Sogdian Costume in Chinese and Sogdian Art of the 6th-8th centuries (Wroclaw, 2012)

Gościwit Malinowski, Aleksander Paroń, Bartłomiej Sz. Szmoniewski(eds.)

Instytut Archeologii i Etnologii Polskiej Akademii Nauk

Instytut Konfucjusza w Uniwersytecie Wrocławskim

Instytut Studiów Klasycznych, Śródziemnomorskich i Orientalnych Uniwersytetu Wrocławskiego

Serica – Da QinStudies in Archaeology, Philology and History

of Sino-Western Relations(Selected Problems)

Gościwit Malinowski, Aleksander Paroń,Bartłomiej Sz. Szmoniewski

(eds.)

Wrocław 2012

Copyright © 2012 All Rights Reserved

All papers are copyright to their authors, Instytut Archeologii i Etnologii Polskiej Akademii Nauk, Instytut Konfucjusza w Uniwersytecie Wrocławskim & Instytut Studiów Klasycznych, Śródziemnomorskich i Orientalnych Uniwersytetu Wrocławskiego

This volume has been reviewed by the Editorial Board of the Institute of Archaeology and Ethnology Polish Academy of Sciences

Members of the Editorial Board: Prof. Andrzej Janeczek (president), Prof. Mirosława Drozd-Piasecka, Prof. Dariusz Główka, Prof. Jolanta Kowalska, Dr. Małgorzata Mogielnicka, Prof. Witold Świętosławski, Prof. Piotr Taracha

Translations and Lingustic Consultation: Marlena Lis, Violetta Marzec

Layout: Joanna Wagner-Głowińska

Photo and cover design: Bartłomiej Szymon Szmoniewski

The cover motive of the book is a fragment of the Map of Mediaeval Commerce Asia from Historical Atlas, by William R. Shepherd, New York 1923 and the photo of the Tiger-and-camel plaque from a horse harness (Han Dynasty) preserved in Wang Zhaojun Museum’s Complex, Hohhot, Inner Mongolia, China

First edition

Wrocław 2012

ISBN 83-978-62584-40-6

Wydawnictwo GAJT 1991 s.c., ul. Kuźnicza 11-13, Wrocław www.gajt.pl

Sergey A. Yatsenko

Sogdian Costume in Chinese and Sogdian Art of the 6th–8th centuries

Sogdians were one of the most famous peoples of the Early Middle Ages1. Their trade activity abroad brought them the reputation of “the Jews of Central Asia”. There were famous painters, musicians, dancers and craftsmen among the Sogdians who were present in China in the 6th -mid. 8th centuries. There were also carpet and wine traders, financiers. Some of them became high rank officials but, in spite of that, a reserved attitude to active commerce, so typical for adepts of Confucianism in China, formed a certain stereotyped perception of the Sogdians en masse.

So the author of one of the Tang period chronicles says that when a boy is born to a Sogdian family “he obligatory gets something sweet into his mouth and his palms are covered with glue so that he will say only pleasant words (to his customers) when he is grown up and so that money will stick to his hands by himself. They (Sogdian boys) compete trying to get even the smallest profit. When they are twenty, they are sent to foreign countries and often reach China. They im-mediately appear whenever there is a possibility to gain any petty income”(Wang Pou 1955, 1774). The second important element of ethno-cultural stereotyped perception was the idea of all Sog-dians being drunkards (the Chinese borrowed the art of making wine exactly from the Sogdians).

