Mogao Research Articles

Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts

Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts

Dynamic characteristics and seismic responses of painted sculptures of Dunhuang Mogao Grottoes

Abstract The painted sculpture of Dunhuang Mogao Grottoes is an important constituent of Dunhuang's cultural art. To study the painted sculpture's seismic safety, experimental specimens and numerical models were established on the basis of original geometry and internal constitutions. These specimens and models were made of wooden frame, reed-padded layer, coarse clay layer, and fine clay layer from internal to external. The dynamic characteristics of the painted sculptures were obtained by sweep frequency experiments. The numerical model can reflect dynamic performance of experimental specimens by comparing the results of sweep frequency experiment with numerical modal analysis. Based on the numerical results, the responses of the painted sculptures were analyzed from the perspectives of stress, displacement, and acceleration, evaluating the painted sculptures’ responses to seismic activity at three levels expected for the Dunhuang area, and finding the regions of easily damaged. The results show that there is a risk of damage to painted sculptures, though the displacement responses are small under the earthquakes with PGA = 0.20 g.

The relative position and the implications of Hyecho's Wang-o-cheon-chuk-guk-jeon among other classic works of travel literature in the world

‘往五天竺國傳’은 신라시대의 승려 慧超가 서기 723년부터 4년에 걸쳐 당나라를 통해 인도 5개국을 여행하면서 기록한 紀行文이다. 서기 1908년 프랑스의 동양학자 펠리오(Pelliot)에 의해 그 존재가 알려진 후 ‘往五天竺國傳’에 관한 많은 연구가 이루어져 왔다. 그러나 그동안 ‘往五天竺國傳’에 관한 세계 古典 紀行文學史的 位相에 관한 연구가 제대로 이루어진 적이 없었기 때문에 이 紀行文의 세계 古典 紀行文學的 含意나 評價를 놓고는 막연한 주장들이 이어져오고 있다. 5세기부터 8세기까지 慧超의 ‘往五天竺國傳’ 이외에도 많은 동양인들이 여행기를 남겼는데, 5세기 法顯의 ‘佛國記’, 6세기 송운의 ‘宋雲行記’, 7세기 玄奘의 ‘大唐西域記’와 義淨의 ‘南海寄歸內法傳’ 그리고 엔닌(圓仁)의 ‘入唐求法巡禮行記’가 있다. 동양에 이와 같은 여행기가 있다면, 서양에서도 13세기와 14세기에 걸쳐 카르피니의 ’몽골사‘, ’루브룩의 여행기‘,마르코 폴로의 ‘東方見聞錄’, 오도릭의 ‘東遊記’, ‘이븐바투타여행기’와 같은 古典 旅行記들이 쓰여졌다. 따라서 論者는 이 論文을 통해 ‘往五天竺國傳‘을 중심으로 하여 5세기부터 14세기 사이에 쓰여 진 東西洋 古典 紀行文들의 旅行目的, 旅行時期, 旅行期間, 旅程 등을 비교 분석해 봄으로써 ’往五天竺國傳‘의 세계 古典 紀行文學史的 相對的 位相과 그 含意를 평가하여 보았다. 그 결과 ‘往五天竺國傳’은 세계 4대 여행기로 평가되는 것은 무리이나 동양의 5대 여행기로 평가될 수는 있을 것이다.

The Thousand-armed Mañjuśrī at Dunhuang and Paired Images in Buddhist Visual Culture

Abstract The Thousand-armed Mañjuśrī is an enigmatic form of the bodhisattva that appeared primarily in the Mogao cave shrines in northwestern China. There, the deity was nearly always paired with the Thousand-armed Avalokiteśvara on opposite walls or on opposite sides of a doorway. Curiously, this pairing is absent from any of the Buddhist sutras associated with the two. This article argues that texts were a starting point rather than an end point for the establishment of the Thousand-armed Mañjuśrī's iconographic characteristics, and that the pairing of the two deities is crucial for understanding the gaps between the deity's textual description and its visual representation.

