An American Woman's Pilgrimage to Dunhuang 70 Years Ago: Photos of a Dunhuang We Never Saw

People always approach the Mogao Caves with a mix of infinite longing and regret, trying to uncover more stories about it. Over 1,600 years, this site has transitioned from obscurity to global fame on the northwestern frontier. When I visited, I was stunned by the exquisite murals and carvings, but I also saw the faded faces of the painted figures and learned about the Taoist priest Wang Yuanlu selling murals to foreigners. "The Creators of Cave Art" by Pan Jiezi, 1954. Experts predict that, no matter what, within the next 50 to 100 years, the Mogao Caves may be buried under sand. They will eventually vanish. So try to see them while you can, and fully appreciate their charm. If you are truly fascinated, perhaps you can explore the Mogao Caves of 70 years ago through the lens of American woman Irene Vincent.

Irene Vincent stayed at the Mogao Caves for 10 days, shooting 168 black-and-white photos, freezing on film a Dunhuang we never saw. While at a summer camp at the University of Michigan, she learned about B. Somers's 1935 trip to Dunhuang, sparking her yearning for the Thousand Buddha Caves. Later, she wrote in her book: "Deep down, everyone has a place they must visit in their lifetime." The Mogao Caves were that place for her. Irene and her husband had traveled extensively in Asia before coming to China in 1948 and settling in Beijing. At 29, she was a mother of two, and her longing for the Thousand Buddha Caves grew stronger. So that summer, she set out to explore the dreamy "Oriental Louvre." Travel was not advanced or convenient then. Gansu is in northwest China, and Dunhuang is in northwest Gansu. Getting from Beijing to Dunhuang was no easy task. Irene first flew to Lanzhou, Gansu. The northwestern land was then vast desert or simple farmland, bleak as far as the eye could see. Trucks carried cargo and many locals; adults and children sat on the freight. Irene also boarded such a truck, bouncing over the northwestern soil, getting closer to her dream. Fellow travelers included foreigners, students, and engineers; they rested together under trees. Later, she switched trucks again, but it broke down 20 km from the Mogao Caves. That punishment on the pilgrimage probably made sense. She then hired a local guide and rode a camel the rest of the way, approaching the Mogao Caves in the most northwestern style—perhaps the best arrangement. Irene met a large Liu family. Men wore long gowns with bowler hats, women had robes and permed hair, the trendiest attire of the time. In the photo, the big family was fairly wealthy. She also saw northwestern farmers, lacking advanced equipment but using wisdom to create tools. During harvest, the young of a family threshed wheat. Irene visited the developing Yumen Oilfield, where workers were busy. There, at the heart of the Gobi and beneath the Qilian Mountains, emerged the first oil well, the first oil field, and the first petrochemical base of the People's Republic. The temple abbot, learning Irene came specifically for Dunhuang, warmly welcomed her and gave her eggs and tea as gifts—the hospitality of northwesterners. After a long journey, the Mogao Caves finally appeared before her, harboring astounding art. Irene wept, gazing for a long time, as if crossing millennia to converse with the original Mogao Caves. Looking at that photo, you can feel Irene deeply captivated; this was her dream paradise. She was fascinated by everything there. She knew her destiny with the Mogao Caves had just begun.

The nine-story Buddha niche on the cliff silently radiated brilliance on the northwestern land. At the entrance of the Mogao Caves, students from Lanzhou Pei Li School were present; like Irene, they must have been deeply attracted by the art. In Irene's camera, Dunhuang lacked vibrant colors but still showed its exquisiteness. Entering the cave, she was overwhelmed by everything before her. Gazing at this Buddhist world, Irene wept. The west wall of Cave 98; Irene often lingered there for hours, carefully appreciating the sculptures and murals, absorbing their artistry. The west wall of Cave 159; mural of Cave 254: flying apsaras dance around the Buddha's head. All these treasures lay sealed in dust, appearing vicissitudinous and mysterious, even like mummies in deep caves, unknown to all but attracting art seekers. The west wall of Cave 283. In AD 366, the monk Le Zun passed by the eastern slope of Mingsha Mountain, suddenly saw golden light shining as if myriad Buddhas appeared, and thus carved the first cave on the cliff. Cave 250 shrine. Over centuries, construction continued, finally creating this astonishing "Oriental Louvre." The mural in Cave 285 depicts cavalry battle scenes. Historical documents from the 4th to 11th centuries, along with paper paintings, silk paintings, embroidery, etc., record the development of people's faith. Ceiling of Cave 217. North wall of Cave 390. In Irene's photos, the lens often aimed at the goddesses in the murals—different expressions, different poses. She was repeatedly shocked and intoxicated, unable to extricate herself. When occasional sunlight streamed in, it blurred reality and illusion; she knew only that everything before her was the supreme wisdom of ancient people. Cave 257 niche.

Moved deeply, Irene tossed and turned in Dunhuang nights. Later, she wrote in her book: "At night, after I crawled into my cocoon-like sleeping bag on the earth platform, I heard the wind rustling the poplar leaves and jingling the bells on the roof. From the neighboring temple came the chanting of monks and the drums heard during the evening ceremony. At that moment, I could almost feel—as I had many times in the Mogao Caves—thousands of monks, nuns, pilgrims, donors, scholars, teachers, artists, and craftsmen, all contributing to these incredible caves with love and devotion." When Irene returned to Beijing, she showed her photos to her husband John Vincent, an excellent photographer. Stunned by the beauty of Dunhuang, he decided to go himself. That autumn, he visited Dunhuang with Irene and took the first substantial set of color photos of Dunhuang—164 pictures, including painted sculptures and murals from 49 caves. Their visual records were published in the US as two books: "The Sacred Oasis: The Thousand Buddha Caves of Dunhuang" and "The Buddhist Cave Temples of Dunhuang: Paintings and Sculptures." This introduced many Westerners to this astonishing Buddhist world for the first time, and provided important visual materials for researching the history and original appearance of the Mogao Caves. Irene's photos. Irene and her husband remained devoted to the Buddhist world they saw at the Mogao Caves for the rest of their lives, and urged their daughter to visit it once. Brownie Vincent visited in October 2013 with friends. Looking at the caves her parents had seen, she said, "Here, I seem to find my parents' souls." Like her parents, Brownie was deeply moved by the Mogao Caves. She donated the photos taken by her parents and her mother's book "The Sacred Oasis" to the Dunhuang Academy, and together with friends donated 12,000 RMB, hoping to contribute to the protection and research of the Mogao Caves, and especially to make the caves seen by more people. Cave 400 mural. The Mogao Caves have become a must-visit for many Chinese and foreign tourists. To protect the murals, the Dunhuang Academy monitors temperature, humidity, CO2 levels, and air permeability in each cave in real time. Once harmful substances exceed limits, the cave is closed immediately. This damage is irreversible. So, while we appreciate them, we must never touch them with our hands, so that the unique Mogao Caves can be preserved forever on this desert, shining brilliantly.