Direct and inferred influences of the Silk Roads on the ‘golden age’ of the Abbasid Caliphate

2018 ◽  
Vol 3 (3) ◽  
pp. 246-257 ◽  
Author(s):  
Imad Mansour

This article sheds light on the east-west international relations of the first century of the Abbasid Caliphate. It describes discernable Chinese influences on the onset and maintenance of a golden age of Islamic government in this century, distinguished for the flourishing of translation, research contributions in natural sciences and philosophy, sophistication in the fine arts, and economic productivity and prosperity. These influences were in the fields of trade, governance, artisan production, and scientific epistemological knowledge. The article argues that two interlocking factors helped create the conditions of possibility for the golden age of the Abbasid Caliphate: first, a positive disposition defined by pragmatism and accommodation by the Tang Dynasty found a counterpart in Abbasid policy; second, for the Abbasids, relations along the Silk Roads that had been developing for centuries valorized the potential of exchanges with the east, including China. The article explains the varied intensity of influences from the Silk Roads, as well as the Tang Dynasty, on the Abbasid golden age. It concludes by briefly explaining how people-to-people exchanges maintained ties, especially after the political power of both governments weakened and eventually ended.

2019 ◽  
Vol 1 (1) ◽  
pp. 11-54
Author(s):  
Geraldine Heng

An ordinary ship and its cargo can tell the story of far-flung global markets, human voyaging, and early industrialization in China that supplied exports to the world. Sometime after 825 CE an Arab dhow set sail from the port of Guangzhou in coastal south China, having unloaded its goods from the Near East, and reloaded with some estimated 70,000 ceramics and other items, on its return voyage to the Abbasid empire. Taking the route that has been called “the maritime silk road,” this hand-sewn ship made of planks fastened with coconut fiber (without any nails) seems to have decided to offload some cargo first in maritime Southeast Asia, perhaps intending to pick up a secondary cargo of spices, resins, and aromatics for which the Indonesian islands were famed. The dhow sank near the island of Belitung, at a reef called Batu Hitam (“Black Rock”). Fifty-five thousand ceramic wares, along with gold and silver ornaments, ingots, mirrors, ewers, vases, jars, cups, incense burners, boxes, flasks, bottles, graters, and the like—and two objects that may have been children’s toys, and a re-soldered gold bracelet sized for a woman’s wrist—were excavated intact in 1998, and are housed at the Asian Civilisations Museum in Singapore. This ninth-century dhow is the only ship of its kind ever recovered, though hand-sewn ships that plied the Indian Ocean are described in travel accounts from as early as the first-century CE. The dhow is a remarkable example of the global ships carrying people, goods, ideas, religion, and culture, which knit the world into relationship along transoceanic routes. Its vast trove of ceramics is the earliest physical evidence attesting the industrial production of ceramics in China for export to foreign markets as early as the Tang Dynasty (618–907). Designs painted on the great majority of the ceramic wares were favored in the export market, not in China. Part of the trove includes prototypes of blue-and-white ceramics for which China would become famous 400 years later: ceramic experiments that feature Iraqi designs attesting global interrelationships in art and the exchange of ideas. The crews of ships such as this one were multiracial, multireligious, and assembled from everywhere: The cargo, knowledges, and stories these diverse, anonymous voyagers helped to transfer across the world transform our understanding of scale, time, and globalism.


