Search Results (70)

Sensory heritage encompasses culturally valued practices, rituals, and everyday activities experienced through the senses. While sight often dominates, hearing and smelling are generally more immersive and pervasive. Soundscape research is a well-established field within urban studies; however, smellscape remains insufficiently recognised. This study is part of Multimodal Hong Kong, a project aimed at documenting sensory cultural heritage across the city by capturing the complex interplay between soundscape, smellscape, urban experiences, everyday activities, and memory. We investigated the multisensory environment at Wong Tai Sin Temple through acoustic measurements and perceptual ratings of soundscape and smellscape across 197 locations within and around the site. Additionally, semi-structured interviews were conducted with visitors (N = 54, 15,015 words of transcript), which were analysed using content analysis and natural language processing. The results indicate that elevated noise levels mainly arise from human voices and pipe music within the temple compound, as well as traffic noise in the surrounding area. The smell of incense dominates near the temple altars, whereas natural, grassy odours prevail in the adjacent park. Interview responses confirm that incense burning constitutes a traditional religious practice forming a distinctive olfactory marker for Chinese temples, but it is also perceived as having adverse health implications. This study contributes to the growing body of sensory heritage research, underscoring the importance of both soundscape and smellscape in fostering culturally inclusive, vibrant, and sustainable urban environments. Full article

The archaeological complex of Sambor Prei Kuk is identified with Īśānapura, the capital of the Chenla Kingdom in the early 7th century, a political predecessor to the Angkor Empire. Previous studies have largely focused on the eastern temple zone, where numerous Hindu religious structures are concentrated, while the western moated city area—presumably the core of urban and political activity—has remained underexplored. This paper presents the results of recent archaeological excavations at a large central mound within the city zone, which is hypothesized to have functioned as a key administrative facility. The excavation revealed a large-scale and uniquely configured terraced structure, unprecedented within the site, and radiocarbon dating suggests its construction dates from the mid 6th to mid 7th century. Notably, a Chinese historical source from the same period, the Book of Sui, describes a “Great Hall” in Īśānapura where the king administered state affairs. The characteristics and spatial context of the excavated structure suggest a possible correspondence with this account. In addition, LiDAR-derived topographic data identified multiple linear and structural features extending eastward from the mound, indicating that it may have stood at the rear of a more extensive administrative compound. These findings offer new insights into the urban structure of Īśānapura and the political architecture of early Khmer civilization. Full article

Analyzing how urban ritual spaces transform into everyday living environments is crucial for understanding the spatial structure of contemporary historical districts, particularly in the context of ancestral temples. However, existing research often neglects the integration of both building-level and block-level perspectives when examining such spatial transitions. Grounded in urban morphological principles, we identify the fundamental spatial units of ancestral temples and their surrounding blocks across the early 20th century and the post-1970s era. Using the topological characteristics of an access structure, we construct corresponding network graphs. We then employ embeddedness and conductance metrics to quantify each temple’s changing position within the broader block structure. Moreover, we apply community detection to uncover the structural evolution of clusters in blocks over time. Our findings reveal that, as institutional and cultural factors drive spatial change, ancestral temples exhibit decreased internal cohesion and increased external connectivity. At the block scale, changes in community structure demonstrate how neighborhood clusters transition from a limited number of building-based clusters to everyday living-oriented spatial clusters. These insights highlight the interplay between everyday life demands, land–housing policies, and inherited cultural norms, offering a comprehensive perspective on the secularization of sacred architecture. The framework proposed here not only deepens our understanding of the spatial transformation process but also provides valuable insights for sustainable urban renewal and heritage preservation. Full article

