Afrasiab murals

The paintings date back to the middle of the 7th century CE. They were probably painted between 648 and 651 CE, while the Western Turkic Khaganate was in decline and the Tang Dynasty was increasing its territory in Central Asia.{{cite book |last1=Whitfield |first1=Susan |author-link=Susan Whitfield |title=The Silk Road: Trade, Travel, War and Faith |year=2004 |publisher=British Library. Serindia Publications, Inc. |isbn=978-1-932476-13-2 |page=112 |url=https://books.google.com/books?id=ArWLD4Qop38C&pg=PA110 |language=en}}{{cite journal |last1=Mode |first1=Markus |title=Reading the Afrasiab Murals: Some Comments on Reconstructions and Details |journal=Rivista degli studi orientali |date=2006 |volume=78 |page=112 |jstor=41913392 |url=https://www.jstor.org/stable/pdf/41913392.pdf |issn=0392-4866}} Paintings on four walls of the room of a private house at the site depict three or four lands neighbouring Central Asia: On the northern wall, China (a Chinese festival, with the Empress on a boat, and the Emperor hunting); on the Southern Wall, Samarkand (i.e.; the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival); on the eastern wall India (as the land of astrologers and of pygmies, though this painting is largely destroyed).

The topic of the main (or western) wall, which depicts Kökturk soldiers escorting ambassadors from various parts of the world (Korea, China, Iranian principalities etc.), is debated. Boris Marshak, a leading expert on Sogdian painting and the excavator of 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.{{cite journal |last1=de la Vaissière |first1=Étienne |title=LES TURCS, ROIS DU MONDE À SAMARCANDE |journal=Rivista degli studi orientali |date=2006 |volume=78 |pages=153–157 |jstor=41913394 |url=https://www.jstor.org/stable/pdf/41913394.pdf |issn=0392-4866}} 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.{{cite journal |last1=de la Vaissière |first1=Étienne |title=LES TURCS, ROIS DU MONDE À SAMARCANDE |journal=Rivista degli studi orientali |date=2006 |volume=78 |pages=153–157 |jstor=41913394 |url=https://www.jstor.org/stable/pdf/41913394.pdf |issn=0392-4866}}

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.{{cite journal |last1=Vaissière |first1=Etienne de la |title=Oxford Handbook of Late Antiquity: 5 Central Asia and the Silk Road |journal=In S. Johnson (Ed.), Oxford Handbook of Late Antiquity, Oxford University Press, P. 142-169 |date=212 |publisher=Oxford University Press |pages=144–160 |url=https://www.academia.edu/4824639 |language=en}} 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:{{cite journal |last1=de la Vaissière |first1=Étienne |title=LES TURCS, ROIS DU MONDE À SAMARCANDE |journal=Rivista degli studi orientali |date=2006 |volume=78 |page=148 |jstor=41913394 |url=https://www.jstor.org/stable/pdf/41913394.pdf |issn=0392-4866}}

{{blockquote|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.新唐书/卷221下: "何，或曰屈霜你迦，曰贵霜匿，即康居小王附墨城故地。城左有重楼，北绘中华古帝，东突厥、婆罗门，西波斯、拂菻等诸王，其君旦诣拜则退。" in {{cite web |title=新唐书/卷221下 - 维基文库，自由的图书馆 |url=https://zh.m.wikisource.org/zh-hans/%E6%96%B0%E5%94%90%E6%9B%B8/%E5%8D%B7221%E4%B8%8B |website=zh.wikisource.org |language=zh-Hans}}, quoted in {{cite journal |last1=de la Vaissière |first1=Étienne |title=LES TURCS, ROIS DU MONDE À SAMARCANDE |journal=Rivista degli studi orientali |date=2006 |volume=78 |page=148 |jstor=41913394 |url=https://www.jstor.org/stable/pdf/41913394.pdf |issn=0392-4866}}}}

