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On Buddhist Art Inheritance from the Late-Qin Chang'an to the Northern On Buddhist Art Inheritance from The Late-Qin Chang’an to The Northern- Wei Pingcheng [America] Chang Qing The article Chinese appears Abstract: The Tanyao Five Caves which are periodized into the first phase of the Yungang Grottoes from page 004 to 024. were commissioned to be constructed for the merits and virtues of the first five emperors of the Northern-Wei Dynasty. With the manpower, material and financial resources gathered from the annexation wars in the North, above all, the craftsmen and Buddhist priests from the capital Changan of the Late-Qin kingdom, the ruler of the Northern-Wei dynasty implemented the giant project. The Late-Qin Chang’an playing as the political and Buddhist center in northern China in the late period of the Sixteen Kingdoms carried forward the Mahayana Buddhism introduced from the Western region. It is studied that the Mahayana Buddhist statues and murals of the Western-Qin Kingdom in Cave 169 of Binglingsi grottoes in Yongjing of Gansu Province resulted from the influence of the Late-Qin Chang’an. The construction of the Tanyao Five Caves followed the Northern-Wei Buddhist tradition before the persecution against Buddhists in Emperor Taiwu’s reign as well as the Buddhist tradition of the Late-Qin Chang’an, which can be learned from the feature shared by the stone sculptures of the caves and the incised Buddhist images on the Northern-Wei sarcophagus in Datong and the Western- Qin sculptures and murals in Cave 169 of Binglingsi Grottoes. It is the embodiment of the Northern- Wei dynasty inheriting the Buddhism of Late-Qin Chang’an, specifically, by the Buddhist images of the Tanyao five caves in theme and style. Keywords: the Northern-Wei Pingcheng; the Yungang Grottoes; the Western Qin; Cave 169 of Binglingsi Grottoes; the Late-Qin Chang’an. Sage’s Gown: Tracing The Dressing Origin of The Buddhist Statue in Kasaya with Right Shoulder Partly-Draped Wang Yun The article Chinese appears Abstract: This article traces the history of Kasaya robe worn by Buddhist statues with the right from page 025 to 042. shoulder partly draped reviewing the previous research results and the issues and analyzing the historical materials such as the literatures, images and what are presented in them, coming to the following conclusion: The Buddha statue dressed this way in the earlier grottoes of China was shaped after the regional traditions of Gandhāra and Afghanistan of the 4th and 5th centuries. Second, Alfred Foucher’s and John Marshall’s point is agreed by the thesis that such dressing style of the Buddhism statue in Gandhāra and Afghan derived from Ancient Greece, it was one of the ways himation is worn as the result of the joining of the Central Asian stylization and Hellenistic realism. Third, this dressing motif also evolved in the West, where it was borrowed for the sage’s gown in Jewish and Christian art to the day. In a word, himation, a type of cloak draped around the body, worn by the priests, philosophers and statesmen for its high specification in Ancient Greece, taken into the fine arts of Buddhism, Judaism and Christianism, went through a process from the secular to the sacred. Keywords: Kasaya; himation; ancient Greece; Buddhism; Judaism; Christianity 108 Palace Museum Journal No.8,2020 vol.220 A More Probe into The Family Constructing Cave 217 of Mogao Grottoes in Dunhuang Chen Juxia Abstract: Cave 217 of Mogao Grotoes has been known as ‘Yin’s Cave’ because most scholars The article Chinese appears consider it as the construction by the Yin’s family who inhabited in Dunhuang. However, a few from page 043 to 050. Japanese scholars do not agree to the judgement even though they fail to get evidence for a different point. This thesis judges Cave 217 to be built by the Liu family based on the relationship between the donors concerned. Keywords: Mogao Grottoes; Cave 217; the ‘Liu’s Cave’ On The Pieced Remains of The Buddha Sculpture of The Yungang Grottoes in Shanghai Museum’s Collection Shi Ruoyu Abstract: The Shanghai Museum has the collection of the broken pieces of the stone sculptures The article Chinese appears of the Yungang Grottoes as a part of those excavated by Japanese scholars in the field survey of the from page 051 to 059. Tanyao Five Caves in 1940. Most of the unearthed objects are cataloged in Yungang Grottoes (Vol.14) by Seiichi Mizuno and Toshio Nagahiro in 1954. It is studied in the thesis that Seiichi Mizuno worked with other people to have taken some incomplete stone sculpture remains unearthed in the Yungang Grottoes site and a part of relics excavated in the tombs in Wan’an Beishacheng and Yanggao back to Japan before 1945 and housed them in The Oriental Cultural Institute in Japan. After the War, Mr. Li Ji made great