The Sogdian costume of the 6th – mid. of the 8th centuries is a significant element of their cul-ture and an important part of their national identity. The costume has not been studied properly yet, because of number of objective and subjective reasons. For approximately 37 years I have been doing the comparative analysis of the most famous Eurasian peoples (first of all Iranian-speaking) from the end of antiquity up to the beginning of the Middle Ages. A systematic characterizing of main appearance peculiarities of the Sogdians in the above mentioned period and the earlier one has also been done by me (Yatsenko 2004, fig. 3/I; 2006a, 197–201, 231–247, 294, 298; figs. 152–153, 180–182; 2006b, figs. 1–5). It presents a reliable ground for indentifying a lot of unknown foreigners namely as Sogdians in art of some countries, especially China (See also: Lobachёva 1979; Bentovitch 1980; Belenizki, Raspopova 1980; Naymark 1992; Kidd 2002; on Sogdian textiles: Orfinskaya 2001, 86–104; Kageyama 2006). Nonethless, the information from Chinese dynastic chronicles and Buddhist pilgrims about the Sogdians’ looks is rather fragmentary. The specific Mazdeist funeral ritual of the Sogdians (burying of bare bones in clay ossuaries) did not leave any fragments of costume fabrics and leather; single authentic costume items were discovered in sacred caves (boots from Kuch-i-Surkh) (Antiquities of Tajikistan 1985, no. 598) and mountain castles (head cover from Kala-i Mug) (Antiquities of Tajikistan 1985, no. 590). In the tombs of

1 Research Supported by the Development Strategy Program, Russian State University for the Humanities.

III. Perceiving of the Other102

Chinese Sogdians (An Qie; tomb 610 in Shi Shewu) the metal details of the belts are known as well (fig. 1/2–3) (Anjia Tomb 2003, fig. 212; Lo Feng 1996. Cf. a belt plaques from Sogd: Raspopova 1999, figs. 22–23). Considering documents on the costume, we deal mainly with depictions (usu-ally very fragmentary) that can be subdivided into three main groups.

The first group includes data on the Sogdian costume in Sogd – their motherland (figs. 2–3). They are presented there, first of all, in wall paintings (unfortunately, practically all of them were discovered in the small town of Penjikent in Sogd perephery (Paintings 1954; Sculpture 1959; Belenizki 1980; Azarpay 1981; Marshak 2002), most of the paintings have been published in black and white, which makes getting acquainted with them rather difficult) in some fragments in Sa-markand (Albaum 1975; Yatsenko 2004; Royal Naurūz 2006) and in other points (Shishkin 1963). Another very important source of information on the costume is terracotta figurines (which were found mostly on the territory of Samarkand – the biggest city of Sogd; they were mostly discovered accidentally and have no exact dating; Meshkeris 1989; Kidd 2002; Yatsenko 2006a, figs. 152–153, 180). Only in some cases terracotta founded out of Sogd and China may be considered Sogdian (Yawanluk in Kashgar Oasis; fig. 4/1).

Fig. 1. Relief with Sogdians from Cuimet Museum and Sogdian plate decorated belts from Chinese graves: 1 – a relief (photo of Cuimet Museum: http://en.wikipedia.org/wiki/Sogdiana);

2 – An Qie grave (after Anjia Tomb 2003, fig. 212); 3 – Shi Shewu, tomb 610) (after Lo Feng 1996).

Sergey A. Yatsenko – Sogdian Costume in Chinese and Sogdian Art of the 6th-8th centuries 103

The second group contains depictions from burial monu-ments of the Sogdians who lived in China between the second half of the 6th and at the beginning of the 7th century – the period when they were most influential. Such depictions on mortuary beds and sarcophagi of Chinese type made by Sogdians themselves are wit-nesses of cultural assimilation

(Rong Xinjiang 2000; Les sog-diens 2005; Lerner 2005). Usu-ally only men’s appearance at-tracts interest here as, according to Zhoushu chronicles, Sogdian women used the Chinese clothing (see a long sleeved coats and coif-fure: figs. 5; 9/f; cf. Grenet, Riboud 2007). However, the costume of depicted personages has not been compared complexly and in de-tail with the synchronous cos-tume images in their motherland. A priori we can expect differences here, i.e. in wall paintings of tem-ples and dwellings in Sogd cities and towns, there are gods, folk-lore personages, kings, aristocrats, very seldom there are servants, and, probably rich merchants. There as in China on the contra-ry aristocrats were a rare excep-tion; there were mostly traders, craftsmen, musicians and dancers (among the last two groups there were also women). Subject plots and especially compositions of this group of monuments on the whole differ greatly from those in the motherland: in China they are connected with getting to another world after death and some reli-gious rituals (fig. 10/1), diplomatic meetings (figs. 6/1, 3; 7/2, 9/c) and other career achievements of the people buried in these graves, also with depictions of family scenes (figs. 5, 9/a) and home banquets

Fig. 2. Sogdian costume in the art of Sogd, the 5th – early 8th cc.: 1 – painting and costume artifacts (1 – male, 2 – female)

(after Yatsenko 2006, figs. 181–182).