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

{{blockquote|File:Afrasiab Sogdian inscription.jpgWhen King Varkhuman Unash came to him [the ambassador] opened his mouth [and said thus]: "I am Pukarzate, the dapirpat (chancellor) of 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.{{cite web |title=Afrosiab Wall Painting |url=http://contents.nahf.or.kr/goguryeo/afrosiab/english.html |website=contents.nahf.or.kr |publisher=NORTHEAST ASIAN HISTORY FOUNDATION}}{{cite book |last1=Bulatova |first1=Vera |author-link=Vera Bulatova|last2=Shishkina |first2=Galina V. |title=Самарканд: музей под открытым небом "Samarkand, Open-air Museum" |date=1986 |publisher=Publishing house of literature and art Изд-во лит-ры и искусства им. Гафура Гуляма |page=47 |url=https://books.google.com/books?id=ML4ewQEACAAJ |language=uz|quote=..."When king Varkhuman of the Unash dynasty approached the ambassador, the ambassador opened his mouth and said : 'I am Pukarzate..."}}{{cite journal |last1=de la Vaissière |first1=Étienne |title=LES TURCS, ROIS DU MONDE À SAMARCANDE |journal=Rivista degli studi orientali |date=2006 |volume=78 |pages=159–160 |jstor=41913394 |url=https://www.jstor.org/stable/pdf/41913394.pdf |issn=0392-4866}}{{cite book |last1=Hansen |first1=Valerie |author-link=Valerie Hansen |title=The Silk Road: A New History |date=2015 |publisher=Oxford University Press |isbn=978-0-19-021842-3 |page=127 |url=https://books.google.com/books?id=FDdRDAAAQBAJ&pg=PA127 |language=en}}}}

{{multiple image|perrow=2|total_width=300|caption_align=center

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| image1 = Afrasiab. Western Turk officer, 7th century CE.jpg

| image2 = Afrasiab. Seated Turkish attendants. 7th century CE.jpg

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

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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.{{cite book |last1=Library |first1=British |title=The Silk Road: Trade, Travel, War and Faith |year=2004 |publisher=Serindia Publications, Inc. |isbn=978-1-932476-13-2 |page=110 |url=https://books.google.com/books?id=ArWLD4Qop38C&pg=PA110 |language=en}}

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.

In the mural, the Western Turks are ethnic Turks, Nushibis, rather than Turkicized Sogdians, as suggested by their facial features and faces without beards.{{cite journal |last1=Yatsenko |first1=Sergey A. |title=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 |journal=Transoxiana |date=2004 |volume=8 |url=http://www.transoxiana.org/0108/yatsenko-afrasiab_costume.html}} They are the most numerous ethnic group in the mural, and are not ambassadors, but rather military attendants. Their depiction offers a unique glimpse into the costumes of the Turks in the 6-7th century CE. They typically wear 3 or 5 long plaits, often gathered together into a single long cloth. They have ankle-long monochromic sleeved coats with two lapels. This fashion for the collar is first seen in Khotan near Turfan, a traditional Turkic area, in the 2nd-4th century CE. They have low black sharp-nosed boots. They wear gold bracelets with lapis lazuli or pearls.

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.{{cite book |last1=Library |first1=British |title=The Silk Road: Trade, Travel, War and Faith |year=2004 |publisher=Serindia Publications, Inc. |isbn=978-1-932476-13-2 |page=110 |url=https://books.google.com/books?id=ArWLD4Qop38C&pg=PA110 |language=en}}

Various reconstructions for the whole mural have been proposed.{{cite journal |last1=Yatsenko |first1=Sergey A. |title=Early Turks: Male Costume in the Chinese Art Second half of the 6th – first half of the 8th cc. (Images of 'Others') |journal=Transoxiana |date=2009 |volume=14 |page=Fig. 3 |url=http://www.transoxiana.com.ar/14/yatsenko_turk_costume_chinese_art.html}}

