These styles differ in their basic character and application.The painters of the West Asian tradition mainly concerned themselves with manuscript illumination (ninety-eight fragmentary paintings document their work).A necessary step in this phase of my study is to identify four basic stylistic and technical trends ("styles") documented among the remains that have not been recognized before.The roots of two are West Asian, while the other two are Chinese.The findings of this paper depart from our former views on how pictorial art developed in this region.
The ones trained in the Chinese tradition mostly worked with textiles and wall surfaces (sixteen such pictorial fragments are known).
Although only three individual pieces can be dated securely from one of the West Asian style groups, I suggest that definite time parameters can be determined for the use of these painting styles in Manichaean Turfan, in light of their stylistic and contextual relation to the carbon-dated book fragment and historical evidence.
Cet article contient des illustrations pour lesquelles nous n'avons pas reçu d'autorisation de diffusion (en savoir plus) Avant de procéder à toute mise en ligne, les responsables des revues sollicitent les auteurs d'articles et d'illustrations pour obtenir leurs autorisations. As a result, much of what we have known about Manichaean art during the 20th century was based on never-confirmed assumptions.
Dans cet article, la personne disposant des droits sur les illustrations a dû refuser la diffusion libre et gratuite de son travail. Now, due to a confluence of interdisciplinary developments, this art can be reevaluated.
Hans-Joachim Klimkeit The discovery of the Manichaean artistic remains during the early 1900s amongst the ruins of an abandoned mud-brick city (Uyg. Gaochang) near the Turfan oasis, in what is today the Xinjiang-Uygur Autonomous Region in Northwest China, brought much initial excitement to scholars studying Central Asian and Persian art (fig.First, I present the C14 date of a Manichaean illuminated book fragment from Turfan, and thereby introduce the earliest securely dated painted manuscript from Central Asia. Second, I apply this datum to the evaluation of the corpus of Uygur Manichaean art.