The objective of this study was to explore the symbolism associated with phoenix patterns in China and the temporal aesthetic characteristics of these patterns found in Dunhuang Mogao Grottoes. The study involved collecting examples of clothing designs featuring phoenix patterns from China Fashion Week and the Vogue website, spanning from spring and summer of 2016 to fall and winter of 2022. After collecting and organizing these examples, representative cases were selected for analysis. The objective was to identify effective techniques for incorporating phoenix patterns within the context of Dunhuang Mogao Grottoes and provided insights for future clothing design and textile pattern design research. Phoenix patterns boasted a lengthy history and were laden with symbolic meaning. Early renditions of phoenix patterns found at Mogao Grottoes in Dunhuang were relatively simplistic in design, mainly employing elements like rhythm, coordination, balance and symmetry to convey a sense of nature and gravity. Over time, these patterns evolved under the influence of the prevailing cultural backdrop, employing repeated emphasis to portray notions of abundance and tenacity. Furthermore, regarding the use of phoenix patterns in clothing, there were four prevalent expression techniques: embroidery, beading, printing, and knitting. Traditional techniques like embroidery and beadwork often prioritized aesthetic features like coordination, emphasis, and symmetry, thereby showcasing the opulent characteristics of phoenix patterns. On the other hand, printing and knitting techniques used a single phoenix pattern or a modified version to simplify designs by emphasizing or repeating aesthetic characteristics while adhering to a modern artistic approach.

This study aims to examine the early use of Da-bo tap and their transformation by analyzing the various meanings of the term pagoda in Chinese translations, the Sanskrit version of the Lotus Sutra, as well as Dabotap in the Mogao Caves of Dunhuang. In addition, we aim to highlight changes in Dabotap usage, which started out as residential spaces, but transformed into burial spaces over time. The details can be summarized as follows. First, early Buddhist monuments were usually either pagodas serving as burial places for the dead or shrines that were not. A Dabotap is a type of pagoda enshrining the body of Prabhutaratna, and was initially used as a residential space, rather than a burial place for the dead. Second, the terms stupa and caitya are clearly distinguished from each other in the Sanskrit scriptures, and stupa is also further classified into dhatu, sarisa, and atmabhava based on the object being enshrined. In Gyeon-bo-tab-pum, the preconditions for caitya to transform into stupa is presented by explaining that worshipping the space enshrining the body of Prabhutaratna is worthy of the same status as the space enshrining sarira. Third, the Mogao Caves of Dunhuang had been depicted from the Western Wei of the Northern Dynasties until the time of the Yuan Dynasty. It was used as a residential space until the early Sui Dynasty, but was used as both residence and burial places until the Tang Dynasty when pagodas were first being constructed with wheel or circles forms on top, which then gradually changed into stupa (grave towers).

This study aims to investigate the architectural characteristics of the Da-bo stupa by examining the correlation among architectural languages and by studying the features of its architectural components and transitional changes shown in Da-bo stupa line drawings in Dunhuang Mogao Grottes. The results are as follows. 1st, the Da-bo stupa of Dunhuang faithfully follows the sutra of lotus, and although the form changes, the fundamental essence of Bo-tap-yong-chul and two seated Buddhas provided by the Gyun-bo-tap-pum in the sutra of lotus is consistent. 2nd, the pagoda body can be periodically divided into parasol, stupa, and royal palace types. The parasol type has an incomplete tower body, which makes distinguishing each of its architectural components difficult. The stupa type appeared between the early (AD 618–712) and middle (AD 766–835) Tang dynasty. It combines the form of Indian stupa type and East Asian wood structural architecture. The royal palace type, which appeared between the peak period of the Tang (713–765) and Sung Dynasties, shows the standardized pattern of the Da-bo stupa described as two seated Buddhas and Bo-tap-yong-chul. 3rd, the use of a stylobate does not appear in the early construction of Da-bo stupa, only in the later period, in the form of high pillars. Forms include many Su-mi-jwah and three-way stairways and Dab-do, but as time passes, the forms are simplified to the form of high pillars. 4th, the purpose of early Da-bo stupa was to provide space for Da-bo-yu-rae of Gyun-bo-tap-pum; hence, it did not have sangryoon(the top part). However, after it was influenced by general pagodas, sangryoon was established. Toward the Tang Dynasty, sangryoon has come to emphasize the forms of boryoon(nine wheels) or dome. However, this form is eventually simplified to only retain bo-joo(the orb).