{{multiple image|perrow=2|total_width=1000|caption_align=center

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| image1 = Afrasiab central scene (reconstitution).jpg

| caption1 =Afrasiab west wall (reconstitution).For an alternative interpretation, see: {{cite journal |last1=de la Vaissière |first1=Étienne |title=LES TURCS, ROIS DU MONDE À SAMARCANDE |journal=Rivista degli studi orientali |date=2006 |volume=78 |pages=147–162 |jstor=41913394 |url=https://www.jstor.org/stable/41913394 |issn=0392-4866}}

| image2 = Afrasiab procession (reconstitution).jpg

| caption2 =Afrasiab south wall (reconstitution)

| image3 = Afrasiab West Wall.jpg

| caption3 = West wall
Ambassadors from various countries, paying hommage to king Varkhuman and possibly Western Turk Khagan Shekui, both nominal vassals of China. Numerous Turkish officers and courtiers are present.

| image4 = Afrasiab South Wall.jpg

| caption4 = South wall
Funeral procession led by King Varkhuman, in honour of his predecessor Shishpir.{{cite book |last1=Baumer |first1=Christoph |title=History of Central Asia, The: 4-volume set |date=18 April 2018 |publisher=Bloomsbury Publishing |isbn=978-1-83860-868-2 |page=243 |url=https://books.google.com/books?id=DhiWDwAAQBAJ&pg=RA1-PA243 |language=en}}

| image5 = Afrasiab North Wall.jpg

| caption5 = 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.

| image6 = Afrasiab East Wall.jpg

| caption6 = East wall
Possible scenes of India.{{cite book |last1=Library |first1=British |title=The Silk Road: Trade, Travel, War and Faith |year=2004 |publisher=Serindia Publications, Inc. |isbn=978-1-932476-13-2 |page=110 |url=https://books.google.com/books?id=ArWLD4Qop38C&pg=PA110 |language=en}}

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File:Samarkand Afrasiab (Marakanda) Palace Fresco 7th-8th cent Sogdian Chamberlains & Interpreter Introduce Tibetan Messengers.jpg|Afrasiab Palace Fresco 7th-8th century. Sogdian Chamberlains & Interpreter Introduce Tibetan Messengers

File:Turkish dignitaries visiting king Varkhuman, One of them is labeled as coming from Argi, Karashahr in modern Xinjiang. 7th century CE.jpg|Turkic dignitaries visiting king Varkhuman in Samarkand. One of them is labeled as coming from Argi (Karashahr in modern Xinjiang).{{cite book|last1=Whitfield|first1=Susan|title=The Silk Road: Trade, Travel, War and Faith|year=2004|publisher=British Library. Serindia Publications, Inc.|isbn=978-1-932476-13-2|page=110|url=https://books.google.com/books?id=ArWLD4Qop38C&pg=PA110|language=en}}

File:Afrasiab - details from The Ambassadors' Painting 1 - Northern wall.- Chinese boat.JPG|Chinese boat

File:Ambassadors from Chaganian (central figure, inscription of the neck), and Chach (modern Tashkent) to king Varkhuman of Samarkand. 648-651 CE, Afrasiyab, Samarkand.jpg|Ambassadors from Chaganian (central figure, inscription of the neck), and Chach (modern Tashkent) to king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.

File:Samarkand Afrasiab (Marakanda) Palace Fresco 7th-8th century detail.jpg|Afrasiab Palace Fresco 7th-8th century. Detail of a horserider

In early 2014, France declared that it would finance the restoration of the Afrasiab painting.{{Cite web |url=http://old.archeo-news.ru/2014/02/blog-post_8042.html |title=Археология. НОВОСТИ Мира Археологии: Восстановление фрески из музея Афрасиаб начнется в апреле |access-date=2014-04-24 |archive-date=2016-09-20 |archive-url=https://web.archive.org/web/20160920000324/http://old.archeo-news.ru/2014/02/blog-post_8042.html |url-status=dead }}

