PA R T N I N E Mogao Grottoes Cave 85 Project PROOF 1 2 3 4 5 6 396 PROOF 1 2 3 4 5 6 Objectives of the Cave 85 Project Neville Agnew and Li Zuixiong In 1996, after the first phase of collaboration between the by the State Administration of Cultural Heritage reviewed Dunhuang Academy and the Getty Conservation Institute, the proposal. Coauthored papers reflect the collaborative followed by independent review of the successes and nature of the project. shortcomings of the work undertaken beginning in 1989, it It would be unwise to state that all is now understood was jointly agreed to address the problems of deterioration of about the many afflictions seen in cave 85, or indeed at wall paintings at the Mogao Grottoes and their conservation Mogao itself. Theoriginal materials and techniques that were by a systematic and methodological process. Cave 85 was used to create the art are complex, and the deterioration has chosen for this purpose, and it was further decided that an occurred over many centuries and at different rates. More extensive phase of research and testing would precede any needs to be known about the art, in greater depth. Progress intervention. Moreover, among the objectives ���of ��������the proj� has been substantial, however. The cave 85 project led to an ect were��������������������������������������������������� training and dissemination of the results���,�������� particu�������������� understanding of many technical problems of wall paintings larly in the northwestern regions of China where similar applied to earthen plaster; detachment or separation of the sites and conservation problems are widespread. At the same earthen support from the underlying conglomerate rock; time a collaborative relationship was established between the nearly ubiquitous salts; flaking and disruption of the the State Administration of Cultural Heritage of China, the paint layers by deliquescent salts; migration of these soluble Getty Conservation Institute, and the Australian Heritage salts from the rock body under the influence principally of Commission for the development of national guidelines or water vapor; binding media research; and importantly, the principles for heritage sites in China. These principles, issued development of compatible materials for treatment.��� In���� tan� by China ICOMOS in 2000, base conservation decisions, dem, the direct impact of visitors on the cave’s environment processes, and implementation on a site’s cultural values and was evaluated, as was the intrusion of air from the outside significance. The China Principles were used as the guiding when the doors were opened. This research in turn formed precepts in the cave 85 project. part of a much larger effort to determine the safe visitor The papers that follow cover many, but not all, of the capacity of the site. results and outcomes of the project. First, they reflect the Questions remain: What is the nature and origin of methodology of the China Principles by following a sequence the organic colorants used in many areas as washes over of bibliographic research, development of a significance mineral pigments, apparently to create a subtle effect? statement, condition documentation, investigation and Why in some instances is there analytical evidence for analysis of original materials and techniques, study of causes carbohydrates as well as protein in the binding medium? of deterioration, environmental monitoring, and testing—all What is ��������������������������������������������the contribution of atmospheric moisture ���com� undertaken before treatment was decided on. Some of the steps pared with that of humidity emanating through the rock were done sequentially, others in parallel where expedient to body? Debate will lead eventually to comprehensive and do so. Before treatment began, a panel of experts convened irrefutable understanding of these questions, which also 397 PROOF 1 2 3 4 5 6 398 Agnew and Li Zuixiong suggest future research for the Conservation Institute of the Mogao whose influence will spread far beyond the confines Dunhuang Academy to undertake. of the site. Arising from the cave 85 project has been a significant Finally, archives of the data (analytical, environmen� initiative—the master’s degree course at Lanzhou University tal, testing, and treatment, photographs and reports) from with specialization in wall painting conservation. A col� the cave 85 project are being kept by both the Dunhuang laboration of the Dunhuang Academy with the Courtauld Academy and the Getty Conservation Institute for future Institute of Art and the Getty Conservation Institute, the access by conservators, researchers, and educators. An exten� course has now graduated its first four students, all staff sive report on the project is planned for publication (limited members of the D���unhuang�������������� A�����������cademy��������. �������������������hese������������ profession� hard copy, as well as an electronic version on the Getty’s Web als will be the core of a new generation of conservators at site) in 