This field statement reviews the sources, issues, approaches, and missions of Dunhuang architectural studies from 1926 to the present. The studies of Dunhuang architecture constitute a subfield at the intersection of Dunhuang studies, Silk Road archaeology, and studies of Chinese architectural history. Dunhuang architectural studies primarily investigate three corpses of materials, i.e., the images of architecture represented in mural paintings, the cave typology, and the timber-framed façade screening the caves. This study outlines the three phases in which scholarly concerns evolved from images to their material carriers, from forms to spaces, and from disciplinary to interdisciplinary. The first phase, 1926–1950, features Chinese, Japanese, and German scholars’ early explorations of the images of architecture, mostly based on photographic reproductions of murals and timber façades. They established connections between the Dunhuang materials and the modern studies of art and architectural histories. In the second phase, 1950–2000, scholars, mainly Chinese, explored the majority of the primary materials and managed to establish a research framework for research that is still valid today. Some others conducted refreshing studies from the perspective of spatial conception. The third phase, from 2001 to the present, witnesses the emergence of new materials, perspectives, and technologies, which stimulate interdisciplinary and innovative studies of the Dunhuang materials. Finally, this review reflects on the received conceptions the field has brought us to consider the architecture of a Dunhuang cave temple and points out issues of space for future investigations. Full article

As a model of ancient Chinese architecture, Jin Ancestral Temple’s spatial layout and functional hierarchy reflect its profound cultural connotations and historical evolution. This paper systematically studies Jin Ancestral Temple from the perspectives of spatial relationships, visibility, and accessibility based on space syntax and visual graphics analysis methods. Through the construction and analysis of spatial relationship diagrams and topological diagrams, this study quantitatively identifies key differences in spatial depth and integration along the central axis of Jin Ancestral Temple. The sacrificial buildings, such as Uonuma Flying Beam and the Sacrificial Temple, exhibit high spatial depth and low integration, reflecting their secluded nature, which enhances the solemnity and focus of ritual activities. In contrast, landscape buildings like Jinren Terrace, with their low spatial depth and high integration, function as open spaces that facilitate movement and act as pivotal points in the visitor circulation network. Visual Graph Analysis (VGA) shows that the central axis area has the unique characteristics of a “visual center” and a “transportation hub”. The plaza on the north side of the reflecting pool forms the core area of visual connectivity, while Jinren Terrace becomes the transportation node with the highest accessibility. This design of “separation and connection” combines visual guidance with traffic flow, providing a layered spatial experience that stimulates visitors’ interest in exploration. Meanwhile, the historical development of Jin Ancestral Temple shows a clear trend of “growth”. From its early single function of worship, it gradually expanded into a complex architectural complex integrating worship, landscape, and belief, reflecting the changes in social, political, and cultural needs in different periods. The research results not only demonstrate the high degree of balance between the functionality and ornamental value of Jin Ancestral Temple’s buildings, but also reveal their unique value as cultural heritage in terms of spatial layout and aesthetic design. This paper provides a scientific basis for the protection and tourism development of Jin Ancestral Temple, and offers a new perspective on the combination of traditional architectural research and spatial analysis methods. Full article

Han Yu 韓愈 was a prominent literatus in the Tang dynasty and an influential figure in the history of Chaozhou culture. From the Song dynasty, the Neo-Confucian teachings became popular, and Han Yu was revered as a significant pioneer; hence, his position was raised to a new height. In Chaozhou, local officials and the literati continuously emphasized Han Yu’s significance to Chaozhou culture and education and built many temples and academies devoted to him. As a deity, Han Yu was viewed as a representative of Confucianism and was typical of orthodoxy sacrifices. The present article clarifies the origination and transmission of the Han Yu belief in the Chaozhou region and explores the process of deification and the spread of Chinese popular religion. Although local officials and the literati spared no efforts in promoting the Han Yu belief, the belief never became popular among Chaozhou people. Local officials and the literati focused on different aspects of the Han Yu belief. They stressed the orthodoxy of the belief and were never concerned with miracles. What they were concerned with and endeavored for somewhat hampered the spread of the belief among the masses. Full article

