Dunhuang Murals

The Dunhuang Grottoes in Gansu Province, having the largest number of murals in a cluster of caves is unrivalled in China and the world. These grottoes consist of 552 caves including the Mogao Caves, Western Thousand Buddha Caves and Yulin Caves. Inside the grottoes, there are many historical Buddhist murals which measure 50,000 square metres in magnitude. Among them, there are portraits of Buddhist figures, sutra transformation frescoes, storytelling frescoes, portraits of benefactors, and etc.


Dunhuang Mogao Caves - Replica Paintings by Chang Shana

The Dunhuang Grottoes are a rare treasure of art and culture in the history of world civilization, preserving the Buddhist murals dating back a millennium or so in ancient China. It provides a collection of all themes of Buddhist paintings from which we can appreciate the artistic style of various dynasties in China.

Master Chang Shana is a renowned arts and craft teacher. From the young age of 12, she was taught by her father, Mr Chang Shuhon who was also known as the ‘Guardian of Dunhuang’ to learn copying the drawings on the wall of the caves. Being brought up and enriched by the art of Dunhuang, Master Chang has acquired profound knowledge in this field. She has produced many decorative designs for key national architectural projects, integrating Dunhuang motifs and style. Master Chang is also an educator, passing on her knowledge about the art of Dunhuang to the younger generations of art students in her teaching.

This publication consists of more than 40 replicas of Dunhuang murals by Master Chang Shana, painted in her teens. It is the purest illustration of an immortal artwork by a girl of 13 to 16 years old with the spirit of purity and innocence.

This publication also features many artistic patterns compiled by Master Chang who replicated the Tang Dynasty Buddhist statues of Mogao Caves for Chi Lin Nunnery, a reflection of her thorough understanding and impeccable interpretation in the style of Dunhuang artistic pattern.

After reading this publication, the readers may have the fantasy of entering the artistic realm of Dunhuang art which is magnificent and sacred, and hence to have a better understanding as well as greater affection of this great historical heritage of mankind.

Musicians    

53x38cm, 53x38cm   Northern Wei   Cave No.435   1947-1948 Painted replica

Worshipping Bodhisattvas

37x43cm
Cave unknown
1947-1948 Painted replica

The Bodhisattvas are robust in built, and have oval faces and bare upper torsos. They are wearing long skirts, shawls, and three coronets embedded with gemstones. These were common clothes and adornments of people from western China.

Bodhisattvas Playing Music

54.5x39.5cm, 52x38cm, 53x38.5cm

Western Wei
Cave No. 288 1947-1948 Painted replica

Flying Apsaras worshipping adjacent to the Dharma Talk Mural

105x30cm Northern Zhou Cave No. 290 1947-1948 Painted replica

Zen Practice

52.5x37.5cm, 51.5x38cm   Western Wei   Cave No. 285   1947-1948 Painted replica

Dunhuang Mogao Cave no. 285 is well preserved, and representative of caves created in the Western Wei period. The ceiling is shaped like an inverted-funnel with a square cross section. The murals and painted sculptures demonstrate the practice of stopping illusions for the discovery of one’s real mind and nature. Encircling the four slopes on the cave ceiling is a painting of Zen practice (also known as Chan practice or meditation) in mountain forests. In the painting, the Zen chamber is symbolised by the curled arched doors. Monks wearing robes are meditating in the lotus position on lotus seats. They are surrounded by mountains, forests, birds and other animals. The monk at the east of the lower southern slope sits on a unique, round seat. The half naked monk sitting on a high seat with feet hanging down sheds light on the lives of the people in ancient China. The painting also depicts a variety of animals moving in the open – in stark contrast to the sombre meditating monks inside the Zen chamber.