Étude sur la physiognomonie du cheval sous les dynasties des Han et des Tang (IIIe siècle av. è. c. - Xe siècle) à partir de documents archéologiques

Horse Physiognomy is a vital category in the divinatory art "Morphoscopy" (xingfa) practiced in ancient China. Xingfa was a set of theory and techniques, which to judge propitious or not based on observing dimensions of things. It also served as a basic paradigm in their understanding of the world. Several lost books on physiognomy have been excavated, including a book copied on silk in Mawang dui, entitled Book of Horse Physiognomy (Xiangma jing) and three books on bamboo slips dating from the Han dynasty, entitled Book of Dog Physiognomy (Xianggou jing), Methods of Dog Physiognomy (Xianggou fang) and Book of the physiognomy of Swords (Xiang lishan daojian), discovered respectively in Shuanggu dui, Yinqueshan and Juyan. The large number of these books founded in descriptive accounts of books in dynastic histories and excavated manuscripts suggests that physiognomy occupies a significant place in the knowledge, beliefs and society of traditional China. In this paper, the author has studied works on bamboo slips discovered in Xuanquan, the Great Wall of Han dynasty in Dunhuang, and Shuihudi Qin tombs, silk texts excavated in Mawang dui, manuscripts from the Mogao caves in Dunhuang obtained by Aurel Stein during his second Central Asia expedition, as well as discoveries of cultural remains and mural paintings on horse physiognomy in Gansu. He combined them with works handed down, such as the Qimin yaoshu (Essential Skills to benefit the People, sixth century encyclopedia of agricultural knowledge by Jia Sixie) to cast new, more systematic light on the origins and development of the horse physiognomy during the Han to Tang dynasties. This research is intended to develop a comprehensive understanding of the place of different source materials in the production of classical knowledge and the practice of xingfa arts, and to re-think the role of manuscripts and objects in intellectual history, folk belief, and daily life in medieval China.

Effects of Drifting Sand Particles on Deterioration of Mural Paintings on the East Wall of Cave 285 in Mogao Caves, Dunhuang

The Mogao caves, which are designated as a World Heritage site, house the remains of one of the largest collections of Buddhist mural paintings. The cave investigated in this study is cave 285, which has paintings on the walls and ceiling. The purpose of this research is to identify the causes for the deterioration of the paintings, particularly on the east wall. Emphasis is placed on collision and adhesion of sand particles driven by the wind into the cave as a candidate cause of deterioration on the east wall.

The artistic qualities of the mural on the southern wall of Cave No. 217, Mogao Caves in Dunhuang, China

The artistic qualities of the mural on the southern wall of Cave No. 217, Mogao Caves in Dunhuang, China

돈황문서로 본 중고(中古)시기 돈황불교의 포용성 연구

The Dunhuang manuscripts are a cache of important religious and secular documents discovered in the Mogao Caves of Dunhuang, China, in the early 20th century. Dating from the 5th to early 11th centuries, the manuscripts include works ranging from history and mathematics to folk songs and dance. Most of the religious manuscripts are Buddhist, but other religions including Daoism, Nestorian Christianity and Manichaeism are also represented. In this paper, I have discussed about the catholicity of Dunhuang Buddhism contained in Dunhuang manuscripts from four aspects, i.e. Miao zhen zan in the Guiyijun period, school of the Dunhuang temple, Dunhuang vulgar literature texts, the religious manuscripts except Buddhism, namely Daoism, Nestorian Christianity and Manichaeism. Finally, I have discussed about the cause and background of the formation of Dunhuang Buddhism’s catholicity.

Texture reconstruction of 3D sculpture using non-rigid transformation

Abstract Sculptures, one of the most important forms of cultural heritage, exist in numerous temples, towers and grottoes. The current generation of high precision 3D digital sculpture models is a primary reality-based modeling tool for digital documentation, archaeological research, virtual restoration, and digital exhibition. However, high precision texture mapping remains a challenge in high fidelity digital reconstruction of complex sculptures, especially in the areas of rich geometrical details. This paper proposes a method to texture mapping one image onto the sculpture model to deal with the mapping problem problems caused by the image distortion and the model deformation. Firstly, we use a rigid pinhole camera model to project the image onto the geometric model to acquire primary texture mapping, where direct linear transformation is employed to estimate the elements of exterior orientation of the texture image. Then, we propose a non-rigid transformation model, called weighted thin-plate spline (W-TPS), discuss the theoretical derivation and the establishment of the W-TPS function, and apply this model to adjust the primary texture mapping results. The proposed method can precisely project the image onto the geometrical model both globally and locally. We conduct three experiments to verify the efficiency and feasibility of the proposed method using the sculptures in Dunhuang Mogao Grottoes in western China, which was inscribed on World Heritage List by UNESCO in 1987.