efforts with his colleagues to reclaim the ownership of them on behalf of China. Some of them were returned to China in 1948, and collected in the Shanghai Museum in 1955. Keywords: Yun-Kang Grottoes; Li Ji; Oriental Cultural Institute; return of cultural relics On The Carved Stone Images of Nestorianism in Ongud Site, The Yinshan Mountains Wei Jian Zheng Yu Abstract: Ever since the late Tang and the Five Dynasties the ancient Ongud tribe, mainly consisting The article Chinese appears of the Turkic descent and distributed in the north and south of Yinshan, gradually united the local from page 060 to 072. ethnic groups together including Huihu, Shatuo, Dangxiang and Mongolia to form the Ongud tribe of the Jin-Yuan period. The Nestorianism introduced into China in the Tang Dynasty had an impact on the social culture and religion in China with a plenty of cultural legacy left in the north and south of the Yinshan Mountain, the most important of which is the Nestorianism image. This paper divides the Crosses in the Nestorianism stone carvings found in Ongud in Yinshan Mountains into three, namely Malta, Nestria and Pearl Grain by archaeological typology, discusses the process of Nestorianism English abstract of the articles 109 localization under the influence of the Buddhist culture, the Han culture and the Persian culture from the meaning of lotus pattern, curled-grass pattern and Ruyi pattern incised in the stone as well as their original relations. Keywords: Yinshan Ongud; the Nestorianism image; integration of cultures A Study of The Sacrificial Vessels Marked with ‘Made in Yongzheng’s 8th Year’ for The Confucian Temple in Qufu Yu Shanying Bu Minghu The article Chinese appears Abstract: The Confucius Museum in Qufu has a group of bronze sacrificial vessels marked with ‘Made from page 073 to 080. in Yongzheng’s Eighth Year’, including 6 pieces of Xing, 25 Jue, 21 Gui, 21 Fu and 81 Dou altogether, all of which were in history dedicated to the Confucian Temple. This thesis discusses the vessels concerning model and motif, sacrificial rituals held in Confucius temples in the early Qing dynasty and the historical context in which they were produced. Keywords: bronze sacrificial vessel; the Eighth year of Yongzheng’s reign; the Confucius temple in Qufu 110 Palace Museum Journal No.8,2020 vol.220 A Textual Analysis of The Palace Museum Collected Portraits of The Qing Emperors Reading in Formal Dress Xu Jin Abstract: Among the portraits of the emperor reading in casual dress are there some ones depicting The article Chinese appears the emperor reading in formal dress. The images make rigorous and solemn in style much the same from page 081 to 091. way as the emperor in court dress. The analysis of the related historical documents suggests that these emperors’ portraits were ever enshrined in the Suichengdian Hall of the Imperial Mountain Summer Resort during the Qing dynasty. It was initiated by Emperor Qianlong ( 乾隆) who enshrined the portraits of Emperors Kangxi ( 康熙) and Yongzheng ( 雍正) in the Imperial Mountain Summer Resort to cherish his memory and respect to forefathers, then it was kept as an imperial sacrificial system by the generations that come later. Keywords: the Qing emperors’ portraits; Mountain Resort; Yongyou temple Suicheng hall A Study of The Tieluo of Poetry Calligraphy of Juanqinzhai Studio of Emperor Jiaqing’s Reign Li Boting Abstract: The Juanqinzhai Studio ( 倦勤斋) well known for its interior finishing with Emperor The article Chinese appears Qianlong’s ( 乾隆 ) ingenuity and elegance houses 15 articles of Tieluo of Poetry Calligraphy of Emperor from page 092 to 102. Jiaqing’s ( 嘉庆 ) period, five of which are written by Emperor Jiaqing ( 嘉庆), the rest ten includes officials’ six copies of the past generations’ poems or Emperor Jiaqings poetry couplets besides the their own works. The Poetry of Tieluo narrate the functional and positional changes of Juanqinzhai Studio during the period of Emperor Jiaqing’s ( 嘉庆 ) reign with the implication of its being deserted in the late Qing dynasty. The study of the poetry of Tieluo is of significance for insight into the function of The Juanqinzhai Studio in the periods following Qianlong’s reign which works as a window to the court culture change of Emperor Jiaqing’s ( 嘉庆 ) times. Keywords: the Juanqinzhai Studio ( 倦勤斋); Tieluo of poetry; emperor and his ministers in Jiaqing’s administration; court culture. A Study of The Palace Museum Collected Tibetan Text ofHuang Tu Yong Gu Jing ( 皇图永固经 ) Li Ruoyu Abstract: The text of Huang Tu Yong Gu Jing numbered with ‘Zong 23534’ is now collected in The The article Chinese appears Palace Museum, which was written in Tibetan language by the 13th Dalai Lama’s for congratulating from page 103 to 107. Emperor Xuantong’s ( 宣统) climbing to the throne in 1908.
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