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Seminar 1: Ru ZHAN 湛如 (Peking University 北京大學) and Jinhua CHEN 陳金華 (The University of British Columbia 加拿大英屬哥倫比亞大學): When the Marginal Turned out to be More Central than the Centre: Several Case Studies of Buddhist Monks and Their Religious Traditions from Khotan and Gandhāra | 邊地寔為中國：來自于闐與犍陀羅的數位僧人及其宗教傳承新考
forthcoming
Seminar 2: Imre Galambos 高奕叡 (Zhejiang University 浙江大學/University of Cambridge 劍橋大學): The Medieval Buddhist Library of Dunhuang | 中古敦煌的佛教圖書館
forthcoming
Seminar 3: Stephen Teiser 太史文 (Princeton University 美國普林斯頓大學): Buddhist Liturgical Manuscripts | 佛教齋儀寫本研究
forthcoming
Lecture 1: Suyu CHEN 陳粟裕 (The Chinese Academy of Social Sciences 中國社會科學院): 3-11世紀于闐流行佛典及其相關圖像 | The Popular Buddhist Scriptures and Their Related Imagery in Khotan from the 3rd to the 11th Century
forthcoming
Lecture 2: Nobuyoshi YAMABE 山部能宜 (Wasdeda University 日本早稻田大學)：Qumtura Cave 75: Paintings and Inscriptions Reexamined through Digital Restoration | 庫木吐喇第75窟：經由數位修復重新檢視壁畫與銘文
Qumtura Cave 75 is a small but important cave situated several hundred metres away from the main cave complex facing the Muzart river (Aksu District, Xinjiang, China). On its rear wall, there is a painting with a frontal view of a seated meditating monk surrounded by scenes of the five or six realms (depending on the identification of two of the six scenes) of saṃsāra. At the bottom of the same wall, there is a long but badly faded inscription. We have digitally restored and deciphered part of it. The basic context of the inscription is meditation on the “fourfold boundlessness,” combined with abhidharma cosmology and esoteric visualization. We believe that this is an important attempt at applying the technique of digital restoration to research on Buddhist caves.
庫木吐喇第75窟是一座雖小但極具重要性的石窟，位於中國新疆阿克蘇地區木扎特河對岸、距主窟群數百公尺處。其後壁上繪有一位正面坐禪僧侶的畫像，四周環繞著五或六道輪迴（取決於其中兩幅場景的認定）。同一面牆下方，有一段冗長但嚴重褪色的銘文。我們已對其進行數位修復並部分解讀。銘文的基本內容涉及對「四無量心」的觀修，並結合阿毘達磨的宇宙觀與密教觀想法門。我們認為，這項研究是運用數位修復技術於佛教石窟研究領域中的一次重要嘗試。
Lecture 3: Ciro Lo Muzio 穆恣翱 (University of Rome 意大利羅馬大學): Intersecting Artistic Traditions: Khotanese, Kuchean, and Chinese Idioms in the Tarim Basin | 交織的藝術傳統：于闐、龜茲與中原習語在塔里木盆地的融合
The artistic relationship between the ancient oases of Khotan and Kucha, located on the southern and northern edges of the Takla Makan (Tarim Basin, Xinjiang), has received limited scholarly attention. Differences in their doctrinal orientations and the distinctive archaeological features of their Buddhist settlements may have discouraged deeper investigation. However, recent studies on this topic have yielded promising results. This paper aims to contribute to the discussion by examining a relatively understudied artefact: a painted wooden panel from Kizil (Kucha), most likely dating from the latest phase of the site. The panel provides iconographic and stylistic evidence of cultural interaction between the two oases, as well as the assimilation of distinct Chinese elements, which could inspire further research on the subject.
Reading 1 (accessible to intensive program participants)