Water in the Mogao Grottoes, China: where it comes from and how it is driven

The Dunhuang Mogao Grottoes in China was designated as a world heritage site by UNESCO in 1987 and is famous for its cultural relics. Water is the most active factor that harms the relics in the caves as it damages the grotto murals and painted sculptures. Thus, determining the water sources and driving forces of water movement is a key issue for protecting these cultural relics. These issues have troubled relics protectors for a long time. In this study, the authors chose a representative cave in the Mogao Grottoes and, by completely sealing the cave to make a closed system, measured the water vapor from the surrounding rock. This was accomplished by installing a condensation-dehumidification temperature-humidity control system for the collection of water vapor. The results show that there is continuous evaporation from the deep surrounding rock into the cave. The daily evaporation capacity is determined to be 1.02 g/(d·m2). The water sources and driving forces of water movement were further analyzed according to the character of the water evaporation and by monitoring the temperature and humidity of the surrounding rock. It was found that the water vapor in the cave derives from phreatic water. Moreover, the yearly fluctuation of temperature in the surrounding rock and geothermal forces are the basic powers responsible for driving phreatic evaporation. Under the action of the yearly temperature fluctuations, decomposition and combination of bound water acts as a “pump” that drives phreatic water migration and evaporation. When the temperature rises, bound water decomposes and evaporates; and when it falls, the rock absorbs moisture. This causes the phreatic water to move from deep regions to shallow ones. Determining the source and dynamic foundation of the water provides a firm scientific basis for protecting the valuable cultural relics in the caves.

A Study on Mogao Cave 158 with Buddhism

A Study on Mogao Cave 158 with Buddhism

돈황막고굴 158굴 열반도상의 연구

돈황막고굴 158굴 열반도상의 연구

돈황석굴 普門品變相의 전개와 鳩摩羅什(344 ~ 413)譯妙法蓮華經의 영향

돈황석굴 普門品變相의 전개와 鳩摩羅什(344 ~ 413)譯妙法蓮華經의 영향

돈황 막고굴 벽화에 나타난 불교사원 종.경루의 건축형태 및 배치에 관한 연구

Bell and Sutra Towers are the important elements of early Buddhist Temples. However, we still do not know the exact informations of them. So this paper studies the Bell and Sutra Towers in the Mural Paintings of Dunhuang Mogao Grottoes to find out the specific architectural form and layout of them. The results are as follows: Bell and Sutra Towers in Dunhuang Mogao Grottoes have variety of architectural types and plans, and the octagonal 'Gak(閣)' is the most common type of Bell and Sutra Towers. Bell and Sutra Towers are mostly located in the north side of the Temples. To be more concrete, they are located on top of the north-corridor in the Temples. With regard to the east-west layout, it seems to be that there are no fixed rules.

