Afrasiab murals

Coordinates: 39°40′09″N 66°59′36″E / 39.669300°N 66.993400°E / 39.669300; 66.993400
Source: Wikipedia, the free encyclopedia.
Afrasiab murals
Detail of the Ambassadors' Painting.
Created648-651 CE
DiscoveredAfrasiyad, Samarkand, Uzbekistan
39°40′09″N 66°59′36″E / 39.669300°N 66.993400°E / 39.669300; 66.993400
Present locationAfrasiab Museum of Samarkand, Uzbekistan
CultureSogdian
Afrasiab murals is located in West and Central Asia
Afrasiab murals
Afrasiab murals is located in Tokharistan
Afrasiab murals
Afrasiab murals is located in Uzbekistan
Afrasiab murals

The Afrasiab murals, also called the Paintings of the Ambassadors, is a rare example of

Mongol Samarkand. It is now preserved in a special museum
on the Afrāsiāb mound.

Description

The paintings date back to the middle of the 7th century CE. They were probably painted between 648 and 651 CE, while the

pygmies
, though this painting is largely destroyed).

The topic of the main (or western) wall, which depicts

Panjikent, holds that since Sogdian painting always depicts gods on the top of the main wall, the central figure might be the ruler of Samarkand Varkhuman or the goddess Nana.[4] However, as the Turks are guiding the envoys but are not themselves ambassadors, it has been suggested that the painting depicts the Khagan, with the possible candidates being Ashina Buzhen or more probably Ashina Mishe.[5]

Description of the four walls

The four walls of the palatial room in Afrasiab seem to depict the four principal civilizations influencing in Central Asia at that time: Chinese, Indian, Iranian, and Turkic.[6] The Chinese chronicles of the Book of the Later Han appears to describe such mural depicting the four civilizations as a common feature in the region:[7]

The country of He, also named Qushuangnijia (Koschânyah), or Guishuangni [...] To the east of the city, there is a storied pavilion inside of which are paintings. On the north wall, the former emperors of China. To the east, the princes and king of the Turks and the Hindus. To the west, the Persians and those from Byzantium. Every morning the prince of this country goes to this pavilion to pray, and then retreat."

— New Book of Tang, Book 221B.[8]

Inscription mentioning Varhuman and the ambassadors

Inscriptions at the site mention the king of Samarkand Varkhuman. Written in Sogdian, the inscription, reads:

Chaganian. I arrived here from Turantash, the lord of Chaganian, to Samarkand, to the king, and with respect [to] the king [now] I am [here]. And with regard to me do not have any misgivings: About the gods of Samarkand, as well as about the writing of Samarkand I am keenly aware, and I also have not done any harm to the king. Let you be quite fortunate!" And King Varkhuman Unash took leave [of him]. And [then] the dapirpat (chancellor) of Chach opened his mouth.

— Inscription on an ambassador's robe.[9][10][11][12]

Western Turk officers and courtiers

Western Turk officer and seated courtiers, Afrasiab, 7th century CE.

In contrast with the ambassadors from various countries, the

Western Turks in the mural do not bear gifts. They are considered attendants to the scene, and military escorts to the foreign ambassadors. They are recognizable as Turks by their long plaits.[13]

The ambassadors from various countries may have been paying homage both to king Varkhuman and possibly a Western Turk Khagan, both nominal vassals of China. The numerous Turkic officers and courtiers who are present may suggest the predominance of the Western Turks at the court of Samarkand during this time period.[1]

In the mural, the Western Turks are ethnic Turks,

Turfan, a traditional Turkic area, in the 2nd-4th century CE.[14] They have low black sharp-nosed boots. They wear gold bracelets with lapis lazuli or pearls.[14]

Overview

There are four walls, with murals in various states of preservation. There were two registers, an upper and lower one, but the upper register of the murals was essentially destroyed by bulldozers during the construction works that led to the discovery of the murals.[13]

Various reconstructions for the whole mural have been proposed.[15]

Afrasiab murals
Western Turk Khagan Shekui, both nominal vassals of China. Numerous Turkish officers and courtiers are present.[1]
South wall
Funeral procession led by King Varkhuman, in honour of his predecessor Shishpir.[1]
North wall
"Chinese panel". Emperor Taizong is seen hunting, and the Chinese Empress is seen on a boat, on a visit to the Western Turk Khagan Shekui.[1]
East wall
Possible scenes of India.[13]

Original murals (details)