Southern Celestial King

99.5x108cm
Late Tang Dynasty
Cave No. 12
1946 Painted replica

Virudhaka is depicted in armour, holding a sword in his right hand. He has a fierce glare, with his mouth open ready to howl. He looks formidable. His seat is supported by yakshas, who are holding it from below. He is surrounded by devakanyas, judges, and yakshas. The pictorial composition is compact and lively. The gradation of colours from rich to subdued is in keeping with the painting style of the late Tang period.

Bodhisattvas Worshipping

50x63cm, 50x63cm
Late Tang Dynasty
Cave No. 14
1947 Painted replica

These two paintings replicate parts of the Mamaki Mandala painting at the west of the cave's southern wall. The two Bodhisattvas on the right and left of Mamaki Bodhisattva are replicated. They are depicted sitting cross-legged, wearing bejewelled coronets. Their curly hair falls to their shoulders, and their shawls are draped across their bodies. They are wearing translucent silk skirts with patterns of small flowers. Their sophisticated ornaments
contribute to their elegant, stately air. One Bodhisattva is holding a sutra case and the other is holding a lotus flower bearing the “卍” inscription. The figures' form and expressions are ingeniously depicted. This is a masterpiece of late Tang murals.

Mañjuśrī Bodhisattva

109x188cm
Mid Tang Dynasty
Cave No. 159
Replica painted in 1945, under the guidance of teachers Zhou Shao-sen and Wu Mi-feng

Mañjuśrī Bodhisattva was born in Sravasti, and is known for his wisdom and courage. He is an attendant to the Buddha on his left. He sits on a green lion, which symbolises wisdom and courage. In the painting, the tranquil looking Bodhisattva sits on a lotus throne on top of the green lion holding a “ruyi”. His mount has a green mane and a white body. Turning its head, it stares intently at a black slave. The Bodhisattva is surrounded by deities such as the eight divisions of devas and nagas, Sakra and Brahma. These deities are elegantly styled.

Avalokitesvara Bodhisattva

71x102cm
Mid Tang Dynasty
Cave No. 112
1946 Painted replica

According to the Amitayur-dhyana Sutra,
Avalokitesvara Bodhisattva is an attendant to the Buddha on his left. Together with Mahasta-maprapta Bodhisattva,
who is an attendant on the right of the Buddha, they are known as the “Western Trinity”. In the painting, Avalokitesvara Bodhisattva stands on a lotus throne. He is wearing a coronet with a Buddha incarnate. He holds a kundika (water bottle) in his left hand, and his celestial garments trails on the floor. He is adorned with ornaments. His appearance is
dignified and solemn yet compassionate.

Eight-armed, Eleven-faced Avalokitesvara Bodhisattva

65.5x109cm
Late Tang Dynasty
Cave unknown
1947 Painted replica

The eleven-faced Ava-lokitesvara Bodhisattva in the painting looks serene and compassionate.
Adorned with ornaments, he stands elegantly on a lotus throne. In his eight hands, he is holding a kundika (water bottle), a willow branch, a surya-bhasa mani pearl, a candra-bhasa mani pearl, a lotus flower, or making various mudras (hand signs). The colours are subdued and subtle. The brush strokes are delicate and precise. This replica fully demonstrates the characteristics of painting style of mid-Tang Dynasty.

Lady Donor

62x159.5cm  Five Dynasties period
Cave No. 61  1946 Painted replica

Cave no. 61 of the Five Dynasties period is one of the largest caves of the Dunhuang Mogao Caves. The cave was commissioned and funded by the 4th Guiyijun military governor Cao Yuan-zhong and his wife. The lower section of the eastern side of the northern wall bears the images of 49 female members of the Cao family. This is the largest and finely executed Dunhuang mural with the greatest number of female donors (benefactors) painted on it. The size of the donors in the mural exceeds that of the Buddhist figures, showing off the high social status of the donors and their devotion of the Buddhist faith.

Shown in this painted replica is one of the lady donors. This is an authentic record of the fashion style of female aristocrats of the Five Dynasties period. The lady donor joins her palms in devout worship. The portrait fully reflects the elegance of the female members of the Cao family.