Throughout most of Chinese history, leaders viewed the migration and movement of their subjects beyond state borders as a symptom of poor governance. As a result, record keepers generally avoided addressing the topic of Chinese people traveling or residing overseas. There is, however, an exceptional moment in Chinese history that provides valuable insight into the early establishment of Chinese communities abroad. Facing political pressure after signing a humiliating peace treaty with foreign adversaries in 1005, the Song dynasty emperor Zhenzong (968–1022, r. 997–1022) utilized unconventional forms of religious diplomacy and revived ancient rites to shore up support for his rule. The Feng and Shan rites were the highest level of sacrifice that an emperor could undertake, and they were only carried out by several emperors prior to Zhenzong’s reign. One of the requirements of this complex ritual was for the sovereign to attract foreign peoples from afar by his virtuous character, and so Zhenzong’s reign witnessed major initiatives to attract foreign envoys from states such as Srivijaya (Sumatra), Dai Viet (northern Vietnam), Japan, and India. Zhenzong’s reign also incorporated forms of diplomacy that originated in South and Southeast Asia, namely, the construction of temples in foreign states to enhance his spiritual authority. This essay will demonstrate that Emperor Zhenzong relied on Chinese merchants residing overseas to work with foreign leaders to coordinate the participation of foreign emissaries in such forms of temple diplomacy and in the Feng and Shan sacrifices. The significance of these events brought the activities of Chinese people trading and residing overseas to the attention of the Song court and its chroniclers, and as a result, we are left with the earliest indications of Chinese communities abroad in official Chinese histories. Full article

Under the influence of “Using the Temple Property for Schools”(UTPSs) movement, the monastic education of Han Buddhism 漢傳佛教僧教育 in modern China, as a whole, has gradually moved towards the mode of Buddhist colleges, through the establishment of the Buddhist Educational Affairs Public Office (BEAPO) 佛教學務公所, the Institution of Monastic Education (IME) 僧教育會, and the institution of Buddhist education 佛教教育機構 with international outlook and has become the prototype of the educational institution of Han Buddhism in contemporary China. The attempts to run schools during the period of the BEAPO at the late Qing Dynasty objectively stimulated the awakening of the consciousness of the Buddhist community to establish schools and to promote education 辦學興教 and became the precursor of the rise of the wave of monastic education after the Xinhai Revolution, especially since the 1920s. The goal of “uniting the national Buddhism” proposed by the BEAPO became the direction for the development of subsequent Buddhist organizations. The BEAPO also accumulated experiences for the construction of later Buddhist organizations and stimulated the awakening of the monks’ sense of subjectivity. The organizational structure and many ideas of the BEAPO were later inherited by the IME; most of the contents of the constitution of it were also inherited and improved by the IME. As a Buddhist organization, the BEAPO made positive efforts to reconcile the tensions between monks and laypeople under the context of UTPS at that time. After the Xinhai Revolution, the Han Buddhist community focused on interacting with secular society, and the practice of Buddhist education reflected the awakening of self-consciousness to “establish schools to promote education”. In terms of the school operation mode, the diversified curriculum and modernized academic system reflect the characteristic of a balance between internal and external studies. During this period, the establishment of Buddhist educational institutions with an international outlook provided a guarantee of talent for the path of the “universalization” of Han Buddhism, as well as provided continuity for the sustainable development of it. Under the influence of the two UTPS movements, the tortuous development of Han Buddhist monastic education in modern China is, in fact, the epitome of the situation of the whole Chinese Buddhism in modern society. At the same time, it also reflects the proactive adaptation of Chinese Buddhism, in modern times, to external pressures and its self-remodeling in the struggle for survival space. Full article

Popular religion in China has been very active ever since the late 1970s, with the restoration of temples and statues, a rising numbers of believers, and people’s increasing enthusiasm for religious activities. Folklore, rituals and legends are also ‘borrowed’ to reinvent tradition to fit in the strand of intangible cultural heritage. Therefore, seemingly reviving religions are also going through the process of de-religionization. Based on my ethnographic work in a Chinese county, I attempted to understand religion’s role in constructing local knowledge and how religious practices are affected by urbanization as well as globalization. The revival of institutional religions like Buddhism and Protestantism comes at the cost of popular religion or popular religious practices. Local deities lost the battle of competing with regional deities, which led to the simplification of local religious knowledge, a decrease in the diversity of deities and the tendency of convergence in terms of deities’ functions and believers’ appeals. A once complicated celestial hierarchy mirroring the imperial dynasty has been replaced by a more universal understanding of either bodhi in Buddhism or salvation in Protestantism. Local knowledge is reinterpreted by these religious teachings in the name of a higher cause of morality. Full article