The Sinicization of Dunhuang Mogao Cave Buddhist Art

인도불교가 중국에 도달한 것은 서기 기원 무렵이었다. 그러나 인도불교가 바로 漢族들에게 수용되지는 않았다. 왜냐하면 중국은 인도불교에 필적하는 사상 종교가 이미 존재하고 있었기 때문이다. 그것은 유교나 도교 등이었다. 그러므로 漢族들은 인도불교를 구태여 필요로 하지 않았다. 그러한 상황에서 시작된 것이 고대 인도어로 기록된 엄청난 수의 불교경전을 중국어로 번역, 즉 漢譯한 사업이었다. 이렇게 하여 한역경전이 등장하였다. 한역에 관해서는 漢族들이 쉽게 수용하기 위하여 전통적인 중국 사상을 가미한 것은 말할 것도 없다. 인도불교는 대략 200년이라는 장기간을 걸쳐 중국문명과 융합하였다. 즉 동아시아 최대의 선진국인 중국문명의 틀인 漢字, 繪?, 彫刻, 工藝, 建築, 土木鑄造技法 등으로 감싸여, 인도불교는 모양새를 새롭게 중국불교, 중국불교미술로 변신하였다. 이와 같이 고도한 문명국이 마찬가지로 고도한 異文明을 수용할 경우, 시간을 걸어서 異文明을 自國의 문명과 융합시키면서 수용하는 것이다. 중국불교는 동아시아의 하이 컬처(상위문화)이기 때문에 동아시아 주변 한반도나 일본열도에서의 수용은 단기간에 모두 받아들이는 것이었다. 그런데 중국에서는 漢나라가 서기 220년에 멸망하자 곧이어 天下는 三分되어, 나아가 五胡十六國의 동란시대가 시작하였다. 長安 귀족이나 관료, 민중들은 難民이 되었고, 甘肅의 河西지역 前?에 도망갔으나, 그들 중에는 長安의 화가나 조각가가 있었다. 그들이 敦煌莫高窟의 絢爛한 벽화와 화려한 塑像을 제작하였다. 이러한 석굴을 조영하기 위해서는 고도한 기술과 창조력을 보유한 漢族 전통문화를 체득한 화가나 조각가를 포함한 工人集團을 안고 있었던 유력자들이 敦煌에는 있었다. 다시 말하면 중원 극상의 미술이 敦煌에 移轉하였던 것이다. 異文明의 수용을 여실히 나타내는 것이 莫高窟 257窟 (北魏)과 428窟 (北周)에 있다. 전자의 남벽 중앙 벽면에는 千佛 가운데 하나의 건물이 그려져 있다. 중국 전통 瓦葺의 목조건축이며, 大棟 양단에는 ?尾를 두고, 大棟 중앙부에는 인도불교의 스투파와 그 위에는 相輪을 그리고, 좌우에는 한 장씩 幡을 휘날린다. 건물내에는 중앙에 如來像이 冕服 같은 大衣를 입고, 蓮華座上에 서며, 죄우에는 脇侍菩薩像이 선다. 三尊像 앞에는 처마 밑에서 帳이 걸어져 있다. 漢族 전통 목조건축의 大棟에 인도불교 스투파를 기재하는 대담한 조합이야 말로 異文明을 자국의 문명으로 감싸는 漢族의 왕성한 창작 의욕을 확인할 수 있는 것이다. 또한 이 건물은 불사리 안치의 불탑(스투파)과 불상안치의 불전(금당)이 중국건축에서는 아직 미분화였던 무렵의 상황을 전하는 귀중한 회화자료이기도 한다. 후자의 428窟 서벽 중앙 남쪽의 佛塔圖는 불탑이므로 신성하고 귀중하면 할수록 높이가 요구되어, 건축은 單層에서 多層으로 고도화한다. 벽화는 小塔 네 개와 그들에 둘러싸인 大搭으로, 소탑은 모두 三層, 대탑은 정확하지 않지만 고도화의 과정이라 여겨지며, 곧 漢族들이 좋아하는 陽數, 즉 三重, 五重, 七重, 九重塔이 등장한다. 이와 같이 敦煌莫高窟에는 漢族들이 異文明인 인도불교를 중국화하면서 수용하는 과정을 나타내는 귀중한 회화자료가 남아 있는 것이다.

Determination and analysis of phreatic water evaporation in extra-arid dune region

Extra-arid desert is a terminal of biological geochemistry circulation system. It has important value in scientific research and huge new discoveries, which is very useful in many regions, such as energy resources, mineral, water resources, ecology, biodiversity, tourism and characteristic agriculture. Meanwhile, extra-arid area’s desertification is a serious threat to the ecological safety of earth. Aeolian desertification is one of style of desertification caused by water shortage. Once desert has formed, it is very difficult to management or recovery. One of most effective methods for desert control is using integrated ecosystem management based on considering water and the soil. Therefore, it is very important to find a new available water resource, and authors’ research is in this field. In this paper, we select a Gobi on Dunhuang Mogao Grottoes of Kumtag desert fringe, where the buried depth of phreatic water is over 200m. Using an arched shed-air conditioning system, where covered drift sand thickness of 2.0m, the phreatic evaporation was measured for the first time. In order to analyze influence factors, the evaporation of phreatic water on Gobi was measured and compared. The temperature of soil and air, the humidity inside and outside of the arched shed were also monitored. It is found that the phreatic water under sand can go through sand layer and get to surface, which forms evaporation. The amount of evaporation changes along with solar radiation and temperature fluctuations in the day. It also changes periodically in the year. During five months from June to October, the sunshine time is longer and temperature is higher, and the evaporation is higher too, and the mean daily evaporation is 3.6g/(m2d). In other periods, the amount of evaporation of phreatic water is extremely weak. It is difficult to monitor by the arched shed-air conditioning system. Compared with Gobi region, the amount of evaporation of phreatic water on dune is very low, which is only 15.0% evaporation on Gobi. The key reason is the difference of salts in soil. The crystal water could be decomposed from salts or combined again. This reversible process plays a key role in transferring phreatic water of dune and Gobi. The amount of phreatic evaporation is proportional to the salts content in shallow soil. The salts content in dune is only 0.7% of salts content in Gobi, and water content in dune is 3.2% of the Gobi soil. According to results of monitoring, the water content is low in sand. The crystal water in shifting sand could be completely decomposed from salts with temperature rising. It causes relative humidity (RH) decreasing, which is inversely in the sand compared to in Gobi soil. In depth of 10cm sand, the daily fluctuation is about 10%, which is significantly higher than that of in Gobi soil (3%). As the crystalline salt is a kind of typical water carrier, decreasing the content of crystalline salt results to reduce water transporting because carrying capacity of water is significantly reduced. After condensing and collecting 168days, 9808g of water was outputted from sand. However, the water content in sand was still obviously higher than original content. That means the underground vapor migrates upward, and the phreatic water moves to surface. From the evaporation comparison of dune and Gobi, we can conclude that the amount of evaporation could be controlled by changing the soil property in interface, this points out the direction for utilization of phreatic water evaporation.

