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dunhuang grottoes
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  敦煌石窟
     The Design and Realization of Metadata Standard for Dunhuang Grottoes Art
     敦煌石窟艺术元数据标准的设计及实现
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     An Introduction to Mural Arts of Dunhuang Grottoes
     包罗万象的敦煌石窟壁画艺术
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     The producing area of Hecuba Juno application of pigmenton Dunhuang Grottoes art
     敦煌石窟艺术应用颜料的产地之谜
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     Sixty Years On The Conservation of The Dunhuang Grottoes
     敦煌石窟保护工作六十年
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     A Study on the Early Esoteric Buddhism Situations in Dunhuang Grottoes
     敦煌石窟早期密教状况研究
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  莫高窟
     Notes On The Dunhuang Grottoes:Re-Explaining The Picture of Eight Buddhas at The Northern Wall of Cave 285 Mogao Grottoes
     石室札记——重新解读莫高窟第285窟北壁八佛
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     Protecting of the Dunhuang Grottoes
     保护莫高窟
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     Build the Dunhuang Grottoes facing future
     建设面向未来的莫高窟
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     Design proposal of rebuilding the Dunhuang Grottoes
     再造莫高窟的设计方案
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  “dunhuang grottoes”译为未确定词的双语例句
     The Study of Furniture in the Dunhuang Grottoes
     敦煌家具研究
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     The Origin Of Apsaras' Outward Forms In Dunhuang Grottoes
     敦煌飞天形体姿态的来源
短句来源
     Collation of and Explanation on Collection and Collation of the Dunhuang Geographical Documents: On Hermeneutics of the Remanent Volume of Chorography of Dunhuang Grottoes (I)
     《敦煌地理文书汇辑校注》校议(一)——兼议《敦煌石室地志残卷考释》
短句来源
     A Study of Art Presentation of The Saddharma-Pundarīka-Sūtra in Dunhuang Grottoes and Its Faith During The Northern Dynasty
     敦煌北朝时期《法华经》艺术及信仰考察
短句来源
     On the Significance of the Discovery of the Golden Light Scripture Pictures in the Dunhuang Grottoes
     《金光明最胜王经变》在敦煌吐蕃时期洞窟首次出现的原因
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This paper studies on the coloration mechanism of lapis lazuli ore (I) in Afghanistan, lapis lazuli pigment (I) and artificial ultramarine (III) in Dunhuang Grottoes. The experimental results show that they all have wave of g = 2. 029, and I &.II have g = 2.047 wave value while III does not have. The g=2. 047 wave changes into flat at 400 and disappears at 600. The g=2. 029 wave becomes strong with increasing temperature. At 800, the speed of the strengthening slows down and the color deepens. On the surface...

This paper studies on the coloration mechanism of lapis lazuli ore (I) in Afghanistan, lapis lazuli pigment (I) and artificial ultramarine (III) in Dunhuang Grottoes. The experimental results show that they all have wave of g = 2. 029, and I &.II have g = 2.047 wave value while III does not have. The g=2. 047 wave changes into flat at 400 and disappears at 600. The g=2. 029 wave becomes strong with increasing temperature. At 800, the speed of the strengthening slows down and the color deepens. On the surface of MoO3/SiO2 and MoO3/Al2O3, the EPR spectrum of S2- has g = 2. 047, 2.028, 1.998 branches. The result indicates that the EPR signal of ultramarine, lapis lazuli and artificial ultramarine should be the overlapping signal of two kinds of sulphur free radicals.

研究了阿富汗青金石矿石、敦煌石窟青金石颜料、合成群青的呈色机理.实验表明三者均有g=2.029m峰,前两者多一个g=2.047峰.400℃时.g=2.047峰变平.600℃时消失.g=2.029 峰随温度升高而增强,800℃时增强放慢,颜色也随温度变深.在M_0O_3/Si0_2和M_0O_3/Al_2O_3表面上,S_2~-的FPR有g_1=2.047,g_2=2.028,g_3=1.998三个分量.因此,群青、青金石和合成群青的EPR信号应是两种硫自由基信号的重叠.

In the Banpo Temple of Linyi a tablet named “the one of the Figure of Buddha’s Nirvana of Dayun Temple” was erected in the 3rd year of Tianshou of Wu Zetian’s Zhou Dynasty (692 A.D.). Another tablet which carried an inscription entitled “The Construction of the Tablet of Amitabha by Wang Shandeng” was erected in the twenty second year (734 A.D.)of Kaiyuan of Tang Dynasty. The contents of the sūtra stories recorded on the two tablets are different from that in the murals of the Dunhuang Grottoes .This...

In the Banpo Temple of Linyi a tablet named “the one of the Figure of Buddha’s Nirvana of Dayun Temple” was erected in the 3rd year of Tianshou of Wu Zetian’s Zhou Dynasty (692 A.D.). Another tablet which carried an inscription entitled “The Construction of the Tablet of Amitabha by Wang Shandeng” was erected in the twenty second year (734 A.D.)of Kaiyuan of Tang Dynasty. The contents of the sūtra stories recorded on the two tablets are different from that in the murals of the Dunhuang Grottoes .This paper,with the help of the historical data and through analysing the connotations of Nirvana sūtra stories, verifies relations between the tablet of the 3rd year of Tianshou and Wu Zetian’s dynastic changes.

造像碑的涅经变李静杰涅般木经变是隋唐时期出现和流行的佛教艺术题材。它以涅般木经典为主要表现对象,将诸多情节的佛涅般木传说,用单幅或多幅连续构图形式描绘出来,旨在宣扬常、乐、我、净的思想。与南北朝时期作为佛本行故事组成部分的涅般木情节以及从本行情节中...

Abstract The documents which were recieved or sent by Dunhuang temples in the Tenth century recorded the activities of monks and situations of the three groups of grottoes (Mogao Grot- to,Xi Qian Fo Dong and Yulin Gratto),such as grotto construction,everyday management and maintence, Buddhist ceremony of temple, temple environmental improvement and monk group's self-sufficient in agricultural products. All these show the borad social backgraund of economy, people's life, local conditions and...

Abstract The documents which were recieved or sent by Dunhuang temples in the Tenth century recorded the activities of monks and situations of the three groups of grottoes (Mogao Grot- to,Xi Qian Fo Dong and Yulin Gratto),such as grotto construction,everyday management and maintence, Buddhist ceremony of temple, temple environmental improvement and monk group's self-sufficient in agricultural products. All these show the borad social backgraund of economy, people's life, local conditions and customs and national relations of Dunhuang area in ancient times. They contain important historical data for us to study the history of Dunhuang grottoes especially the Yulin Grattoes and the West Thousand Buddha Caves.

10世纪敦煌寺历所记三窟活动马德敦煌文献中,有一批9、10世纪时敦煌寺院的“入破历”类文书(本文简称寺历)。文书所记,为寺院各项活动中有关食品、纺织品、纸品等的收入和支出情况。在石窟上的活动,是寺院僧徒活动的内容之一,也是这些寺历所记支出项目之一。寺...

 
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