The Buddhist doctrinal texts from Dunhuang provide a genuine record of the debates among Buddhists in the Dunhuang region during the late Tang, Five Dynasties, and early Song periods. These texts document how Buddhists in Dunhuang engaged in debates using the question-and-answer format to explain concepts related to Buddhist numerical symbolism. There are 102 extant Buddhist doctrinal texts from Dunhuang, of which the academic community has fully or partially edited and collated 35 scrolls. However, due to the complexity of their content, the use of many variant characters, and common issues such as missing text and blurred writing, there are still some aspects deserving of discussion in the previous schola rs’ revisions. This article attempts to supplement the work of previous sages from the following aspects: 1. Corrections of unclear familiar characters; 2. Corrections of unclear ambiguous terminology; 3. Corrections of undefined borrowed characters; 4. Corrections of unclear allusions; 5. Corrections of dim literary writing styles; and 6. Corrections of blurred original scrolls.

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.

｢다주론｣은 20세기 초 돈황 장경동에서 발견된 통속서사 작품 중 하나이 다. 의인화된 차와 술의 논쟁으로 구성된 이 소품은 두 사물이 자신의 의견을 주장하는 독특한 형식, 해학적인 언어와 함께 당시 유행한 공연 형식과의 직접적 연관성 측면에서 주목할 만하다. 뿐만 아니라 이 작품은 음용 문화를 대표하는 차와 술에 대한 당시의 인식을 현실적으로 보여준 다는 점에서 문화사적으로도 연구의 가치가 있다. 돈황 사본은 천여 년 전의 원본으로서 2차 텍스트 자료만으로는 파악하 기 힘든 정보까지 제공해준다. 모든 자료가 유일본이라고 할 수 있는 필 사본은 하나하나가 독립된 자료로서 문헌학적 정보를 담고 있다. 이에 본 논문은 작품의 내용이나 사본의 성격에 대한 분석과 더불어 ｢다주론｣ 사 본의 문헌적 특징까지 살펴보고자 했다. 그리고 논문의 주요 내용으로 음 용 문화와 공연의 관점에서 당시 차와 술에 대한 인식과 ｢다주론｣ 작품 의 공연 방식에 대해 고찰하였다. 이 과정에서 ｢다주론｣에서 차와 술은 대등하게 논쟁을 진행하기보다는 차가 논의를 주도하다가 결국은 일방적 으로 차가 술을 비판하는 단계에 이르고, 이는 곧 당시 통속서사 작품에 가미된 불교적 색채와 관련이 있음을 주장하였다. 그리고 마지막으로는 자료의 문헌학적 특징에 근거하여 독서용 사본으로서의 현존 ｢다주론｣에 대해 분석하였다.

Dunhuang dance is one of the Chinese classical dance genres, and it is the dance with the most ethnic characteristics in the history of ancient Chinese dance. Incorporating the characteristics of the folk dance of the ancient Western Regions countries, and at the same time having a strong Buddhist color, it shows the ancient Chinese music and dance art, directly or indirectly reflects the living conditions of the ancient people, and contains the form and characteristics of ancient Chinese dances, and Chinese culture and history for more than a thousand years. Dunhuang frescoes preserve a large amount of ancient dance materials, which provide inspiration for contemporary dancers. Through the research and re-creation of Dunhuang mural dances, the dancers reproduced the dance costumes and music of ancient Dunhuang dances and enriched the content of contemporary Dunhuang dance works. However, there are not many academic studies on Dunhuang dance, especially in recent years, the research on the representative work of Dunhuang dance "Yuanqidunhuang" is unprecedented. "Yuanqidunhuang" looks at the creative inheritance of Dunhuang dance, and hopes to contribute to the development of related fields in the future through the systematic analysis of "Yuanqidunhuang". Therefore, this research takes the historical development of Dunhuang dance as a clue, through literature research, case studies, and video research on the Dunhuang dance "Yuanqidunhuang" created and performed in 2015. The characteristics of the work of "Yuanqidunhuang" are the background of its creation. Analyze characteristics, form and content, music, costumes, props, actions, etc. It is hoped that through this research, we can further understand Dunhuang dance, including the long history and rich meaning of Dunhuang culture, and ultimately contribute to the inheritance and development of Dunhuang dance.

The study mainly focuses on the non-classical words in Dunhuang manuscripts of Tang Dynasty. We built a visualized database which not only showes the process of evolution and variation in detail of the non-classical words, but also illustrates the causes of formation, the principles of variation, the product of evolution in this period, and other relative issues. This paper is divided into four sections. The first section is to introduce some achievements of Dunhuang non-classical words, then explain what will be demonstrated in this paper. In section two we make a statistics about what had happened to Dunhuang non-classical words in three periods of Tang Dynasty. For the sake of clarifying the principle of evolution and variation in non-classical words of Dunhuang manuscripts, microscopic research and macroscopic analysis are operated in the third section. The final section makes a conclusion about the whole study. The target of this paper tries to set up a modeling with clue of time so as to conduct a systemic research at the macro level.

The study of the non-classical words in Dunhuang Manuscripts mainly focuses on the process of the analysis in the whole words. In the meantime, the component analysis should be another way to describe the influences of their variation to the formation, development and changing of non-classical words. In this paper, there are five sections to demonstrate the statistical study. Section one is elementary information about the study of non-classical words in Dunhuang Manuscripts which provides a brief introduction to the audience. The source of materials, the basis and methods of operation, and some particular issues are mentioned in section two. In the third and fourth section, charts and diagrams are used to illustrate the words sample set in relation to component variants, giving an explicit presentation about what changes had happened in the same component, and the relationship between components and their variants. The last section is a conclusion about what we had done in the study and what we need to pay more attention to in the future. The chiefly task of the study is to establish a visualized statistical database of component variations quantity statistics by means of components decomposing and classifying. The conditions of diachronic change and synchronic variation in components of non-classical words in Dunhuang Manuscripts can be shown distinctly. It also makes preparation for further studies on individual word, its evolvement rule and other relative research.

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).