Dunhuang, known worldwide for its Mogao Caves, has attracted significant attention with its stunning murals and sculptures. The implementation of the “Digital Dunhuang” project has allowed these precious artifacts to step out of their caves, bridging the gap between historical treasures and the public.
In an interview, An Huili, an associate researcher from the Dunhuang Academy’s Institute of Digital Cultural Heritage, explained that the “Digital Dunhuang” initiative provides reliable data applications for artistic reproduction, archaeological research, and cultural preservation. It also plays a significant role in promoting and inheriting Dunhuang culture.
She elaborated on the rapid development of digital technology, mentioning the use of augmented reality (AR) techniques for intelligent image extraction and recognition within some caves. However, this work is still ongoing.
An Huili highlighted the origins of “Digital Dunhuang”, noting that it was proposed by Director Fan Jinshi in the late 1980s. In 2006, the Dunhuang Academy established a digital center, led by experts like Wu Jian and Yu Tianxiu, to begin various related projects and technical explorations.
“We formulated a set of standards for the digitization of immovable cultural heritage, covering everything from the 2D image capture and processing of cave murals to 3D data collection and storage,” she shared. These guidelines provide technical support and normative standards for the industry’s digitalization of cave artifacts.
As of now, An revealed that they have completed high-definition captures of murals in over 290 caves, processed images from more than 190 caves, and reconstructed 45 sculptures in 3D, alongside scanning spatial models for over 120 caves. This valuable data supports artistic reproduction, archaeological studies, and artifact conservation. For instance, the high-resolution murals enable artists to create accurate line sketches for quick coloring, improving efficiency.
Since the inception of “Digital Dunhuang,” several generations of researchers have been racing against time to rapidly collect spatial information on the cave’s valuable murals and sculptures.
An recounted her experience during a data collection project in Cave 61 in 2010, noting the challenges they faced. “In March, Dunhuang was still quite cold. My colleagues and I would go into the caves early every day, sacrificing weekends and working overtime.” One memorable moment was during the data collection of the “Five Mountains” mural. “The challenge was ensuring the consistency of data quality and accurate connections between different image capture platforms,” she recalled, highlighting numerous discussions and on-site tests they conducted.
Ultimately, they completed the task just before the busy tourist season, successfully presenting the high-definition image of the “Five Mountains” mural to the public.
An mentioned that over the years, the Dunhuang Academy’s digital team has welcomed many young individuals, including those born in the 90s and 2000s, all embodying the “Mogao spirit” with enthusiasm and commitment to their work.
It’s essential to note that while the “Digital Dunhuang” project accelerates digitalization, it also emphasizes the research of digital technologies and the practical application of its results. An stated that this digitization process has extended the reach of the Dunhuang caves, taking them to more places.
A tangible example of this is the launch of the “Digital Dunhuang” resource library in 2016, which allowed global access to high-definition images and panoramic views of 30 caves. People can now admire exquisite murals and enrich their knowledge about them.
Following that, the open resource library was established, granting worldwide access to over 6,500 high-definition digital resources related to Mogao Caves and the Dunhuang Manuscripts. This platform offers a “one-stop” sharing and co-creation space for scholars, cultural enthusiasts, and creative artists.
An emphasized that this initiative creates a solid foundation for the effective flow of cultural resources while ensuring the accurate dissemination of traditional culture. It also enhances the openness of artifact resources to society and bolsters interaction between the Dunhuang Academy and the public.
In An Huili’s view, “Digital Dunhuang” elevates cultural heritage protection and transmission to an entirely new level through high-tech means. This approach embodies a perfect combination of technology and culture, reflecting a vibrant manifestation of cultural inheritance and innovation, allowing the ancient Dunhuang art to flourish with newfound vitality in the digital age.
