Most sites where Sogdian art has been recovered are in modern Uzbekistan and northwestern Tajikistan. This location allowed for the infusion of various influences ranging from western, Hellenistic-style art to southeastern, Buddhist-style art. The amalgamation of techniques from such diverse sources coupled with a local ingenuity inspired a rich artistic culture that was the symbol of Central Asian art at it's finest. The Sogdians were the first Central Asian people to display technique and style of unprecedented caliber in their murals, paintings, sculptures, woodwork and gilding. There art was diverse in it's sources, but more importantly, Sogdian art made its way across an entire continent; penetrating almost as far west as it did east.
Identifiable for its varied characteristics, the art of Sogdiana is most recognizable for influencing the art of other cultures! Their location on the Silk Road made it possible for the unassuaged transmission of artistic techniques across space and time. Geographically, influences of Sogdiana have been recorded all throughout Central Asia and north into the steppes, south into the Arabian Peninsula, east across the Taklamakan through to central China and as far west as the Balkans and the rest of Southern Europe. Historically, and geographically correlated, influences have been recorded from the end of the Early Christian Period until the beginning of the Byzantine Period. (Prior to researching Sogdiana, I wouldn't have fathomed the breadth of importance their art possessed!)
According to archaeologists and anthropologists alike, the 6th century was the pinnacle of Sogdian culture, and also when they flourished with artistic tradition. Appreciable amounts of temporal and religious pottery and sculptures were discovered at Samarkand, the best examples dating from before the Hellenistic period in the mid 3rd century BCE, to the Muslim conquests of Persia in the mid 6th century.
Some of the most revealing of these Samarkand finds include statuettes of women that characterize Zoroastrian deities like Anahita, revered as the deity of water and fertility (all the figures hold a piece of fruit, a symbol of fertility in terms of childbearing and of trade). It’s interesting to note that, in comparison to the discovery of other similar statuettes, Anahita was the most frequently discovered, which implies that water and fertility were very important in the everyday life of Sogdians.
Sogdian art frequently reflected the routine and banal, but it's style was often whimsical. For example, there were several benches recovered from Bukhara that displayed murals and paintings depicting processions of various animals that were escorted by elaborately clad hunters seated on elephants, chased by leopards and griffins (neither native to Sogdiana). Scenes of sportive pursuit such as these were popular in Sogdian art, and were often depicted on wooden shields painted with figures of riders mounted on festively decorated horses, wearing hunting robes donned with knives, bows, and a quivers of arrows. This theme is thought to have influenced the style of book illumination in Islamic Persian art following the Muslim conquests of Persia.
Sogdian art reflected what was important to them as people and as a culture. Their art portrayed their strong beliefs, both religious and temporal. What was more significant than their refined techniques and vibrant style was their capability to transmit these aspects liberally. Their prominence as merchants and strength as a culture made the diffusion of their art possible then, and admired now.
Sogdian mural recovered at Bukhara, exemplifying the style that would later influence Islamic Persian art. Note the rich colours, flowing lines and well defined features.
No comments:
Post a Comment