Bibliographic record
Abstract
This thesis examines the visual images of Vimalakirti, an ancient Indian lay Buddhist, painted on the walls of the Buddhist cave complex at Dunhuang, Gansu province, between 581 and 1036. The sixty-nine Vimalakirti, paintings preserved at Dunhuang are a valuable source for the exploration of historical, religious, and artistic dimensions of wall paintings and sutras. These visual images, together with other textual sources such as sutras, commentaries, and inscriptions, suggest a variety of interesting questions: Why was this theme repeatedly represented? Do the images all have the same prototype? Is there a spiritual function contained in the layout of the caves and composition of the wall paintings? Did the meaning of these images change according to historical context? Did the patrons have a political scheme in mind when commissioning these devotional artworks? While it is difficult to provide definitive answers to all these questions, this thesis will attempt to clarify them and offer preliminary answers on the basis of available visual and textual sources. The introduction of this thesis includes an overview of basic concepts related to wall paintings, a short history of the transmission of the Vimalakirti,-nirdesa Sutra, and a review of past scholarship on Vimalakirti, paintings and related subjects. The body of the thesis is divided into three main chapters. The first chapter describes the important visual representations of Vimalakirti, before the Sui dynasty. The second chapter of the thesis will provide an introduction to representations of Vimalakirti, at Dunhuang from the late sixth to the early eleventh centuries. The third chapter examines the social functions and symbolic meanings of the Vimalakirti, paintings at Dunhuang.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.002 | 0.002 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.008 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".