(figs. 6/1, 7, 9/d, f, 10/2); a group of travelling and hunting horse-men are also a popular plots (figs. 6, 7, 9/b, e).

The third (and practically not studied) group consists of sup-posed images of the Sogdians on burial terracotta figurines (wood-en images are rare) from China of the Early Tang Dynasty (the 7th – mid. 8th centuries) – a new period of rising power of the united Em-pire2. The figurines usually origi-nate from illegal excavations and have no exact dating. The main attempt of their ethno-cultural identification was made by me in the spring of 2008 on the basis of clearing a complex of details on some terracotta, typical for Sogd. However, I have restrained from commenting on the specificity of the costume depicted on these figurines as compared to the one presented in the Sogdians moth-erland.

Comparing these three groups of depictions, I am trying to answer a number of important questions. Firstly, what is the difference between the Sogdi-an costume image in their own synchronous depictions in their motherland and in Sogdian com-munities in China? Secondly, what is the degree of authentic-

ity in depictions of “Others” (Sogdians) in funeral images of China (i.e., how incomplete or standard the costume depictions are)? Thirdly, to what extent do the plots with Sogdians in the Tang terracotta reflect the popular stereotypes of perception in China? It is not so easy to interpret images modified and distorted by the mirror of the alien art as it may seem. Firstly, the appear-ance of some portrayed peoples in the art of their own country is too fragmentarily documented to provide the correct identification and define the extent of authenticity in depictions of them made by their neighbours. Secondly, ethnical stereotypes of perception for certain peoples are seldom described in works of ancient authors; they are usually concealed in images of “Others” in a series of pieces of art and need specific “decoding”. There are objective “technical” difficulties in the work with this material which are connected to the degree of initial depictions preserva-

2 The biggest such collection in the West with probable Sogdian personages was published by E. Schloss (Schloss 1969), unfortunately in black and white but with the colours description.

Fig. 3. Sogdian costume in the art of Sogd, the 5th – early 8th cc.: I – ter-racotta (after Yatsenko 2006, fig. 180); II – a wall painting of the “Hall of

Ambassadors” in Samarkand (after Yatsenko 2004, fig. 3/I).


tion (fragmentary character and lost of initial colouring or complete disappearance of less resistant colouring agent). Frequently we deal with a schematic character of depictions and different level of craftsmen’s qualification.

To answer the first question we use a se-ries of depictions on four bright monuments of Sogdian officials (sabao) in China: the granite mortuary bed of An Qie (who died in 579) from X’ian (ancient Chang’an’; cf. Anjia Tomb 2003, figs. 123–201; Rong Xinjiang 2003), the sarcoph-agus of Wirkak/Shi Jun of the unknown date from X’ian (Grenet, Riboud 2007), the sarcoph-agus of Yu Hong (who died in 592) from Dayuan city (Short Report 2001) and the marble mortu-ary bed from the Japanese Miho Museum (Shi-garaki; cf. Juliano, Lerner 1997). The relief with Sogdians from Guimet Museum about 560–570 is also interesting (fig. 1/1). The Sog dians are pre-sented here sometimes among representatives of other peoples (Chinese or Turks).