Traditional and modern coatings play a key role in enhancing the fire resistance of ancient Chinese buildings. However, further comparative analysis is needed on the fire properties of the two coatings and their effects on different timber structural components. This study focuses on the main hall of the Shanxi Changzhi Xianqing Temple, a typical traditional column and beam construction built between the Song and Jin periods. Firstly, the combustion characteristics of various timber structural component samples with different surface treatments (traditional “Yi-ma-wu-hui” and modern flame retardants) were analyzed using cone calorimeter. Secondly, the fire development process of the Xianqing Temple building model was analyzed by a fire dynamics simulator (FDS), and the effect mechanism of different surface treatments on the burning process was further studied. The results show that the fire resistance of timber structural components is significantly improved after modern and traditional surface treatments. The traditional method is more effective in delaying the peak heat release rate and reducing the surface temperature during combustion, while the modern surface treatment significantly prolongs the ignition time of the timber structural components. The FDS results confirm that modern and traditional surface treatments significantly improve the fire resistance of the building, delaying the flashover time by about 300 s, with no collapse occurring within 800 s. In addition, the fire resistance of buildings after traditional surface treatment is better compared to traditional methods. The above research results can provide direct data support for the selection and optimization of fireproof coatings and treatment methods for ancient buildings. Full article

Caisson paintings are an integral part of the unique interior decoration ceiling of traditional Chinese architecture. There are a large number of Yuan Dynasty caisson paintings in the Puzhao Temple, in Hancheng, Shaanxi Province, China. These caisson paintings have exquisite patterns and rich colors, which are rare artistic treasures of the Yuan Dynasty. In the history of nearly 700 years, due to various environmental and human factors, the caisson paintings have experienced various degradation; for example, the paper of the caisson paintings is acidified, the surface is polluted, the color is faded, mottled, and it is difficult to identify. Therefore, their protection is vital. In order to ensure the scientific and targeted development of the protection scheme, this study conducted a comprehensive and in-depth analysis of the paper fibers, pigments, adhesives, wood supports, and pollutants of the caisson paintings and carried out a series of protection experiments in the field and laboratory, providing a step-by-step review of the protection treatment application for the caisson paintings. Mechanical and wet cleaning were used to remove the pollutants. The caisson painting was deacidified with a barium hydroxide ethanol solution, and the paper and pigments of the caisson painting were strengthened with water-based fluorine. Several conservation problems, such as the removal of pollutants, the deacidification of acidified paper, and the reinforcement of flaking paper and pigments, were solved. Meanwhile, good conservation and restoration results for caisson paintings were obtained. This research method of combining theory and practice has greatly improved the scientificity and success rate of conservation work. These research results provide valuable experience and reference for other caisson paintings in similar environments. Full article

Weituo 韦驮 is one of the most frequently represented protective deities in Chinese Buddhist temples. The statue of Weituo is enshrined virtually in every standard Buddhist temple in China today, and at a unique location—in the entrance hall for the four Heavenly Kings and facing inward. Why is the Weituo statue placed at this place and looking inward? The Chinese Weituo can be traced back to the Hindu god Skanda. However, his iconography and functions in China were completely reshaped by master Daoxuan’s 道宣 (596–667) account of this deity. Actually, Weituo is just one of the many Buddhist protective deities for general protection and prosperity. In China, as I demonstrate in this study, Weituo has been known as the most diligent Dharma-protector and is associated in particular with the saṅgha, as a patron guardian and inspector of monks and nuns. Thus, Weituo’s images are shrined in Buddhist temples. The locations of these images reflect the importance of Weituo and his special role in Chinese Buddhism. In the past, there have been a few studies, but they mainly focus on his origin. The functions of Weituo and the worship of Weituo in the Chinese saṅgha have not been well examined. Going beyond his identities, iconography, and style, this study aims to contextualize Weituo images in temple space and religious practice. Full article

