From Sacred Voice to Wearable Form: Material Translation and the Kalavinka as Jewelry in the Song–Liao World

This article examines the transcultural and transmedial transformation of the kalavinka motif along the Silk Road, situating its development within the interpretive framework of the Indian kinnara/kinnarītradition. It asks how a figure associated with wondrous sound and devotional praise in Buddhist cosmology came to function as a wearable ornament without losing its religious identity. Through close formal analysis of Dunhuang murals from the Tang period (618–907 CE), the study identifies three interrelated visual processes that prepared the motif for mobility across media: the fusion of gendered pairs into an androgynous form, the progressive elongation and ornamental stylization of the tail, and the reorientation of bodily pose into compact, suspension-friendly configurations. These mechanisms are then examined in relation to eleventh-century painted and excavated materials, including donor adornment in Western Thousand Buddha Cave 16, a Khara Khoto scroll, a Liao (916–1125 CE) gold kalavinka earring, and a Western Xia linked-pearl headdress. Comparative visual and material analysis shows that kalavinka imagery circulated in parallel across mural, painted, and metal media, where scale, material, and bodily placement re-coded rather than erased its sacred associations. The study argues that this process is best understood as material translation, and it proposes a model for linking formal change, sensory affordance, and religious function in the arts of the Silk Road.