Ancestor portraits at Mogao Cave 231

The nearly five hundred decorated Mogao Caves at Dunhuang house an estimated 484,250 square feet (45,000 square meters) of murals that shed light on Chinese Buddhist practices from the fifth to fourteenth centuries. Cave 231, circa 839 C.E., is the family cave of the distinguished Yin family. On the eastern wall of the cave interior, a painted figural group above the entrance marks a notable shift in patronage practices at this important Silk Road site. The integration of these “secular” figures into a Buddhist cave complicates the separation established by both medieval Chinese authors and modern scholars of Buddhist art between practices of familial commemoration and religious devotion. Medieval authors argued that native Chinese values of Confucian filial piety were incompatible with imported practices of Buddhist social renunciation. Modern scholars have similarly described filial piety and Buddhist devotion as falling into the mutually opposing categories of the secular and the sacred, respectively. The ancestor portraits in Cave 231 at Mogao challenge the historical tendency to represent these categories in strict opposition to one another, demonstrating instead their fluid and contingent nature.

岩画和壁画类文物微生物病害的研究进展

古代岩画和壁画是人类文明发展历史进程的重要记录，具有极高的历史价值、艺术价值及科学价值，但他们无时无刻不受到环境因素引起的物理、化学及生物的劣化作用。近年，有关微生物对古代岩/壁画的危害逐渐受到关注。阐述了世界一些著名的岩/壁画文物的微生物的研究进展，如法国拉斯科洞穴岩画（Lascaux Cave）、西班牙阿尔塔米拉洞穴岩画（Altamira Cave）、敦煌石窟壁画、嘉峪关魏晋墓壁画以及我国东北地区公元5世纪的墓葬壁画等。通过对以上所述岩画和壁画微生物群落的分析比较，发现主要的细菌群落是变形菌门和放线菌门，放线菌门以假诺卡氏菌为主。真菌群落主要以虫生真菌为主。进一步分析了岩画和壁画微生物病害的共性和区别，揭示了洞穴、墓室等特殊环境下的微生物群落特点，为防治古代岩/壁画微生物病害提供了以下借鉴。;Ancient cave and wall paintings are important records of human civilization, with great historical, artistic and scientific value, however they are commonly affected by physical, chemical and biological deterioration. In recent years, the issue of microbial deterioration in ancient cave and wall paintings has received more attention. This paper summarizes the research progress on the effect of microbes on famous cave and wall paintings throughout the world, such as the Lascaux cave paintings (France), the Altamira cave paintings (Spain), the Dunhuang Mogao grottoes murals (China), the Wei and Jin dynasty tomb wall paintings (Jiayuguan, China), and the 5^th century tomb murals from the northeast of China. Through a comparative study of microbial communities at these sites, we conclude that the microbes responsible for cave painting degradation are mainly Proteobacteria and Actinobacteria, of which <em>Escherichia</em> and <em>Enterobacter</em> are types of human pathogenic Proteobacteria. According to the analysis in this review, the emergence of these microbial communities in cave and wall paintings is closely related to the presence of tourists. The acid metabolism produced by <em>Pseudonomas</em> and <em>Nitrobacter</em> causes serious corrosion of murals. Our results suggest that the Actinobacteria <em>Pseudonocadia</em> accounts for approximately 68% of bacteria in a clone library produced from samples taken from 5^th Century tomb murals in northeast China. <em>Pseudonocadia</em> is the dominant microflora responsible for white biofilms attached to the murals, while algae are the dominant flora responsible for the green biofilms, the abundance of which is closely related to light, carbon dioxide and humidity levels in the cave. Conversely, fungal communities on cave murals, dominated by entomogenous fungi, appear to have a close relationship with insects that live in the cave. This paper analyzed similarities and differences between microbial communities that do harm to famous ancient cave and wall paintings, in an effort to understand their characteristics under the specific conditions found in caves and tombs, and also provide useful information for ancient painting conservation. Firstly, if effective measures are to be taken to protect these world heritage sites, it is important to consider the ecological perspective. Microorganisms do not grow in isolation and the relationship between various microorganisms, between microorganisms and the environment, and between microorganisms and insects, should be considered in order to facilitate the protection process. For example, a change in cave temperature and humidity will prevent a proportion of the microflora from growing due to the newly unsuitable conditions. Secondly, adopting a cross-disciplinary approach incorporating physics, chemistry, biology and engineering science, will help to control the emergence of these damaging microfloral communities. Furthermore, employing the methodology of phage inhibition and competitive advantage to inhibit the growth of unwanted microbial communities has proven to be an important research direction in recent years. Thirdly, both the conservation and tourist requirements of these cave sites must be balanced in the long-term, for example by reducing the number of visitors that enter the caves and tombs, and by employing the use of disposable sterile clothing and shoe covers to reduce the transmission of exogenous microbes into the caves. The long-term monitoring and regular analysis of cave and tomb paintings and the balancing of the local ecosystem are both important directions for the protection of these cultural heritage sites.