First of all we can see three main colours just as in Sogd (they are red or pink, white or brown and black). The types of men’s footwear are of the same degree of popularity as in the motherland (more often we see a lower boots which, to differ from Sogd, are practically al-ways black according to the fashion of the neighbouring Turks but not of different light colours). High black boots are worn more sel-dom and shoes are rare. The trousers are usu-ally tucked in shoes (see the exception: fig. 1/1). One horseman have a unique white trousers’ pattern with a black strips imitating the pattern of tiger skin (Anjia Tomb 2003, 197–199). The black leather belts have the rectangular buck-les. As for Chinese Sogdians we see sometimes (for servants) that they are longer than waist and they have a long end, sticking on one side (figs. 1/1, 6/1–2). Men’s hair style corresponds to the one synchronously known for Sogd (rather short hair, sometimes longer at the back part of the head, without parting; sometimes we see moustaches and most seldom – small beards on elderly people).

Fig. 4. Images of Sogdians from Xinjiang, China: 1 – a terracotta head, Yawanluk (Kashgar Oasis) (after

Qi Xiaoshan, Wang Bo 2008, p. 17, No 1); 2 – a wooden figurine from Astana necropolis, grave 206, 1973 year

(after Selected Treasures 2006, p. 165).

Fig. 5. Wives and female servants of Chinese Sogdians from sabao An Qie’ mortuary bed, died in 579 in Xian

(after Anjia 2003, 178, 201).


Fig. 6. Sogdians receive and amuse the Turkic ambassador:

1–2 – An Qie’ residence in X’ian; 3–4 – a yurt house (the mortu-ary bed of An Qie) (after Anjia

2003, 188, 167, 183, 163).

Fig. 7. Banquettes in An Qie residence (after Anjia 2003, 173, 194).

Fig. 9. Reliefs of sabao Wirkak/Shi Jun’ sarcophagus, died in 579 in Xian (after Grenet, Riboud 2007).


Fig. 8. The hunting of the Sogdian horsemen (the mortuary bed of An Qie) (after Anjia 2003, 159–160, 191, 176).

Fig. 10. Scenes with Sogdians: 1 – the sagdid ceremony;

2 – a travel (the mortuary bed from Miho Museum) (after Juliano, Lerner 1997); 3 – a dicing (the mortuary bed of An Qie) (after Anjia 2003, 182).


Fig. 11. Male headdresses of the Chinese Sogdians and their analogies in the art

of Sogd: 1, 3 – the mortuary bed of An Qie (after Anjia 2003, 183, 193); 2, 4 – a pottery, Samarkand (after Meshkeris 1989, fig. 201;

p. 187, fig. 1a; fig. 86, 6; fig. 87, 5).

Fig. 12. The headdres-ses and dresses’ hems of Sogdian female musicians in China (the mortuary bed of An Qie) (1 – after Anjia 2003, 175) and their analogues in Samarkand (2 – after Meshkeris 1989, pp. 117–118, fig. 26, 1–1a), Iran (a silver dishes) (3 – Ghirshaman 1962, fig. 259; Smirnov 1909, pl. XVII, no. 40) and Xinjiang (4 – female garment with the flo-unces along the hem of the skirt of Early Sassanid type, Niya, tomb 3 of 1995 year, after Wang Binghua 1999, 130).

Caftans are usually knee-long. The manner of wearing them only partly corresponds to the one in the moth-erland and it may reflect the influence of Eastern Asian peoples (Chinese and Early Turks). For example, most often caftans are buttoned up to the neck and only episodically (for danc-ers, hunters and other active person-ages) the collar or the lower button is undone. The ancient tradition of Iranian/Saka inhabitants of Khotan Oasis of wearing the caftans with two lapels (Yatsenko 2000, 332–333, pls. 55–56) was not popular for Turks of the Great Turkic Qaghanate (552–630; Cf. Yatsenko 2009) but was used that time by Sogdians (in their mother-land and in China). On Guimet Mu-seum relief (fig. 1/1) such lapels had three strips of décor well known that


