JACAC 2024, 2(1), 16-27; https://doi.org/10.59528/ms.jacac2024.0401a5 - April 1, 2024

Jinqi Hu1      ,  Hong He2,  Yi Song1      ,  Meng Liu1 * 

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Abstract: The scholarly community has yet to reach a consensus on the authenticity of Zhang Daqian’s copies of frescoes from the Mogao Grottoes in Dunhuang and the path of their circulation. This interview revolves around the Fenben (粉本) created by Zhang Daqian at Dunhuang and compares the concepts of Fenben and the manuscripts. Through dialog, this article discusses the role and function of the Fenben (粉本) concept in traditional Chinese painting. It is hoped that through this interview, the two concepts of Fenben and manuscript can be identified and traced back to their origins and, at the same time, trigger an in-depth academic discussion on the circulation of Zhang Daqian’s works copied at the Mogao Grottoes in Dunhuang.

JACAC is a scholarly journal founded in July 2023, which  is committed to high-quality, original research, and operates worldwide academic publishing with peer-review and open access (print and online simultaneous publication semi-annual issues).

Thematic research articles, literature reviews, and book reviews are the three types of original articles accepted by the journal. The subjects cover these fields of ancient Chinese painting, sculpture, calligraphy, handicrafts and so on. JACAC aims to share the arts and crafts culture, thought and theory of ancient China, disseminate the brilliant achievements of ancient Chinese arts and crafts culture, promote the study of ancient Chinese arts and crafts culture, and strive to be in the leading position in these fields. The primary goal of JACAC focuses on academic research rather than profit-making.

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February 22th, 2024

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Abstract: This study examines Zhang Daqian’s copies of the Dunhuang Frescos and their circulation and analyses the historical designation of the concept of manuscripts and its evolution. In the existing research, there have been different views in academic circles about whether the works copied by Zhang Daqian at Dunhuang belong to the Fenben (粉本) or line drawing form of the manuscripts, and there is still some disagreement about whether these manuscripts were copied by Zhang Daqian himself or not. In this thesis, we discuss the characteristics of Zhang Daqian’s drawings copied at Dunhuang, including brushstrokes, colors, and numbering. We also verify the concepts of “drawing sample” and “Fenben” in ancient Chinese painting and conclude that the copied works belong to the Fenben form. This study provides a reference for Zhang Daqian’s copies in Dunhuang and their circulation path.

Hong He *  

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JACAC 2024, 2(1), 1-15; https://doi.org/10.59528/ms.jacac2024.0330a5 - March 30, 2024