2010. PROOF 1 2 3 4 5 6 The Significance of Cave 85 Wang Jinyu Abstract: Understanding the significance of a site is key to its 94, and 138, which commemorate the family’s meritorious conservation, management, and use. Cave 85 at the Mogao deeds (Ma De 1996). Grottoes, which was completed in six years (862–67 c.e.), is According to the Hong Bian Stele, dated to the �ang known for its unique historic, artistic, and scientific values. It dynasty and located on the west wall of cave 17, Zhang has seventeen large illustrations of sutras, fourteen of which Yichao’s action was supported by a �ibetan high monk� are in the main chamber. These are mainly related to Buddhist official, Hong Bian. After the eviction of the �ibetan regime, doctrines and daily life in the late Tang period. Certain new Hong Bian was asked by Zhang to send one of his disciples, styles of painting that are found for the first time in cave 85 Wuzhen, with the delegation to the �ang emperor. The show Tibetan, central Chinese, and Dunhuang influences. emperor favored Hong’s loyalty and filial piety and granted The paintings and their inscriptions provide information on him honorific titles (Li Yongning 1981). Therefore, Buddhism, architecture, transportation, customs, musical instruments, which was already deeply rooted at Dunhuang, prospered weaponry, tools, and pottery. They also pose useful research with the support of Zhang’s family and the imperial order questions, such as about the techniques and materials used from the emperor. Nearly one hundred caves were restored and their source. and constructed during the period of sixty�six years in the late �ang. During Zhang Huaishen’s regime, the Dunhuang In 848 Zhang Yichao, from an important Dunhuang family, area was stable and prosperous, with a strong military that evicted the �ibetans and recovered territory in the Hexi area made possible the construction of large caves. Zhang that had been occupied by �ibet for years.1 Later, he asked Huaishen was also the first high�ranking official to construct his brother, Zhang Yitang, to lead a delegation to present caves to demonstrate his wealth, political authority, and a map of the Hexi area to the �ang emperor Xuanzong to social status and that of his family. demonstrate his willingness to return the area to China and thus support the unification of the country. The emperor Historical Significance rewarded the family for their loyalty and brave actions. In 851 he appointed Zhang Yichao prefect of the eleven states Cave 85 was constructed between 862 and 867 (He Shizhe of the Hexi Corridor (Gansu province) and awarded him the 1980), an unusually short time. �he highest regional monk� title Commander General of the Return to Allegiance Army, official, Zhai Farong, built the cave to demonstrate his stationed at Shazhou (present�day Dunhuang). This led to political achievements and family wealth, a practice com� greater influence and power in the area, and the Silk Road mon among many monks and secular officials of the time. between Gansu and northern Xinjiang (about 1,000 km) Zhai died in 869, about three years after the cave was com� again flourished. The Zhang family continued to expand their pleted. �he cave, known as the Zhai Family �emple, was influence by using their authority and financial resources to managed by Zhai’s family (Bibliothèque nationale 1994; Wu build caves at the Mogao Grottoes, including caves 9, 12, 85, Mangong 1959). 399 PROOF 1 2 3 4 5 6 400 Wang Jinyu Cave 85 contains a wealth of art, as well as information the Zhai family stele was erected in front of cave 85. The stele on religious practices and daily life. The main chamber alone was lost, but a copy of its inscription was preserved in the houses fourteen illustrated sutra paintings, one of the richest Library Cave. collections at the Mogao Grottoes. However, the antecham� Cave 85 is a typical family cave whose owners and ber has been damaged, making it impossible to determine donors were different at different periods. Portraits of Zhang the original layout. Yichao, Zhang Huaishen, and, later, Cao Yijin and his son The wall paintings at Mogao have some non�Buddhist were painted on the corridor walls. Zhang Yichao and Zhang depictions. First, the portraits of donors were prominent and Huaishen were the regional highest administrative officials reflect the influence of the region’s rich and powerful lead� during the period of cave construction, and Cao Yijin and ers, especially the Zhang family, which had both political his son were the highest administrative regional officials and religious influence. They controlled temples, contributed during the period of cave restoration. During the regime to the construction of family caves, such as Zhai Farong’s, of the Return to Allegiance Army, the highest regional and painted portraits of family members as donors on the administrative official was the main donor of his own cave walls of cave corridors and at the lower portion of the east, but served also as honorary principal donor for caves con� south, and north walls (fig.