time in Khotan and Kutcha Oasis of Xinjiang (see in Sogd only on one type of terracotta figurines: fig. 2/2, 22). On Wirkak sarcophagus (fig. 9/b) two men use only one left lapel which was used rare in Sogd (figs. 2/1, 44; 2/2, 21)3. In Sogd we do not know of situations when during a banquette or in a family circle one sleeve is loosened; we also do not observe standing or sitting important personages in official circumstances with hands tucked into opposite sleeves. The dancers on the An Qie mortuary bed and Wirkak sarcophagus have the unbuttoned sleeves longer than the hands; sometimes they are turned round a pelvis (fig. 9/d). The wide strip of décor was placed at the lower border of a hem (such as the coat-breasts). It sometimes was decorated by a row of round gold plaques (see also in Samarkand terracotta: fig. 3/I, 19); on Guimet Museum relief such plaques were big. There are some more important details unknown in the Sogdians’ motherland: an elderly man in the banquette scene in the panel from the Miho Museum is wearing a long sleeved coat thrown on his shoulders which has a pelerine attached to it (Juliano, Lerner 2001, 298, fig. 1). The caftan itself, in a number of cases, has a small standing collar (fig. 6/1); sometimes there is the same vertical stripe on the back as on the front of the garment (figs. 6/3 lower; 7/2, upper right); a detailed flowery pattern of the shirt is accentuated exclusively in the clothing of servants (figs. 7/2 lower in the center; 10/3 left). On Wirkak shoulders in hunting scene (fig. 9/b) we can see the crossed ribbons/straps similar to Sasanid kings.

But the most interesting elements of clothing for the depicted men are their headdresses. In each scene they were used by noble men only. They have no analogies in the wall painting of well-studied but provincial Penjikent, however, in some cases, they are presented on terracotta from the biggest city of Sogd – Samarkand. In each scene they were used by noble men only. On merchants who were Chinese officials we usually see small cone-shaped hats with a flattened top with a small brim along the lower edge; sometimes seams are accentuated, which allows us to see that the hat was made of four equal pieces of cloth. It might be a headdress of a specific group of noble commercial travelers (figs. 6/1 in the center, upper 2 and 3; 7; 8/3; 9/e, f; 10/3; cf. in Samarkand: fig. 3/I, 6); later it was used for Chinese terracotta (fig. 14/4). One more headdress belonging to the only aristocrat with a sword – a diadem with three half-oval protrusions (petals) (fig. 11/1) – is known in images of goddesses and some images of noble men in Samarkand (fig. 11/2). The mounted hunter is wearing a very complicated headdress (fig. 11/3) which does not still have exact analogies, only close ones (fig. 11/4). It is a diadem with a disc on the forehead, with a composition fastened to it from above, presenting a kind of a winged disc; very long ends of a band are hanging from behind in Sassanian manner. We can see a similar headdress in some scenes presenting Wirkak in his home (fig. 9/a, d). In the banquette scene on the panel from the Miho Museum, we see a unique cone-shaped headdress with a protrusion in the back part of the head. There are also two unique headdresses of servants in the hunting episodes on Wirkak sarcophagus unknown in Sogd (fig. 9/b): the conic headdress and hats with ear flaps were of another widely spread type (they had special protrusions to protect ears in winter; ear flaps in depictions are usually shown upstanding from both sides) also presented similar to Early Turkic ones (Yatsenko 2012, 89).

We also have unique and important image of two women-musicians in the Sogdian costume, probably, arrived from the motherland recently (fig. 12/1). Here is certain type of headdress (fig. 12/2) and a female garment with the flounces along the hem of the skirt of Early Sassanian type (fig. 12/3; cf. Yatsenko 2006a, figs. 159/34; 168, 179), a real example of which we know that did ex-ist in oasis of Xinjiang (Niya, tomb 3 of 1995 year; cf. fig. 12/4). The old lady Wiyusi (the wife of Wirkak) is wearing their national costume as well (fig. 9/а, е). She was depicted with her husband and grandson (?) (panel “a”) or with two daughters during a trip (panel “e”). In the second scene

3 In the neighboring Tokharistan such as in Khotan and Kutcha Oasis, we know that time depictions with only right lapel.


she (and her daughters) had a small cap with a long cover; it was known also in Sogd (fig. 2/2, 2). In both episodes she wore a long and wide dress with a long pleats and a short caftan with the rounded corners of coat-breasts throw over the shoulders; the same we see on Samarkand terracotta figurines (fig. 3/I, 37–39).