Author(s):  
Алексей Игнатьевич Бураев

В статье проанализированы женские скульптурные изображения из кургана Улан Харам Шороон бумбагар в Баяннуур сомоне Булганского аймака Монголии. В погребении обнаружены в том числе и женские фигуры из терракоты. В настоящее время все материалы находятся на хранении в музее г. Хархорин. Характеристика керамической микропластики дана согласно апробированной автором схеме описания вотивных скульптур, с учетом гендерных различий. Цель публикации — введение в научный оборот сведений об особенностях женских средневековых изображений тюркского времени, выполненных их современниками. Дана характеристика 13 керамических фигур, выполненных в полный рост. В описании дана характеристика материала изготовления; приводятся инвентарные номера и размеры согласно документации музея; отмечается степень сохранности фигур; дано описание костюма, причесок, деталей макияжа; характеризуются антропологические особенности скульптурных изображений; дана расовая и, по возможности, этническая идентификация прототипов изображений. В статье отмечена схожесть находок (керамическая микропластика) из исследуемого погребения с изученными ранее материалами из кургана Шороон бумбагар в Замар сомоне Центрального аймака Монголии (хранящихся в Музее изобразительных искусств им. Г. Занабазара, г. Улан-Батор, Монголия). Кроме того, по всей видимости идентичные скульптурные изображения обнаружены при раскопках на северо-западе Китая погребения, датируемого периодом правления династии Тан, у деревни Яньцунь района Сисянь провинции Шэньси. Усыпальница принадлежит Сюэ Шао, первому мужу принцессы Тайпин, дочери императора Гаоцзуна. Исследование скульптурных материалов из баяннурского кургана позволило зафиксировать внешний облик знатных женщин эпохи средневековья из центральноазиатских степей. Компаративный анализ подтвердил уточненную датировку кургана последней четвертью VII в. н. э., что соответствует тюркскому времени в период господства империи Тан. Анализ статуэток позволил сделать вывод о возможном присутствии как южносибирского (тюркского), так и восточноазиатского (китайского) компонентов среди прототипов женских изображений. Новые данные позволили расширить знания о населении центральноазиатских степей в эпоху гегемонии империи Тан. The article analyzes female sculptural images from the Ulaan Haram Sharoon Bumbagar barrow in the Bayannuur Somon of the Bulgan aimag in Mongolia. Among other things, female figures made of terracotta were found in the burial. All materials are currently stored in the Kharkhorin museum. The characteristics of ceramic microplastics are given according to the author's approved scheme for describing votive sculptures, taking into account gender differences. The purpose of the publication is to introduce the scientific circulation of information about the features of female medieval images of the Turkic time, made by their contemporaries. The characteristics of 13 ceramic figures made in full growth are given. The characteristics of ceramic microplastics are given according to the author's approved scheme for describing votive sculptures, taking into account gender differences. The purpose of the publication is to introduce the scientific circulation of information about the features of female medieval images of the Turkic time, made by their contemporaries. The characteristics of 13 ceramic figures made in full growth are given. The description provides the characteristics of the manufacturing material; inventory numbers and sizes are given according to the museum's documentation; the degree of safety of the figures is noted; a description of the costume, hairstyles, makeup details is given; the anthropological features of sculptural images are characterized; the racial and, if possible, ethnic identification of the prototypes of the images is given. The article notes the similarity of finds (ceramic microplastics) from the investigated burial with previously studied materials from the Shoroon bumbagar mound in Zamar somon of the Central aimag of Mongolia (stored in the G. Zanabazar Museum of Fine Arts, Ulan Bator, Mongolia). In addition, apparently identical sculptural images were found during excavations in northwestern China of a burial dating from the Tang Dynasty, near the village of Yancun, Xixian District, Shaanxi Province. The tomb belongs to Xue Shao, the first husband of Princess Taiping, daughter of Emperor Gaozong. The study of the sculptural materials from the Bayannur burial mound made it possible to record the appearance of noblewomen of the Middle Ages from the Central Asian steppes. The comparative analysis confirmed the updated date of the mound to the last quarter of the 7th century AD, which corresponds to the Turkic time during the reign of the Tang Empire. The analysis of the statuettes made it possible to draw a conclusion about the possible presence of both South Siberian (Turkic) and East Asian (Chinese) components among the prototypes of female images. New data made it possible to expand knowledge about the population of the Central Asian steppes during the era of hegemony of the Tang Empire.


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