The reshaped Buddhist cosmos: a study of the iconography of the main chamber of Cave 45, Mogao Grottoes, Dunhuang

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dc.contributor Cummings, Cathleen Ann
dc.contributor Nancarrow, Mindy
dc.contributor.advisor Pagani, Catherine
dc.contributor.author Tong, Meng
dc.date.accessioned 2017-03-01T17:37:04Z
dc.date.available 2017-03-01T17:37:04Z
dc.date.issued 2014
dc.identifier.other u0015_0000001_0002094
dc.identifier.other Tong_alatus_0004M_11872
dc.identifier.uri https://ir.ua.edu/handle/123456789/2479
dc.description Electronic Thesis or Dissertation
dc.description.abstract This study examines the iconographic characteristics and transformations of Buddhist art manifested in the main chamber of Cave 45, one of the adorned cave temples at the famed Buddhist site of Mogao, Dunhuang, China. Probably commissioned sometime between the late seventh and early eighth centuries, the original, Tang-period decorations of Cave 45 display an illusion of spectacular Buddhist paradises as conveyed in the Lotus Sutra;. Pictorial and structural evidence found in the main shrine during my field research of the grotto, however, indicates that the initial ornament of this cave temple might have been left unfinished. Approximately a half-century later, work at Cave 45 resumed, as the oasis town of Dunhuang was taken over by the Tibetans in 781. Icons of beloved bodhisattvas, Guanyin and Dizang, were introduced into the cave at the request of new donors. These late additions modified the overall visual plan of the main shrine, in terms of its color scheme and Buddhist symbolism. The pairing of Guanyin and Dizang, in particular, suggests the two bodhisattvas' increasingly popularity in the devotional life of post-Tang Dunhuang. The combined plan of the main shrine conveys a converted Buddhist worldview in which the heavenly Pure Lands coexist with the concerns of the earthly world and afterlife. As an art-historical investigation of the main chamber of Cave 45, this research presents an explicit chronology of its devotional works of art. The speculation of the cave's incomplete commission and renovations provides the reader with a glimpse of Buddhist art production and the devotional life in the context of a medieval oasis town along the overland travel roads.
dc.format.extent 112 p.
dc.format.medium electronic
dc.format.mimetype application/pdf
dc.language English
dc.language.iso en_US
dc.publisher University of Alabama Libraries
dc.relation.ispartof The University of Alabama Electronic Theses and Dissertations
dc.relation.ispartof The University of Alabama Libraries Digital Collections
dc.relation.hasversion born digital
dc.rights All rights reserved by the author unless otherwise indicated.
dc.subject.other Art history
dc.title The reshaped Buddhist cosmos: a study of the iconography of the main chamber of Cave 45, Mogao Grottoes, Dunhuang
dc.type thesis
dc.type text
etdms.degree.department University of Alabama. Dept. of Art
etdms.degree.discipline Art History
etdms.degree.grantor The University of Alabama
etdms.degree.level master's
etdms.degree.name M.A.


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