File:Afrasyab Chinese Embassy (left) and Turkish courtier (right).jpg|Afrasyab Chinese Embassy (left), carrying silk and a string of silkworm cocoons, and Turkish delegates (right), recognizable by their long plaits.{{cite journal|last1=Compareti (University of California, Berkeley)|first1=Matteo|title=The Chinese Scene at Afrāsyāb|journal=Eurasiatica|date=2007|url=https://www.researchgate.net/publication/287420208}}

File:Wall painting at the Ambassador’s Hall in Afrosiab, Samarkand.jpg|Wall painting at the Ambassador's Hall in Afrosiab

File:Ambassadors from Chaganian (central figure, inscription of the neck), and Chach (modern Tashkent) to king Varkhuman of Samarkand. 648-651 CE, Afrasiyab Museum, Samarkand, Uzbekistan.jpg|Ambassadors from Chaganian (central figure, inscription of the neck), and Chach (modern Tashkent) to king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.{{cite journal|last1=Grenet|first1=Frantz|title=Maracanda/Samarkand, une métropole pré-mongole|journal=Annales. Histoire, Sciences Sociales|date=2004|volume=5/6|page=Fig. D|url=https://www.cairn.info/journal-annales-2004-5-page-1043.htm}} The delegate to the right has a Simurgh design on his dress.{{cite journal|last1=Compareti (University of California, Berkeley)|first1=Matteo|title=Ancient Iranian Decorative Textiles|journal=The Silk Road|date=2015|volume=13|page=38|url=https://www.researchgate.net/publication/291135843}}

File:Turkish officers during a audience with king Varkhuman of Samarkand. 648-651 CE, Afrasiyab, Samarkand.jpg|Turkish officers during an audience with king Varkhuman of Samarkand. 648-651 CE, Afrasiyab murals, Samarkand.{{cite journal|last1=Grenet|first1=Frantz|title=Maracanda/Samarkand, une métropole pré-mongole|journal=Annales. Histoire, Sciences Sociales|date=2004|volume=5/6|page=Fig. B|url=https://www.cairn.info/journal-annales-2004-5-page-1043.htm}}

File:Delegate with Simurgh design on his dress in the Afrasiab murals 648-651 CE.jpg|Delegate with Simurgh design on his dress in the Afrasiab murals, 648-651 CE.

File:Delegate with boar head symbol on his dress in the Afrasiab murals 650 CE.jpg|Delegate with boar head symbol on his dress in the Afrasiab murals 650 CE.{{cite book|last1=Gordon|first1=S.|title=Robes and Honor: The Medieval World of Investiture|date=30 April 2016|publisher=Springer|isbn=978-1-349-61845-3|page=47|url=https://books.google.com/books?id=cJUYDAAAQBAJ&pg=PA47|language=en}}

File:Korean ambassadors during a audience with king Varkhuman of Samarkand. 648-651 CE, Afrasiyab, Samarkand.jpg|Goguryeo ambassadors during an audience with king Varkhuman of Samarkand. They are identified by the two feathers on top of their head.{{cite book|last1=Library|first1=British|title=The Silk Road: Trade, Travel, War and Faith|year=2004 |publisher=Serindia Publications, Inc.|isbn=978-1-932476-13-2|page=110|url=https://books.google.com/books?id=ArWLD4Qop38C&pg=PA110|language=en}} 648-651 CE, Afrasiyab, Samarkand.{{cite book|last1=Baumer|first1=Christoph|title=History of Central Asia, The: 4-volume set|date=18 April 2018|publisher=Bloomsbury Publishing|isbn=978-1-83860-868-2|page=243|url=https://books.google.com/books?id=DhiWDwAAQBAJ&pg=RA1-PA243|language=en}}{{cite journal|last1=Grenet|first1=Frantz|title=Maracanda/Samarkand, une métropole pré-mongole|journal=Annales. Histoire, Sciences Sociales|date=2004|volume=5/6|page=Fig. C|url=https://www.cairn.info/journal-annales-2004-5-page-1043.htm}}

