《视觉化的敦煌：观察、研究和保护石窟》是这套宏伟的九卷本精装书第九卷的平装版，它研究了罗氏档案（20世纪40年代拍摄的莫高窟和榆林窟的大量照片）如何为大量的学术研究带来了启发。书中的大量插图来自精选的罗氏档案和现代照片，文章探讨了三个主要领域——作为历史记录的敦煌，作为遗址的敦煌，以及作为艺术和艺术史的敦煌。来自三大洲的**专家研究了大量的主题，包括探险摄影和石窟建筑，展示了敦煌的丰富的精神遗产。尽管这些文章的主题和方法各不相同，但它们只代表了有关敦煌研究的一小部分内容。莫高窟和榆林窟的高度集中及其特殊的内容记录了几个世纪的艺术风格、佛教教义的转变以及政治和私人赞助的模式——为未来的工作提供了无尽的材料来源。

A beautifully illustrated study of the caves at Dunhuang, exploring how this important Buddhist site has been visualized from its creation to today

Situated at the crossroads of the northern and southern routes of the ancient silk routes in western China, Dunhuang is one of the richest Buddhist sites in the world, with more than 500 richly decorated cave temples constructed between the fourth and fourteenth centuries. The sculptures, murals, portable paintings, and manuscripts found in the Mogao and Yulin Caves at Dunhuang represent every aspect of Buddhism. From its earliest construction to the present, this location has been visualized by many individuals, from the architects, builders, and artists who built the caves to twentieth-century explorers, photographers, and conservators, as well as contemporary artists.

Visualizing Dunhuang: Seeing, Studying, and Conserving the Caves is a paperback edition of the ninth volume of the magnificent nine-

volume hardback set, and examines how the Lo Archive, a vast collection of photographs taken in the 1940s of the Mogao and Yulin Caves, inspires a broad range of scholarship. Lavishly illustrated with selected Lo Archive and modern photographs, the essays address three main areas―Dunhuang as historical record, as site, and as art and art history. Leading experts across three continents examine a wealth of topics, including expeditionary photography and cave architecture, to demonstrate the intellectual richness of Dunhuang. Diverse as they are in their subjects and methodologies, the essays represent only a fraction of what can be researched about Dunhuang. The high concentration of caves at Mogao and Yulin and their exceptional contents chronicle centuries of artistic styles, shifts in Buddhist doctrine, and patterns of political and private patronage―providing an endless source of material for future work.

Contributors include Neville Agnew, Dora Ching, Jun Hu, Annette Juliano, Richard Kent, Wei-

Cheng Lin, Cary Liu, Maria Menshikova, Jerome Silbergeld, Roderick Whitfield, and Zhao Shengliang.

Published in association with the Tang Center for East Asian Art, Princeton University