On the whole the Sogdians who lived in China depicted the costume of their people no less exactly than those in their motherland. But in engraving and painting on marble and granite surface an artist might not have been able to use different coloring agents: we usually see 4–5 colors in one composition (it should be mentioned that ancient blue and green have preserved to a lesser degree on these monuments so far). Besides, because of the small size of figurines a master depicted even such prestigious gold accessories as bracelets and torques very seldom. On the other hand, the poses are often less canonical and more variable than in Sogd – they are less official and more intimate, we can feel the author’s personal attitude. It gives a possibility to see more rare details. Sometimes the differences in the costume were caused by different subject of the scenes.

We are going to clear up to what extent the above mentioned stereotyped perceptions of Sog-dians are expressed on terracotta figurines of the Early Tang, which are dated back to a later period.

Fig. 13. The burial Early Tang terracotta of probable Sogdian “caravaners” from China, the 7th– mid. 8th cc. (after Schloss 1969, nos. 3, 6, 8, 38, 20).

Fig. 14. Sogdian traders and servants – the burial Early Tang terracotta of the 7th– mid. 8th cc. (1–4 – after Schloss 1969, nos. 15, 16, 17, 57; 5 – after Zhongmin, Delanaye 1985, 224).


I suppose they are reflected here to a full extent. All images of Sogdians trustworthily identified on the basis of the costume details correlation, are not very significant traders or servants and they are only men. The majority of them are de-picted in typical “poses of caravaners” leading a non-presented loaded camel by an also non-existing rope with both hands (fig. 13/1–4). Oth-ers are holding some goods – a rolled carpet, for instance (fig. 14/1). The third are sitting opposite to a large wineskin (fig. 14/2–3). The costume details of these personages have exact analogies in wall paintings from Penjikent. Another im-portant singularity in the costume of these Sog-dians is the influence of traditions and demands of Chinese population with whom they lived and worked alongside; most of them wear their caftans fastened to the right side – China like, some wear a male headdress putou. The latter may be also said about other series of terracotta of “western barbarians” where the Tokharistan and the Khotan costumes are presented4.

The main headdress here is a usual one for common people – a high cone-shaped one (fig. 13/1), sometimes with a figure cut of the lower edge (fig. 13/3). In rare occasions there is a clan or a family sign depicted on it on the lateral part (Iranian nishan, Turkic tamga) (fig. 4/2), which is known for earlier periods in the the 4th–3rd centuries BC for “Pazyryk” peoples (Dashkovsky, Usova 2010, fig. 1, 1) and in the 2nd–5th centuries AD for the Kushans, the Khorasmians and the Sassanids (Yatsenko 2006a, figs. 121/5, 135/2, 157/4). Another headdress had the semi-egg-shaped form with the small brim along a lower edge (fig. 14/1; in early period it was used by the guard in the travel scene of Wirkak family: fig. 9/e). Cara-van attendants have details typical for commoners such a short caftan with short sleeves (fig. 13/1) or long travelling leggings (fig. 13/2). The wine trader is wearing black high boots with a triangle protrusion of a Turkic type, not usual for Sogd but very popular at that time for China (figs. 14/3). The carpet trader (fig. 14/1) is wearing a belt made of fabrics wrapped round his waist two times (we also see belts of such type, usually of black colour, on servants of influential Sogdians in China during the previous period; fig. 14). Long sleeved coats with only left lapel (figs. 4/2; 13/2–3; 14/2, 5) are very interesting: they are not rare for Chinese Sogdians but practically unknown in Sogd

(Yatsenko 2006a, fig. 181/44).On the whole, in Chinese art of the Early Tang Dynasty, the general features of the Sog-

dian costume are trustworthily reflected by the main iconographic schemes and it can be easily explained5. First, we deal with the people well known and quite significant for the customers.

