Sulla Via del Catai - Nr. 31, Dicembre 2024 |
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Nr. 31, Dicembre 2024
INCONTRI EURASIATICI scambi commerciali, culturali e religiosi tra il Mediterraneo, l’India e la Cina a cura di Ciro LO MUZIO
Pagine: 160 Illustrazioni: 80 ISSN 1970-344-9 Prezzo: euro 20,00 Prezzo: Web € 15,00 soci € 10,00
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Description
INCONTRI EURASIATICI scambi commerciali, culturali e religiosi tra il Mediterraneo, l’India e la Cina Sfoglia le prime pagine INDEX INTRODUZIONE pag. 7 Incontri eurasiatici: scambi commerciali, culturali e religiosi tra il Mediterraneo, l’India e la Cina LO MUZIO, Ciro - Università di Roma, LA SAPIENZA FILIGENZI, Anna - Università degli Studi di NAPOLI, L'Orientale L’ARTE BUDDHISTA DEL GANDHĀRA TRA PERCEZIONE E REALTÀ ARCHEOLOGICA pag. 13 Buddhist Art of Gandhāra Between Perception and Archaeological Reality Abstract: The very definition of Gandharan art is currently the subject of discussions that involve not only the phenomenon itself but also the entire theoretical framework of our interpretive models. The Buddhist art of Gandhāra, flourishing in the early centuries of the common era in an area spanning from northern Pakistan to eastern Afghanistan, is characterized by the strong Hellenistic influence on much of its production. But what lies within this apparent subjection to imported models? To understand the fluid, dynamic, and yet rigorous world of iconographic models, their creation and re-creation, we must question all the actors involved, resorting also to archaeology and the complex reconstructions it is capable of offering us today of cultures in contact with each other, each with its own physiognomy and the ground which, in an original way, predisposes each to encounter with the others. Read LO MUZIO, Ciro - Università di Roma, LA SAPIENZA ITINERARI MONTANI DEL DHARMA. SU UN DIPINTO RUPESTRE A CHAGHDO, IN BALTISTAN (PAKISTAN) pag. 37 Dharma Mountain Routes, on a rock painting in Chaghdo, Baltistan (Pakistan) Abstract: This article examines a Buddhist rock painting in a small village in Baltistan (north Pakistan), depicting a ritual scene taking place in front of three stūpas. Based on an iconographic analysis of the painting detailing its composition and symbolic elements, followed by a discussion of the artistic, chronological and political contexts surrounding the artwork, the study highlights the interaction of the diverse cultural components at play in this region on the northwestern fringes of the Indian subcontinent. There is reason to believe that the painting most likely dates from the 8th-9th centuries CE, when the area stretching from Ladakh to Wakhan (Afghanistan) was part of the Tibetan Empire. It is also suggested that the ritual scene it depicts probably refers to a ceremony witnessed by the Chinese pilgrim Faxian several centuries earlier. Read VIGNATO, Giuseppe - Beijing University, School of Archaeology and Museology, PRC SPAZI PER LA MEDITAZIONE NEL BUDDHISMO ANTICO: UN CONFRONTO TRA I MONASTERI DI KUCHA (XINJIANG, CINA) E TERMEZ (UZBEKISTAN) pag. 61 Meditation Spaces in Early Buddhism: A Comparison of the Monasteries of Kucha (Xinjiang, China) and Termez (Uzbekistan) Abstract: In this paper, we compare meditation caves in Kucha and Termez to understand meditation practices. In Kucha, a variety of meditation caves have been discovered, ranging from small cells for seated meditation to interconnected corridors forming cross or U-shaped plans. The latter type is linked to a residence and courtyard, resembling the complexes near the Kara Tepe monastery. The design, distance from the monastery, similarity, courtyard in front of the caves, and the presence of a residence cell suggest that the corridors provided a suitable environment for meditation during extreme weather. In the better-preserved complexes, it can be observed that the length of the courtyard’s sides corresponds to that of the corridors. While the courtyard could have been used for various activities, this similarity suggests its potential use for pacing meditation in mild weather. Additionally, since the Kara Tepe monastery could accommodate fewer than fifteen monks, the presence of several meditation complexes, each with a small cell, suggests that these units were intended for a monk to live in seclusion for a long period. Read SHENG, Angela - McMaster University, Hamilton, CA DELLA PRESUNTA TRASMISSIONE DELL’ANTICA TECNOLOGIA DELLA SETA OLTRE I CONFINI DELLA CINA pag. 85 On the alleged transmission of ancient silk technology beyond China Abstract: The discovery of Chinese silk fragments in Roman-era Palmyra in the early twentieth century generated significant excitement. For many, it confirmed their long-held belief in the caravan trade across Eurasia from China to the eastern Mediterranean coast. However, this finds also sparked intense debate among textile historians: did Chinese silk weaving technologies also reached and influenced those in the eastern Roman world? This work examines the dissemination of Chinese silks beyond China, focusing both on textile patterns and technologies. Two hypotheses form the basis of this investigation: first, weavers physically embodied their knowledge of weaving complex patterns: unless they traveled, their knowledge remained localized; second, technological innovations could and did arise independently to fulfill culturally specific needs: many pathways led to the invention of a patterning mechanisms, which varied with different loom types. Read CURRIE Gabriela - University of Minnesota Twin Cities, Minneapolis, USA COMPLESSITÀ DELLE INTERAZIONI NELL’EURASIA PREMODERNA: IL QOPUZ TURCO pag. 115 Complexity of Interactions in Premodern Eurasia: Turkish Qopuz Abstract: Old Uighur sources from the kingdom of Qocho are among the earliest known attestations of the name qopuz, the generic term for several types of chordophones characteristic of the Turkic Eurasian musical substratum from Yuan China to Central Europe. This essay examines aspects of terminological circulation and extant material culture related to qopuz in various written sources, multilingual dictionaries, lexicons, and inscriptions dating from the eleventh to the late fourteenth centuries, as well as archaeological finds in the Altai and Crimea. This preliminary mapping of Old Turkic qopuz onto premodern cultural geographies over a span of several centuries and from Central Europe to China will thus help illuminate aspects of the transcultural dynamics at work in premodern Eurasia. Read MANCINI, Serenella - Alma Mater Studiorum, Università di Bologna L’IMPATTO DELLA CERAMICA CINESE SULLE PRODUZIONI ARTIGIANALI DEL MEDIO ORIENTE NEL PRIMO PERIODO ISLAMICO (VIII-X SECOLO) pag. 137 The Impact of Chinese Ceramics on Middle Eastern Craft Production in the Early Islamic Period (8th-10th Century) Abstract: This article deals with the production of high-quality Islamic ceramics in Iraq and Iran during the early Abbasid period, which were made to imitate and limit the use of Chinese imports. The trade of Chinese ceramics began in the 8th century and increased during the 9th and at least the entire 10th century. The strong interest in Chinese pottery, which was particularly valued and indicative of the high social status of its owner, led Islamic potters to produce artifacts that could imitate their peculiar appearance. However, these specimens are no mere imitations, as the high degree of technical skill in researching fabrics and glazes made them competitive with the Chinese prototypes while also developing a specifically identity-based local production. This article provides an overview of the influences and innovations that took place during this period, both from a technological and decorative perspective. Read |
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