The Daitokuji Old Collection’s 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka’s creation of 84,000 stupas. These paintings include “Building a Stupa” (No.78), “King Aśoka Stupa Emitting Light” (No.79), “Precious Stupa on the Rock” (No.80), and “Miracle of Light-Emitting Relics” (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and “Luohans Watching the Relics’ Light” (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the “King Aśoka Stupa” 阿育王塔 and “Relics’ Light” 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection’s 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng’s version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa’s background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the “King Aśoka Stupa” and “Relics’ Light” in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images. Full article

In Ying Xian Fogong Si Shijia Ta 應縣佛宮寺釋迦塔 (Sakyamuni Pagoda of Fogong Temple in Ying County), Shanxi, there are statues set on each floor, and 26 exist in total, with six murals painted on the first floor. The pagoda was designed as a vertically rising Buddhist temple, and the interior space of each floor was customized for the statues. Based on previous research and through surveying and mapping of the architecture and statuary (including the murals on the first floor) combined with geometric design analysis, this paper proposes the following: First, there exists a clear geometric proportion among the interior space and statues on each floor of the pagoda. Second, clear proportional relationships also exist among the statues on each floor, and each of the 26 statues has ‘classical’ proportion rules. Third, the height of the giant Buddha statue on the first floor is the module for not only the height of the statues on each floor but also the construction of the whole pagoda such that the height of the statue on the first floor is 1/6 of the total height of the pagoda (excluding the base). And the ratio of the pagoda’s total height to the first floor’s diameter, the ratio of the total height to the top-story height under the column capital, and all the other geometric proportions are closely related to the architectural modeling. And finally, in the construction of the pagoda, statues, and murals, the scale is deduced to be 1 chi 尺 (Chinese foot) = 29.5 cm. These values give clear scale logics not only to the construction but also to the details of the statues. Accordingly, the most frequently used proportions in the architectural space, statues, and murals of the Pagoda of Fogong Temple are $\sqrt{2}$, 3:2, 5:3 (or 8:5), and 9:5, which are imbued with cultural messages, like Zhou Bi Suan Jing 周髀算經 (The Mathematical classic of the Zhou shadow-gauging instrument), Ying Zao Fa Shi 營造法式 (Treatise on Architectural Methods or State Building Standards), the ancient Chinese world view—tian yuan di fang 天圜地方 (the dome-shaped heaven and the flat, square earth) reflected from “ yuan fang tu 圓方圖 (rounded-square map)” and “fang yuan tu 方圓圖 (squared-circle map)”, ancient Chinese ideas that ”san tian liang di er yi shu 參天兩地而倚數 (‘three’ is the number of the heaven and ‘two’ is the number of the earth, and all numbers are based on them)” and “jiu wu zhi zun 九五之尊 (nine and five are the numbers of the honorable central position)”, and most probably related to the “mandala” of Esoteric Buddhism and to the Western “Golden Ratio”, which all need further research in depth. Full article

This article explores the charitable activities of Chinese Buddhists in Beijing in the first decades of the twentieth century, with a focus on Buddhists’ efforts in building schools and promoting modern education. Specifically, the activities led by Venerable Zongyue 宗月 (1880–1941) are examined, in his role spearheading various Buddhist charitable activities in Beijing, including building several schools for commoners (pingmin xuexiao 平民學校) in the 1920s. Zongyue also established a library and a Buddhist newspaper called Fobao Xunkan 佛寶旬刊 to promote ideas about philanthropy. In the late 1920s, inspired by Zongyue’s example, as well as under pressure from the government during the anti-superstition campaigns, many other temples in Beijing began building schools to offer educational opportunities to students. This article investigates the interactions between Buddhism, education, and the government. By examining the initiatives started by Zongyue and the role of Chinese Buddhists in promoting charitable educational activities and social change, this article sheds light on the broader impact of Buddhism on Chinese society in the early twentieth century. Full article