Central Asian art information

Central Asian art

Female statuette of the Bactria–Margiana Archaeological Complex, c. 2000 BC. Miho Museum.^[1]^[2]

A Greco-Bactrian statuette from Ai-Khanoum (2nd century BC), and funerary statue from Kosh-Agach (8th–10th century AD).

Central Asian art is visual art created in Central Asia, in areas corresponding to modern Kyrgyzstan, Kazakhstan, Uzbekistan, Turkmenistan, Tajikistan, Afghanistan, and parts of modern Mongolia, China and Russia.^[3]^[4] The art of ancient and medieval Central Asia reflects the rich history of this vast area, home to a huge variety of peoples, religions and ways of life. The artistic remains of the region show a remarkable combinations of influences that exemplify the multicultural nature of Central Asian society. The Silk Road transmission of art, Scythian art, Greco-Buddhist art, Serindian art and more recently Persianate culture, are all part of this complicated history.

From the late second millennium BC until very recently, the grasslands of Central Asia – stretching from the Caspian Sea to central China and from southern Russia to northern India – have been home to migrating herders who practised mixed economies on the margins of sedentary societies. The prehistoric 'animal style' art of these pastoral nomads not only demonstrates their zoomorphic mythologies and shamanic traditions but also their fluidity in incorporating the symbols of sedentary society into their own artworks.

Central Asia has always been a crossroads of cultural exchange, the hub of the so-called Silk Road – that complex system of trade routes stretching from China to the Mediterranean. Already in the Bronze Age (3rd and 2nd millennium BC), growing settlements formed part of an extensive network of trade linking Central Asia to the Indus Valley, Mesopotamia and Egypt.^[5]

The arts of recent centuries are mainly influenced by Islamic art, but the varied earlier cultures were influenced by the art of China, Persia and Greece, as well as the Animal style that developed among the nomadic peoples of the steppes.^[4] ^[6]

^ Inagaki, Hajime. Galleries and Works of the MIHO MUSEUM. Miho Museum. p. 45.
^ Tarzi, Zémaryalaï (2009). "Les représentations portraitistes des donateurs laïcs dans l'imagerie bouddhique". KTEMA. 34 (1): 290. doi:10.3406/ktema.2009.1754.
^ Tamara Talbot Rice (July 2011). Visual Arts. Oxford.^{[full citation needed]}
^ ^a ^b Encyclopædia Britannica, Central Asian Arts. 2012. Retrieved May 17, 2012. Encyclopædia Britannica.
^ Fortenberry, Diane (2017). THE ART MUSEUM. Phaidon. p. 66. ISBN 978-0-7148-7502-6.
^ Andreeva, Petya (2022-07-14). "Re-Making Animal Bodies in the Arts of Early China and North Asia: Perspectives from the Steppe". Early China. 45: 413–465. doi:10.1017/eac.2022.7. ISSN 0362-5028. S2CID 252909244.

[1] Inagaki, Hajime. Galleries and Works of the MIHO MUSEUM. Miho Museum. p. 45.

[2] Tarzi, Zémaryalaï (2009). "Les représentations portraitistes des donateurs laïcs dans l'imagerie bouddhique". KTEMA. 34 (1): 290. doi:10.3406/ktema.2009.1754.

[1a-3] Tamara Talbot Rice (July 2011). Visual Arts. Oxford.^{[full citation needed]}

[1c-4] Encyclopædia Britannica, Central Asian Arts. 2012. Retrieved May 17, 2012. Encyclopædia Britannica.

[ReferenceD-5] Fortenberry, Diane (2017). THE ART MUSEUM. Phaidon. p. 66. ISBN 978-0-7148-7502-6.

[6] Andreeva, Petya (2022-07-14). "Re-Making Animal Bodies in the Arts of Early China and North Asia: Perspectives from the Steppe". Early China. 45: 413–465. doi:10.1017/eac.2022.7. ISSN 0362-5028. S2CID 252909244.

Central Asian art information

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