4 In my opinion, in E. Sshloss’ catalogue (Schloss 1969) the male figurines nos. 4, 7, 10, 11, 13, 37, 58 represent the Tokharistan peoples, the figurines nos. 12, 33, 40 – the population of Khotan and nos. 1, 14, 18 – the inhabitants of Kutcha Oasis. Some schematic figurines (nos. 16, 32, 43) have several costume elements in common for both Sogd and Tokharistan.

5 On rare occasions the Sogdians were reproduced in statues of Early Turkic type. In this respect, there should be mentioned a very interesting statue discovered in 2010 in Zavkhan aimag, NW Mongolia, by Yuri Ozheredov (fig. 15) with a combination of a very wide face (close to a square) with wide pupilla and a unique (unknown for Early Turks) hairdo with curls along the lower edge. In Central Asia at that time such a hairdo is marked only for two peoples

Fig. 15. Stone statue of Turkic type with probable Sog-dian personage Zavkhan province, SW Mongolia, 2010

year (courtesy, Yuri I. Ozheredov).


Second, the costume in traditional societies was an effective analogy of future passports and cer-tificates of identity which was giving to the viewer the most important information of the owner of this or that garment; in China, as wellas in some other great empires of the past, this factor was of great importance and highly developed realistic art provided reflection of such ideas at high artistic level.

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Belenizki A.M. 1980 Mittelasien Kunst der Sogdien, Leipzig.

Belenickij A.M., Raspopova V.I. [Беленицкий А.М., Распопова В.И.] 1980 Согдийские золотые пояса [The Sogdian Golden Belts], Страны и народы Востока

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VI–VIII вв.) [Clothing of the Early Medieval Population of Transoxiana (on the wall paintings of the 6th–8th centuries)], Страны и народы Востока 22, pp. 213–218 [in Russian].

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Ханкаринский Дол) [Sementics of the Headdresses of “Pazyryk” Peoples of Altai (on Khankarinskii Dol Necropolis Materials)], in Интеграция археологических и этнографических исследований [Integration of Archaeological and Ethnological Re-searches], ed. by N.A. Tomilov, vol. 1, Kazan, pp. 304–306 [in Russian].

Ghirshman R. 1962 Iran. Parthes et Sassanides, Paris.

Grenet F., Riboud P. 2007 A Reflection of the Heptalite Empire: The Biographical Narrative in the Reliefs of the Tomb of the Sabao Wirkak, Bulletin of the Asian Institute (New Series) 17, pp. 133–143.

Hayashi T. 2006 Sogdian Influences on Turkic Stone Statues Focusing on the Fingers Representations, in Ēran ud Anērān. Studies Presented to Boris Il’ič Maršak on the Occasion of His 70th Birthday, ed. by M. Compareti, P. Raffetta, G. Scarcia, Venice, pp. 245–259.

Huo Xuchu, Qi Xiaoshan 2006 The Buddhist Art in Xinjiang along the Silk Road, Urumqi.

– active, negotiating and taking a considerable place at that period both in China and Turkic Qaganats, but it is typical only for men: Tokharistanians (Yatsenko 2006, fig. 189/23–24) and Sogdians. To be more exact, for the latter, it has not been discovered yet in depictions of their motherland but among Chinese Sogdians it is known for persons of not the lowest ranks – servants and caravan-drivers (Yatsenko 2009, pls. 27, 39). Probably, it is the statue of a male Sogdian. It has an interesting necklace of seven beads (a sacred number). In the find from Zavkhan there is nothing surprising, as participation of Sogdians in creating a series of Early Turkic statues is common knowledge (Hayashi 2006).


Juliano A.L., Lerner J.A. 1997 Eleven panels and two gate towers with relief carvings from a funerary couch, in Cata-

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Sogdian Costume in Chinese and Sogdian Art of the 6th-8th centuries (Wroclaw, 2012)

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