  • Afrasiab Palace Fresco 7th-8th century. Sogdian Chamberlains & Interpreter Introduce Tibetan Messengers
    Afrasiab Palace Fresco 7th-8th century. Sogdian Chamberlains & Interpreter Introduce Tibetan Messengers
  • Turkic dignitaries visiting king Varkhuman in Samarkand. One of them is labeled as coming from Argi (Karashahr in modern Xinjiang).[1][17]
    Turkic dignitaries visiting king
    Karashahr in modern Xinjiang).[1][17]
  • Chinese boat
    Chinese boat
  • Ambassadors from Chaganian (central figure, inscription of the neck), and Chach (modern Tashkent) to king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.[1][17]
    Ambassadors from
    Chaganian (central figure, inscription of the neck), and Chach (modern Tashkent) to king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.[1][17]
  • Afrasiab Palace Fresco 7th-8th century. Detail of a horserider
    Afrasiab Palace Fresco 7th-8th century. Detail of a horserider

Restoration

In early 2014, France declared that it would finance the restoration of the Afrasiab painting.[18]

  • Afrasyab Chinese Embassy (left), carrying silk and a string of silkworm cocoons, and Turkish delegates (right), recognizable by their long plaits.[17][19]
    Afrasyab Chinese Embassy (left), carrying
    silkworm cocoons, and Turkish delegates (right), recognizable by their long plaits.[17][19]
  • Wall painting at the Ambassador's Hall in Afrosiab
    Wall painting at the Ambassador's Hall in Afrosiab
  • Ambassadors from Chaganian (central figure, inscription of the neck), and Chach (modern Tashkent) to king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.[1][17][20] The delegate to the right has a Simurgh design on his dress.[21]
    Ambassadors from
    Chaganian (central figure, inscription of the neck), and Chach (modern Tashkent) to king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.[1][17][20] The delegate to the right has a Simurgh design on his dress.[21]
  • Turkish officers during an audience with king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.[1][22]
    Turkish officers during an audience with king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.[1][22]
  • Delegate with Simurgh design on his dress in the Afrasiab murals, 648-651 CE.[21]
    Delegate with Simurgh design on his dress in the Afrasiab murals, 648-651 CE.[21]
  • Delegate with boar head symbol on his dress in the Afrasiab murals 650 CE.[23]
    Delegate with boar head symbol on his dress in the Afrasiab murals 650 CE.[23]
  • Korean (Goguryeo) ambassadors during an audience with king Varkhuman of Samarkand. They are identified by the two feathers on top of their head.[24] 648-651 CE, Afrasiyab, Samarkand.[25][26]
    Korean (Goguryeo) ambassadors during an audience with king Varkhuman of Samarkand. They are identified by the two feathers on top of their head.[24] 648-651 CE, Afrasiyab, Samarkand.[25][26]

Turkic period: Kara-Khanid Khanate (999-1212)

Muḥammad b. Tekish took over Samarkand.[29]

A palatial structure dating to the

Khwarezmia was invaded by the early Mongol Empire and its ruler Genghis Khan destroyed the once vibrant cities of Bukhara and Samarkand.[30] However, in 1370, Samarkand saw a revival as the capital of the Timurid Empire.[31]

  • Kara-Khanid band of inscription containing a fragment of poetry reading kām-i dil, Afrasiab, Samarkand, circa 1200 CE.[32]
    Kara-Khanid band of inscription containing a fragment of poetry reading kām-i dil, Afrasiab, Samarkand, circa 1200 CE.[32]
  • Kara-Khanid medallion with fighting birds, Afrasiab, circa 1200 CE.[32]
    Kara-Khanid medallion with fighting birds, Afrasiab, circa 1200 CE.[32]
  • Kara-Khanid bands of inscription with running animals, Afrasiab, circa 1200 CE.[32]
    Kara-Khanid bands of inscription with running animals, Afrasiab, circa 1200 CE.[32]

See also

Sources

  • Marshak, Boris; Grenet, Frantz; Sadowska-Daguin, Malgoržata (1994). "Le programme iconographique des peintures de la "Salle des ambassadeurs" à Afrasiab (Samarkand)". Arts Asiatiques. 49 (1): 5–20.
    doi:10.3406/arasi.1994.1349
    .

