Zhuochen Yuan | Aqueous Firmament 穹顶覆海: Reconstruction of Dunhuang Sunk Panel 重构敦煌藻井

 
The project utilizes the elements of the sunk panel patterns from the Dunhuang Grottoes to create a virtual environment. The Mogao Grottoes has been widely introduced to people in recent years through social media. Its richness in art, including Buddhist art and architects, and historical resources have fascinated people worldwide. All kinds of artworks are developed based on its Buddhist art. However, most forms of these artworks remain two-dimensional, just like how the original patterns are presented in the cave. Thus, in this project, I will focus on the patterns of the sunk panel and explore the ways to bring them to life.
The project utilizes several digital approaches, especially 3d modeling technology, to display the sunk panel inside a virtual world. The project focuses on two parts, the introduction to the original sunk panel, and the reconstruction of the sunk panel in the virtual space. The introductory part contains the information of different sunk panels including their dynasty, origin and main patterns. The latter part attempts to extract each pattern from the original sunk panel and transfer them into objects, thus turning the sunk panel pattern into a space. The project is delivered through three main aspects, camera movement, color, and geometries. The direction and position of the camera keep changing so that the project could catch the audience’s attention. Also, the camera movement cooperates well with the flowery colors to deliver the colorfulness of sunk panel. Geometries are another important element in constructing the frames. The squares and circles are the basic elements forming the sunk panel and refer to the ancient Chinese concept of ‘方圆.’ They also help to divide the frames into segments to deliver a stronger visual impact.
All the three elements interact with each other to extend the sunk panel into a space; however, what remains is the ideology behind it. Sunk panel is originally built to prevent the caves from fire. Thus, its pattern contains various elements related to water, for example, lotus. In the meantime, people endow it with auspiciousness and luck, so that we could see auspicious animals depicted, including rabbits and dragons. All the patterns portray a pure land, a blissful paradise, an imaginary world people longing for. The spherical mirror in the end not only resonates with the beginning but also reflects the idea that this space, after all, is an illusion.