Origine et montage des bannières peintes de Dunhuang

The subject of this paper is to seek the origins of the mounting of the Buddhist banners recovered by Sir Aurel Stein and Paul Pelliot in a cave of the Mogao grottos near Dunhuang (Gansu, China). First, we distinguish the different categories of banners and paintings on silk or hemp cloth according to their shape and use. Secondly, this study follows the development of the banners as ornaments of the stûpa from India to China across Central Asia. Lastly, the Chinese origin of the art of mounting is demonstrated with the help of examples selected in Chinese art. The mounting seems to find its final shape (with triangular headpiece, side and lower ribbons) toward the early Tang period (618-712). It will keep this form at least as far the Song period. Another paper will deal more particularly with the religious utilization of the banners.Jera-Bezard Robert, Maillard Monique. Origine et montage des bannières peintes de Dunhuang. In: Arts asiatiques, tome 40, 1985. pp. 83-91