Painting in Central Asia goes back several millennia. The rock drawings of Zarafshan (south of Uzbekistan) date from the Palaeolithic age and the mural painting of Pessedjikdepe (south of Turkmenistan), from the Neolithic age. But they are only isolated examples of a very ancient history of this art in the vast territory of Central Asia.
Mural painting spread widely during antiquity and the Middle Ages. It was, then, tightly linked with architecture which predetermined its stylistic particularities to a great extent: the absence of any model and the monumental character of the forms, the combination of figurative and ornamental elements, the local colours encircled by red and black. At the same time, the painting maintained its own artistic vocation, expressing social ideas and aesthetic ideals of the historical and cultural centres where it was produced. Ancient painting came to us in fragments and it is difficult to judge the subjects of its compositions. However, it can be said with certainty that the paintings’ themes are extremely varied: no recently discovered fragment repeats a subject already treated.
Painting became increasingly prevalent during the 2nd and 3rd centuries and evolved; characteristic traits were observed. But Barbarian tribes who occupied the region forced art back towards more primitive forms.
It was then necessary to wait until the 3rd century was animated by a new breath. Whilst respecting tradition, painting became open to new forms and ideals. The painting of the early Middle Ages (6th and 7th centuries) is an extremely astonishing phenomenon in the history of world art. The Sogdian frescos in the palace of Varakhcha and Afrasiab, in the numerous private houses, palaces, and temples of Panjikent, the paintings of the Usrushan, neighbouring region to Sogdian, the Buddhist mural paintings on the territory of the ancient Bactrian at Kalai-Kafirnigan testify to the existence of a particular school of monumental painting formed if not as a corporation, at least as a group of highly qualified professional artists.
Painting remains traditional in the monasteries and Buddhist sanctuaries but Hindu canons become more and more considerable.
The Buddha faces of Ajina Tepe are represented slightly turned towards the faithful. The Buddhas are positioned in arches forming iconostases. They are set one near the other or above one another. As for the Buddhists holding offerings, they are very different: the painter borrowed his models from real life and painted them in a somewhat summary manner. The faces are outlined with a rich and exact line, slender figures, garment folds, and attributes. The faces are represented in profile or three quarters. All the personages are set in relief against a red background. The profane themes know a blossoming without equal in painting, in the Sogdian and Usrushan regions. Far from representing scenes of current life, painting takes its inspiration from more elaborate subjects suggested by epic legends, myths, moral fables, and popular tales. It represents banquets, scenes of battle or hunting games with noblemen, warriors, ladies from the contemporary surrounding of the painter, who also adds fantastic beings and divinities from the local pantheon.
The paintings which adorn the walls of Varakhcha and Afrasiab palaces are solemn in their contents and monumental in their style.
The paintings of the throne hall in the palace of Varakhcha celebrate the royal power.
In the centre of the principal wall is the monumental figure of the king. His throne is supported by winged camels.
On both sides, real life imposes itself to the glance. The king is performing legal proceedings; his wife and the heir are burning sacred plants in a deep cassolette.
On the other walls, battle scenes are painted, hunting or entertainment. Altogether they conform to the real ceremonies of the court, to the religious rites, to the feasts given in the palace. The scenes are represented in an epic form. On the four walls of the large Red Hall, heroes mounted on an elephant are fighting against cheetahs and griffons.