four chapters contextualize the pavilion's complex form and the changes in the architectural developments of the Mogao cave complex during the Guiyijun period. It examines how four new paradigms-synthesis of pictorial and spatial arts, competition for verticality, externalization of Pure Land imagery, and cave grouping-made the cave architecture more comprehensive and the Mogao site more wondrous. Chapter 2 investigates how a pagoda-themed cave could embrace multiple pagoda imageries that are conveyed through pictorial, plastic, and architectural mediums and that institute a ritual place endowed with miraculous forces. Chapter 3 demonstrates the leading role of the colossal-image caves and their multilevel porches in shaping the overall imagery of the Mogao complex as heavenly palaces of unparalleled height. Chapter 4 understands the sweeping refurbishments of the Mogao cliff of the tenth century as a new paradigm of Pure Land art, which integrated the interior and open-air murals and the timber-framed porches into a tangible image of the sacred realm. Chapter 5 discusses the key roles that the central-altar caves that were commissioned by the Guiyijun leaders played in shaping the old district of Mogao into an allusion to the future Buddha Maitreya's Pure Land, the only Pure Land prophesied to appear in the mundane world.
520 $a 作为一所百代营造千年屹立的石窟寺群，在历代建造者的悉心经营下，敦煌莫高窟从金光瑞现的沙漠山崖变成了"波映重阁"的仙岩大寺，见证了多样宗教空间艺术的发展和转变，久历兴衰而又生生不息。本研究通过细读敦煌的丰富程度罕见的建筑艺术及文学历史，考察具体情境中的空间营造策略，进而对以下问题作出分析：窟龛、塔阁、殿宇、廊院等建筑类型如何相互依存、转换和指涉；而其创造改造者，又是如何在此消彼长之中，动态地营造若干场所意境、表达文化认同。本研究分析莫高窟的五处地标性石窟组群的营造历史，进而勾勒出莫高窟发生于吐蕃占据时期（公元778-848年）和归义军时期（公元848-1036年）的建筑转向。中唐吐蕃时起，由多层石窟与土塔组合而成的"多宝楼阁"，如雨后春笋，从崖顶涌出，与初盛唐时营建的弥勒大像阁试比高。晚唐五代以后，藩镇割据、边地偏居的现实，反而激发了造窟僧俗大众的崇古复兴之志趣。他们通过扩展设计原型和改造旧窟相结合的综合手段，重塑了莫高窟建筑形象的大唐正统源流，构造了"山堂水殿"的范式。五代宋时，更有飞廊横架，绵延二里，前殿后檐，交相呼应。画中净土、理想佛寺，通过佛龛、壁画与仪轨的相应配置，石窟主室、甬道和前室的空间组织，以及崖面壁画和木构建筑的呼应，渐渐浮现在山水之间。通过多层次的石窟空间调查与视觉分析，本研究力图在材料、理论、方法层面推进敦煌建筑研究的发展。通过对莫高窟南区两处大像阁、藏经洞及北凉三窟所属两处石窟簇群、露天壁画和石窟组合的详细调查，更新我们对莫高窟的复合建成环境的认知。通过剖析其中自然与社会空间、体验与象征空间的共存与互动，探讨中古中国佛教语境下的神圣空间的历史营造问题。通过综合讨论敦煌壁画中的建筑图像、石窟建筑、窟檐及窟前殿堂所构成的建筑意象，并且兼顾累世重修活动，探索一种有助于充分解读历史视觉空间的建筑史研究方法。.
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856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30246408