File:Kara-Khanid ruler (sitting cross-legged on a throne), Afrasiab, circa 1200 CE.jpg, Samarkand, circa 1200 CE.{{cite book |last1=Karev |first1=Yury |title=Turko-Mongol rulers, cities and city life |date=2013 |publisher=Brill |location=Leiden |isbn=9789004257009 |pages=114–115|quote="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."}}{{cite book |last1=Frantz |first1=Grenet |title=Splendeurs des oasis d'Ouzbékistan |date=2022 |publisher=Louvre Editions |location=Paris |isbn=978-8412527858 |pages=221–222|quote="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)."}} It was possibly defaced in 1212 when the Khwarazmian Empire shah Muḥammad b. Tekish took over Samarkand.{{cite book |last1=Karev |first1=Yury |title=Turko-Mongol rulers, cities and city life |date=2013 |publisher=Brill |location=Leiden |isbn=9789004257009 |page=120|quote="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."}}]]

A palatial structure dating to the Kara-Khanid Khanate (999-1212) was recently discovered in Afrasiab, complete with numerous decorative paintings dating to circa 1200. This period of artistic florescence would end in 1212, when the Kara-Khanids in Samarkand were conquered by the Kwarazmians. Soon however, Khwarezmia was invaded by the early Mongol Empire and its ruler Genghis Khan destroyed the once vibrant cities of Bukhara and Samarkand.Sophie Ibbotson and Max Lovell-Hoare (2016), Uzbekistan, 2nd edition, Bradt Travel Guides Ltd, pp 12–13, {{ISBN|978-1-78477-017-4}}. However, in 1370, Samarkand saw a revival as the capital of the Timurid Empire.Sophie Ibbotson and Max Lovell-Hoare (2016), Uzbekistan, 2nd edition, Bradt Travel Guides Ltd, pp 14–15, {{ISBN|978-1-78477-017-4}}.

Kara-Khanid Band of inscription containing a fragment of poetry reading kām-i dil, Afrasiab, circa 1200 CE.jpg|Kara-Khanid band of inscription containing a fragment of poetry reading kām-i dil, Afrasiab, Samarkand, circa 1200 CE.{{cite book |last1=Karev |first1=Yury |title=Turko-Mongol rulers, cities and city life |date=2013 |publisher=Brill |location=Leiden |isbn=9789004257009 |pages=115–120|quote="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."}}

Kara-Khanid medallion with fighting birds, Afrasiab, circa 1200 CE.jpg|Kara-Khanid medallion with fighting birds, Afrasiab, circa 1200 CE.

Kara-Khanid bands of inscription with running animals, Afrasiab, circa 1200 CE.jpg|Kara-Khanid bands of inscription with running animals, Afrasiab, circa 1200 CE.

• Penjikent murals
• Sogdian art

• {{cite journal |last1=Marshak |first1=Boris |last2=Grenet |first2=Frantz |last3=Sadowska-Daguin |first3=Malgoržata |title=Le programme iconographique des peintures de la "Salle des ambassadeurs" à Afrasiab (Samarkand) |journal=Arts Asiatiques |date=1994 |volume=49 |issue=1 |pages=5–20 |doi=10.3406/arasi.1994.1349 |url=https://www.persee.fr/doc/arasi_0004-3958_1994_num_49_1_1349}}

{{reflist}}

{{Commons category}}

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.

• [http://www.orientarch.uni-halle.de/ca/afras/general.htm Court art of Sogdian Samarqand in the 7th century AD] - images and commentary at the University of Halle

{{Central Asian history}}

Category:7th-century paintings

Category:1965 archaeological discoveries

Category:Samarkand

Category:Murals

Category:Sogdians

Category:Sogdian art