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Guitty Azarpay

Sogdian Painting.
The Pictorial Epic in Oriental Art.

With contributions by A.M. Belenitskii, B.I. Marshak and Mark J. Dresden.

// Berkeley, Los Angeles, London: University of California Press. 1981. xxii+212 pp., 30 pl. ISBN 0-520-03765-0

 

Contents

 

List of text illustrations. — vii

List of color plates [1-30]. — xiii

Preface. — xv

Acknowledgments. — xix

Abbreviations. — xxi

 

Introductory note (by Mark J. Dresden). — 1

 

Part one. The paintings of Sogdiana (by A.M. Belenitskii and B.I. Marshak). — 11

Principal historic events. — 15

Special features of the social order. — 19

The nature of the cultural relations of Sogdiana. — 26

Archaeological substantiations of the dates of the Panjikent murals. — 35

The chronology of the paintings from Afrasiab, Varakhsha and Shahristan. — 47

Arrangement of the paintings on the walls of the buildings. — 52

The subject matter of the paintings from Afrasiab. — 61

The range of subjects of the Panjikent paintings. — 65

Characteristics of the style. — 73

 

Part two. Sogdian painting: the pictorial epic in oriental art (by Guitty Azarpay). — 79

1. The Background: The Traditions of Early Medieval Painting in Transoxiana. — 81

2. The Theme: Subject Matter and Iconography in Secular Imagery. — 95

The pictorial epic. — 95

The origin and particular traits of the continuous pictorial epic in Sogdian painting. — 102

The iconography of heroized and legendary figures. — 108

The warrior-wornan. — 115

Historic documentaries, genre and folktale. — 116

Military equipment. — 120

3. The Theme: Religious Imagery. — 126

The ancestral cult. — 128

The goddess Nana. — 132

The river goddess. — 140

Mithra, male divinities and other religious themes. — 141

4. Style. — 144

Composition. — 147

Narrative scenes. — 147

The human figure. — 150

Proportion. — 152

Religious imagery. — 155

Figural processions. — 157

5. Materials and Techniques of Sogdian Painting. — 159

Preparation of the ground. — 159

The use of color: pigments. — 161

Imported pigments. — 163

Symbolic use of color. — 165

The sketch. — 167

6. Continuity of Tradition: The Sogdian Artistic Heritage in Muslim Painting. — 170

7. Conclusion. — 181

 

Appendix: The Classification of Sogdian Painting. — 185

Index. — 205

 

[Plates 1-30]

 

 

 

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