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The Road to Central Asia: Central Asia
| Title: | The Road to Central Asia: Central Asia | | Author: | N.D. | | Publication: | Marg | | Enumeration: | Vol. 9 Issue no. 2; March 1956, p. 53-56 | | Abstract: | The art of Kara-Shar and Kizil (not later than the 6th century CE) is mostly Hinayana in character, while that of the Turfan oasis (as later as the 9th century CE) is part of the Chinese art of the Tang period. Central Asian art exhibits various influences: wall paintings in Miran indicate Gandhara style, while the artist's name Tita or Titus shows that Roman craftsmen brought classical art to the frontiers of China; Buddhist works in the oasis of Khotan and Turfan, and at Kara-Shar and Kizil, show the same mixture of western classical and Gandhara style as at Bamiyan; wall paintings at the ruins of Dandan Uliq carry the obvious influence of deeper India, and Indian craftsmen may have been employed; a fusion of Indian and late Antique elements is visible on the Buddhist terracotta relief from Tumshuq; Kizil wall paintings, although executed at the same time, show Bamiyan and Indo-Iranian Chinese influence; the 6th century wall paintings of Tun-Huang in western China represent a synthesis of Indian provincial and Indo-Iranian techniques; and the 8th-10th century paintings at Beizekalk are completely in Chinese style. The advance of Islam in about the 8th century ended Buddhist art in Central Asia. Source of Abstract: Provided by Publisher | | Tools: |
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