Excavated Diversity

Dunhuang culture, represented by the Buddhist art of the Mogao Grottoes and the cultural relics of the Library Cave of the Mogao Grottoes, has survived and developed for nearly 2,000 years. It is the world’s largest, longest-lasting, and best-preserved art treasury with the richest content today. Over the course of nearly 2,000 years of history, Chinese and other cultures collided and engaged in exchange there, and the dialogue among diverse civilizations has echoed throughout the caverns ever since. unhuang culture, represented by the Buddhist art of the Mogao Grottoes and the cultural relics of the Library Cave of the Mogao Grottoes, has survived and developed for nearly 2,000 years. It is the world’s largest, longest-lasting, and best-preserved art treasury with the richest content today. Over the course of nearly 2,000 years of history, Chinese and other cultures collided and engaged in exchange there, and the dialogue among diverse civilizations has echoed throughout the caverns ever since. 

From Wilderness to Art Palace

The Dunhuang grottoes consist of cave complexes in six different locations. Due to the fact that the main grottoes at Mogao are situated in Dunhuang and the artistic styles of all the grottoes followed the same tradition, they are collectively known as the Dunhuang grottoes.According to Zhang Yuanlin, deputy director of the Dunhuang Academy, the term “Dunhuang” (literally “greatness and splendor”) was first used by Zhang Qian, an outstanding envoy and explorer from the Western Han Dynasty (202 B.C.-8 A.D.) when he reported to Emperor Wu of Han after returning from a mission to the Western Regions. Since then, the place has been called Dunhuang.
In 366, a Buddhist monk named Le Zun carved out caves on the cliffs of Mingsha Mountain in the southeast of Dunhuang to practice Buddhism and meditation, marking the beginning of construction of the Mogao Grottoes. After Le Zun, another monk named Fa Liang, who came from the east, continued the work and expanded the initial effort. Historical records don’t specify the exact time when Fa Liang built his cave. Research shows that his cave was probably built between 376 and 385. Fan Jinshi, honorary president of the Dunhuang Academy, said that Dunhuang served as a cultural window connecting the East and the West, facilitating exchange between China and foreign countries. Coupled with long-standing local Buddhist culture, the convergence prompted Le Zun and Fa Liang to carve caves here.
Inspired by the two eminent monks, many other monks subsequently gathered in the locale in search of the true essence of Buddhism. Within the following 11 dynasties, 735 exquisite caves, 45,000 square meters of murals, and more than 2,000 lifelike painted sculptures were built in Dunhuang. For nearly 2,000 years, generations of efforts ultimately transformed the land into a world-renowned art palace. The builders enabled future generations to take a glimpse at the splendid and magnificent history.
Profound Dunhuang art evidences the inclusiveness of Chinese culture. From production, folk festivals, weddings and funerals, and other aspects of everyday life to the architecture, clothing, and tools of different eras, the Dunhuang grottoes cover a broad spectrum of social life. This has made Dunhuang acclaimed not only as a cultural treasure in which the Eastern and Western cultures met, but also as a museum of ancient civilizations.

Prosperity on the Ancient Silk Road

The Dunhuang grottoes were continuously carved after the 4th century and did not fade from public view until after the rise of maritime trade in the 14th century. The reason is that the formation and prosperity of the Dunhuang grottoes were inextricably linked to the ancient Silk Road.
In 138 B.C. and 119 B.C., Zhang Qian was sent on diplomatic missions to the Western Regions twice, helping blaze the ancient Silk Road. In 121 B.C., Dunhuang was officially incorporated into the territory of the Western Han Dynasty. In 111 B.C., Dunhuang Prefecture was established, causing many prominent families from the Central Plains to migrate to Dunhuang. They brought advanced farming, water conservancy and irrigation techniques and introduced Confucianism and Taoism to Dunhuang. Fan Jinshi believes that the Central Plains culture, combined with the local culture that had accumulated connections with the Western Regions and Central Asia, jointly formed the diversity of Dunhuang culture.
The ancient Silk Road hosted traffic for more than two millennia. Historically, its route changed multiple times due to wars, disasters, and other factors. However, every route from the Central Plains to Central Asia and Europe through the Western Regions had to pass through Dunhuang. Consequently, the area emerged as a hub of international exchange along the Silk Road. Leveraging this geographical advantage, the flourishing ancient Silk Road enriched Dunhuang. The art of Dunhuang includes murals adorned with lions, elephants, and other animals clearly influenced by the cultures of Central Asia and ancient India, and uniquely shaped artifacts highlight the thriving international trade in the region. All these factors evidence the prosperity of Dunhuang due to the Silk Road.

Diverse Civilizations Coexist in Harmony 

The Dunhuang grottoes, though carriers of Buddhist thought, exhibit elements that reflect the daily lives of diverse civilizations, beliefs, and ethnic groups along the Silk Road. Zhang Yuanlin called the harmonious coexistence of multiple religions a major feature of Dunhuang culture. Throughout the extensive history of Dunhuang, Confucian thought has long held a dominant position in daily life, yet religious beliefs have shown a trend towards diversification. Specifically, alongside Taoism, a religion endemic to China, traces of various religions that spread through Central Asia and India can be found in Dunhuang. This made Dunhuang an important hub for the spread and exchange of different religions along the Silk Road.

The murals in the Mogao Grottoes feature significant content dedicated to Buddhist scriptures. These images relate many Buddhist stories and showcase a rich secular culture. For example, in the wedding scene depicted by the mural in Cave 33 of the Mogao Grottoes, one can see a “hundred-children tent” which symbolizes the prosperity of offspring set up outside the house. Inside the tent, parents of the newly-wed and guests are seated, while the groom perform a kneeling ceremony. Notably, the bride stands, while the groom prostrates on the ground. This ceremony was influenced by the nomadic tribes of northern China. while the groom perform a kneeling ceremony. Notably, the bride stands, while the groom prostrates on the ground. This ceremony was influenced by the nomadic tribes of northern China. 

Inclusive Chinese Culture

Chinese civilization has been continuously thriving since the day of its birth, thanks to its unwavering commitment to fine traditional culture coupled with inclusiveness towards foreign civilizations. Zhang Yuanlin believes that the formation and flourishing of Dunhuang culture embody the lasting prosperity of Chinese civilization.For example, the various murals in Dunhuang were created not only by Chinese artists but also by master painters from ancient India and Central Asia. Artists from different regions often made different choices and bold innovations when expressing the same theme. Precisely because of this, Dunhuang art exhibits a rich diversity, reflecting the collision and fusion of different civilizations.
The development process of Dunhuang culture fully demonstrated the openness and inclusiveness of Chinese culture. Based on Central Plains culture, Chinese culture has boldly absorbed foreign ideas and cultures, and continues flourishing with inclusiveness and diversity.