Period:Unknown Production date:6thC-7thC (circa)
Materials:stucco, 灰泥 (Chinese),
Technique:
Dimensions:Height: 11.40 centimetres Width: 12.50 centimetres
Description:
Mould made of stucco. It was used to produce spiral curls representing the Buddhas hair. For examples that were probably made using this mould see MAS.406 and Mas.421.
IMG
![图片[1]-mould; 模具(Chinese) BM-MAS.410-China Archive](https://chinaarchive.net/Unknown/43/mid_01132493_001.jpg)
![图片[2]-mould; 模具(Chinese) BM-MAS.410-China Archive](https://chinaarchive.net/Unknown/43/mid_01132497_001.jpg)
![图片[3]-mould; 模具(Chinese) BM-MAS.410-China Archive](https://chinaarchive.net/Unknown/43/mid_00012053_001.jpg)
Comments:Zwalf 1985The use of moulds to produce parts of larger figures was widespread in Central Asia. At Dunhuang and elsewhere small elements such as groups of curls or locks of hair, to be applied to the head of a large figure, or for decorative borders, are common. On the northern route at Mingoi some of the shrines contained hundreds of moulded figures forming narrative tableaux. Basic types could be given individual character after moulding by modelling or applying further moulded details. At Dunhuang and elsewhere in China, the practice was paralleled in wall-painting by the use of stencils to produce images in regular series, to be distinguished by painting in different colours.
Materials:stucco, 灰泥 (Chinese),
Technique:
Dimensions:Height: 11.40 centimetres Width: 12.50 centimetres
Description:
Mould made of stucco. It was used to produce spiral curls representing the Buddhas hair. For examples that were probably made using this mould see MAS.406 and Mas.421.
IMG
Comments:Zwalf 1985The use of moulds to produce parts of larger figures was widespread in Central Asia. At Dunhuang and elsewhere small elements such as groups of curls or locks of hair, to be applied to the head of a large figure, or for decorative borders, are common. On the northern route at Mingoi some of the shrines contained hundreds of moulded figures forming narrative tableaux. Basic types could be given individual character after moulding by modelling or applying further moulded details. At Dunhuang and elsewhere in China, the practice was paralleled in wall-painting by the use of stencils to produce images in regular series, to be distinguished by painting in different colours.
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