돈황 막고굴 벽화내 다보탑의 주처(住處)공간적 의미와 그 변화 연구

This study aims to examine the early use of Da-bo tap and their transformation by analyzing the various meanings of the term pagoda in Chinese translations, the Sanskrit version of the Lotus Sutra, as well as Dabotap in the Mogao Caves of Dunhuang. In addition, we aim to highlight changes in Dabotap usage, which started out as residential spaces, but transformed into burial spaces over time. The details can be summarized as follows. First, early Buddhist monuments were usually either pagodas serving as burial places for the dead or shrines that were not. A Dabotap is a type of pagoda enshrining the body of Prabhutaratna, and was initially used as a residential space, rather than a burial place for the dead. Second, the terms stupa and caitya are clearly distinguished from each other in the Sanskrit scriptures, and stupa is also further classified into dhatu, sarisa, and atmabhava based on the object being enshrined. In Gyeon-bo-tab-pum, the preconditions for caitya to transform into stupa is presented by explaining that worshipping the space enshrining the body of Prabhutaratna is worthy of the same status as the space enshrining sarira. Third, the Mogao Caves of Dunhuang had been depicted from the Western Wei of the Northern Dynasties until the time of the Yuan Dynasty. It was used as a residential space until the early Sui Dynasty, but was used as both residence and burial places until the Tang Dynasty when pagodas were first being constructed with wheel or circles forms on top, which then gradually changed into stupa (grave towers).

돈황 막고굴에 나타난 다보탑의 변천

This study aims to investigate the architectural characteristics of the Da-bo stupa by examining the correlation among architectural languages and by studying the features of its architectural components and transitional changes shown in Da-bo stupa line drawings in Dunhuang Mogao Grottes. The results are as follows. 1st, the Da-bo stupa of Dunhuang faithfully follows the sutra of lotus, and although the form changes, the fundamental essence of Bo-tap-yong-chul and two seated Buddhas provided by the Gyun-bo-tap-pum in the sutra of lotus is consistent. 2nd, the pagoda body can be periodically divided into parasol, stupa, and royal palace types. The parasol type has an incomplete tower body, which makes distinguishing each of its architectural components difficult. The stupa type appeared between the early (AD 618-712) and middle (AD 766-835) Tang dynasty. It combines the form of Indian stupa type and East Asian wood structural architecture. The royal palace type, which appeared between the peak period of the Tang (713-765) and Sung Dynasties, shows the standardized pattern of the Da-bo stupa described as two seated Buddhas and Bo-tap-yong-chul. 3rd, the use of a stylobate does not appear in the early construction of Da-bo stupa, only in the later period, in the form of high pillars. Forms include many Su-mi-jwah and three-way stairways and Dab-do, but as time passes, the forms are simplified to the form of high pillars. 4th, the purpose of early Da-bo stupa was to provide space for Da-bo-yu-rae of Gyun-bo-tap-pum; hence, it did not have sangryoon(the top part). However, after it was influenced by general pagodas, sangryoon was established. Toward the Tang Dynasty, sangryoon has come to emphasize the forms of boryoon(nine wheels) or dome. However, this form is eventually simplified to only retain bo-joo(the orb).