Head of a lion, 7th century.
Fine Arts Institute, Tashkent, Uzbekistan.

 

 

Buddhist art

 

Monumental art always maintains its place in Buddhist communities. The Buddhist constructions at Ak-Beshim, the Shakhristan Citadel at Kuva, Ajina Tepe, and Kalai-Karfirnigan are decorated with painted clay sculptures. These decorations portray the traditional iconography of the Buddhas, the Bodhisattvas, monks, orants, and other deities.

 

The Buddha’s statues, representations particularly revered, had considerable dimensions. In this way the zealous defenders of Buddhism wanted to increase the authority of their religion that was losing its prestige in Central Asia and among its adepts. The representation of Buddha followed the canon, elaborated and fixed during the first centuries of our era according to three conceptions: sitting Buddha in a meditative attitude, having acquired Truth; Standing Buddha, bearer and preacher of this Truth; Buddha lying on his right side in a position of supreme serenity whist waiting for nirvana.

 

Buddha is shown with a serene inward-looking expression, slightly smiling, hair arranged in a series of artistically-placed spiral curls, contrasting with the smooth face and the ancient expression of profound meditation and great wisdom that were given to him in the previous epochs.

 

The same contrasts can be seen in the Bodhisattva’s faces. Their silhouettes remain lithe and well built but the shape of the body is only outlined, whilst necklaces and pleats of garments tightened with a belt are elaborated in detail. Secular faces are presented in a different manner. They are more realistic in spite of their idealised lines, probably executed from nature such as, for instance, women’s heads from Ajina Tepe: round, naive faces with a little smile and a tender gaze. The faces of Kashyapa, a fire worshipping monk and a Bodhisattva, are marked by age and meditation.

 

The Buddhist sculpture of this period distinguishes itself by increased interest in demonic creatures inspiring terror. They are mainly depicted by threatening demi-gods, bellicose defenders of Buddhism. Among the enormous heads of the Kuva sanctuary, a Mandjucha with a furious glance, a flat nose, and a twisted mouth with hooked teeth can be seen, or the dhachite with a cruel woman’s face wearing a crown adorned with skulls.

 

 

Mythological art

 

On the carved wood reliefs of Panjikent and Kalai Kakhkakh, mythological characters are represented, among which are a winged lion, a goddess riding a lion, and a rider overtaking a wild animal.

 

The composition of multiple figures adorning a door tympanum from the Kalai-Kakhkakh palace is particularly expressive. There is a fantastic creature resembling a man, flanked by two riders as well as the double figure of a peri with long braids sitting on a two-headed bird. The subject of the panels refer to the legend of Zahhak.

 

The popular revolt directed by the blacksmith, Kave, and the army of the valorous Fereydun destroyed Zahhak and his allies. In this fight, the rebels were helped by a higher force, coming from the sky in the form of a peri with long braided hair.

 

Inspired by this epic tale, the sculptor introduced into it the chivalrous spirit of Central Asia. Gallant warriors on their galloping horses can be seen. But the most striking point is the variety of the representations given by the sculptor.

 

 

Megalithic art

 

Megalithic statues, called balbaly, knew a great expansion over the huge territory that extented from northern Mongolia to the steppes of southern Russia, conquered by the Turks during the 6th and 7th centuries. The conception underlying the building of megalithic monuments is still unknown. They are considered the incarnation of a dead spirit, an ancestor or even the representation of a vanquished enemy. Their aspect is extremely simple: a flat roofing slab is put on top of a high block of stone, a head and hands half-crossed are roughly hewn.

 

Sometimes one hand holds a vase. The line of the face with slit eyes as well as some details of their costumes is very stylised. The only indication allowing us to determine the sex of the character is a moustache for the men and round breasts for the women. They are impassible idols whose plasticity is generalised to the extreme, but paradoxically, it gives them a very great expressiveness. The megalithic monuments are in harmony to an astonishing degree with the monotonous scenery of the steppes.