The subject of the research is the analysis of the history of the origin and development of cloth paintings from Mogao, and the object of the research is the cloth paintings from Mogao in the collection of the State Hermitage Museum. The author examines various aspects of the topic in detail, such as: 1. The origin of the cloth paintings from Mogao (from the Han dynasty period to the Middle period of the Tang dynasty). 2. Rami role in the historical context of the Tang-Song dynasties and the development of cloth paintings from Mogao (Late Tang period to the Song dynasty period). Special attention is given to the development and significance of cloth paintings on Buddhist subjects in different historical periods, as well as the analysis of the reasons why cloth became the basis for these works. Using art historical and archaeological methods, the history of the origin and development of cloth paintings from Mogao is studied. The scientific novelty of the research lies in the fact that for the first time the question of the origin and development of cloth paintings from Mogao is considered in a comprehensive manner—in the context of the history of Chinese Buddhism and the historical conditions of various dynasties, as well as from the perspective of their emergence and evolution. Conclusions. The origin and development of cloth paintings from Mogao are closely related to the history of Dunhuang. From the Han era to the Tang and Song dynasties, the region became a Buddhist center on the Silk Road. The flourishing of Buddhism during the Tibetan rule and the Guiyijun period stimulated the creation of votive banners on cloth. The widespread use of rami can be explained by the availability of raw materials, simplicity of technology, and shortages of silk. The Hermitage collection (66 items) confirms that most paintings date back to the late Tang and Five Dynasties, coinciding with the peak of Buddhism in Dunhuang.
Zezhou Zhou (Fri,) studied this question.