References

  1. ^
    ISBN 978-1-83860-868-2
    .
  2. ISBN 978-1-932476-13-2
    .
  3. JSTOR 41913392
    .
  4. JSTOR 41913394
    .
  5. JSTOR 41913394
    .
  6. ^ Vaissière, Etienne de la (212). "Oxford Handbook of Late Antiquity: 5 Central Asia and the Silk Road". In S. Johnson (Ed.), Oxford Handbook of Late Antiquity, Oxford University Press, P. 142-169. Oxford University Press: 144–160.
  7. JSTOR 41913394
    .
  8. JSTOR 41913394
    .
  9. ^ "Afrosiab Wall Painting". contents.nahf.or.kr. NORTHEAST ASIAN HISTORY FOUNDATION.
  10. ^ Bulatova, Vera; Shishkina, Galina V. (1986). Самарканд: музей под открытым небом "Samarkand, Open-air Museum" (in Uzbek). Publishing house of literature and art Изд-во лит-ры и искусства им. Гафура Гуляма. p. 47. ..."When king Varkhuman of the Unash dynasty approached the ambassador, the ambassador opened his mouth and said : 'I am Pukarzate..."
  11. JSTOR 41913394
    .
  12. ISBN 978-0-19-021842-3
    .
  13. ^
    ISBN 978-1-932476-13-2
    .
  14. ^ a b c d e f g Yatsenko, Sergey A. (2004). "The Costume of Foreign Embassies and Inhabitants of Samarkand on Wall Painting of the 7th c. in the "Hall of Ambassadors" from Afrasiab as a Historical Source". Transoxiana. 8.
  15. ^ Yatsenko, Sergey A. (2009). "Early Turks: Male Costume in the Chinese Art Second half of the 6th – first half of the 8th cc. (Images of 'Others')". Transoxiana. 14: Fig. 3.
  16. JSTOR 41913394
    .
  17. ^
    ISBN 978-1-932476-13-2
    .
  18. ^ "Археология. НОВОСТИ Мира Археологии: Восстановление фрески из музея Афрасиаб начнется в апреле". Archived from the original on 2016-09-20. Retrieved 2014-04-24.
  19. ^ Compareti (University of California, Berkeley), Matteo (2007). "The Chinese Scene at Afrāsyāb". Eurasiatica.
  20. ^ Grenet, Frantz (2004). "Maracanda/Samarkand, une métropole pré-mongole". Annales. Histoire, Sciences Sociales. 5/6: Fig. D.
  21. ^ a b Compareti (University of California, Berkeley), Matteo (2015). "Ancient Iranian Decorative Textiles". The Silk Road. 13: 38.
  22. ^ Grenet, Frantz (2004). "Maracanda/Samarkand, une métropole pré-mongole". Annales. Histoire, Sciences Sociales. 5/6: Fig. B.
  23. ISBN 978-1-349-61845-3
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  24. ISBN 978-1-932476-13-2
    .
  25. ISBN 978-1-83860-868-2
    .
  26. ^ Grenet, Frantz (2004). "Maracanda/Samarkand, une métropole pré-mongole". Annales. Histoire, Sciences Sociales. 5/6: Fig. C.
  27. ISBN 9789004257009
    . The ceramics and monetary finds in the pavilion can be dated to no earlier than to the second half of the twelfth century, and more plausibly towards the end of that century. This is the only pavilion of those excavated that was decorated with paintings, which leave no doubt about the master of the place. (...) The whole artistic project was aimed at exalting the royal figure and the magnificence of his court. (...) the main scenes from the northern wall represents the ruler sitting cross-legged on a throne (see Figs 13, 14) (...) It was undoubtedly a private residence of the Qarakhanid ruler and his family and not a place for solemn receptions.
  28. ^
    ISBN 978-8412527858
    . Peintures murales qui ornaient (...) la résidence privée des derniers souverains qarakhanides de Samarkande (fin du 12ième - début du 13ième siècle (...) le souverain assis, les jambes repliées sur le trône, tient une flèche, symbole du pouvoir (Fig.171).
  29. ISBN 9789004257009
    . We cannot exclude the possibility that this action was related to the dramatic events of the year 1212, when Samarqand was taken by the Khwarazmshah Muḥammad b. Tekish.
  30. ISBN 978-1-78477-017-4
    .
  31. ISBN 978-1-78477-017-4
    .
  32. ^
    ISBN 9789004257009
    . The ceramics and monetary finds in the pavilion can be dated to no earlier than to the second half of the twelfth century, and more plausibly towards the end of that century. This is the only pavilion of those excavated that was decorated with paintings, which leave no doubt about the master of the place. (...) The whole artistic project was aimed at exalting the royal figure and the magnificence of his court. (...) It was undoubtedly a private residence of the Qarakhanid ruler and his family and not a place for solemn receptions.
Wikimedia Commons has media related to Paintings of the Ambassadors (Samarkand).

Royal Nawrūz in Samarkand: Acts of the Conference held in Venice on the Pre-Islamic Afrāsyāb Painting, ed. M. Compareti and E. de La Vaissière, Rome, 2006.

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