Ok, lets talk about Varakhsha, a town near #Bukhara that contained a painted palace and became the seat of the #Sogdian rulers of Bukhara from the Arab conquest (early 8th C) until the rise of the Samanids (late 9th C)
The palace was built probably in the late 7th Century, but the most famous paintings, the Red Hall, date from the early 8th C from the reign of Tughshada, the son of the famous Queen of #Bukhara, about whom I wrote here: patreon.com/posts/who-was-…
~ NA
The Red Hall has a row of men in Indian attire, riding saddled elephants, fighting a series of beasts - leopards, tigers, and dragons. The same scene is repeated again over the length of the wall, with variations in whom the elephant rider is fighting against. ~NA
Repetition of the same scene is unusual for Sogdian art, which is usually narrative in nature, and usually shows different scenes from a story.
Additionally, we’re not even entirely sure who the elephant rider even is.
One way we can try to guess his ID is by his mount.
Deities in Sogdian art were depicted with Indian iconography and shown with symbols of their vihana - animal mount. The elephant was the mount for the Hindu god Indra, whose image was used for Adhvagh, Sogdian Ahura Mazda
~NA
BUT: Indra-Adhvagh also has other attributes: a third eye, and a vajra. None of these are seen in Varakhsha. Compare with this painting from Dandan-Oiliq, 8th C, showing (left-to-right) the deities Adhvagh, Nana, and Weshparkar (no elephant)
~NA
Another guess: the Bodhisattva Samantabhadra, with iconography borrowed from Samantabhadra’s Chinese version, Puxian, who rides an elephant with 6 tusks, although the painter only drew one from the lower jaw. BUT fighting with animals marks the figure out as non-Buddhist ~NA
The ruler of Bukhara, Tughshada, embraced Islam politically, but practiced the Sogdian religion in secret.
These paintings could be religious, but not obvious.
Enough that Tughshada knew what they meant, but the Arabs didn’t.
And that’s maybe why they’re so unusual.
~NA
Nobody knows for sure who the elephant rider is.
He doesn’t really have any attributes of Adhvagh, and he’s definitely not a Bodhisattva.
But what if he’s not a deity, but just looks like one?
One other theory IDs him as “The King of the South,” ruler of one of the 4 cardinal points, and paintings in other rooms may have had rulers of other points
The South was the cardinal point occupied by Sogdiana
East was for India, North for China and West for Iran
~NA
Above the row of elephant riders are a series of animals, all saddled. These have been ID’d as vihanas for gods, which would have been obvious to the Sogdians, but to the Arabs, they were just animals wearing saddles. ~NA
What if the elephant rider isn’t a deity, but the King of Bukhara himself, hunting beasts, under a sky filled with the Sogdian deities, all painted in a covert and unassuming fashion so the Arabs would have no idea what they were looking at?
Sadly, no one knows for certain.
~NA
The palace of Varakhsha was bought by the Samanid Amir Ismail Samani for the sum of 20,000 dirhams a year to the ruler of Bukhara, Abu Ishaq.
Ismail Samani was on a mission to make #Bukhara *his* city, and wanted to remove the influence of Abu Ishaq.
~NA
So what does he do?
He plans to build a Friday Mosque in Varakhsha, undermining the popularity of the Bukharan ruler and leaving *his* mark on the town.
~NA
The townsfolk weren’t too happy about this. Since pre-Islamic times, the palace had been the site of a 20-day long festival at the time of #Nowruz, and wanted to keep their traditions. Of course, they couldn’t tell Ismail Samani this, so they made up another excuse. ~NA
They tell him that the town was too small and unimportant for a Friday Mosque (It wasn’t)
But Ismail Samani listened. He must have sussed that building a Friday Mosque over the palace was too much, too soon.
In honour of the International Women’s Day, let’s talk about one very famous women of ancient Iran, Queen Shirin. She’s perhaps the most famous queen consort of the Sasanian period & a main character in many later historical accounts.
In popular imagination, she is mostly associated with the dual romances of “Khosrow & Shirin” and “Shirin & Farhad”… yeeees, this legendary woman has TWO medieval romances written about her! Take that Guinevere!
But she was MUCH more than that…
Syriac sources call Shirin an Aramaean, either an Aramaic speaker or from the area of Beth Aramaye (Asorestan/Cent Iraq). Sebeos says she was from Khuzistan, which works, as cities like Beth Lapat had large Aramaic speaking populations. She might have been from Porath/Furat.
As promised, tonight I'll talk about religious storytelling or Pardeh Dari with a focus on Pardeh paintings. This is Golnar Touski, tweeting from Historians of Iran./1 @GolnarNemat
While reenactment and recitation of Shi’a tragedies were established by Safavid rulers (1501-1736) the practice gained popularity in Qajar Persia where Tekieyeh (تکیه) was a place of congregation for religious ceremonies. Here's a painting of one by Kamal al-Molk./2 @GolnarNemat
The stories were taken from existing Safavid literature of martyrology such as Rowzat-Al-Shohada or Toufan al-Boka. In Qajar Persia these were reproduced as lithographed books. In fact, emergence of printing was partly responsible for Pardeh./3 @GolnarNemat
If you ever watched a Morshed (storyteller) performing from scenes of battles,heroes,infernal serpents and paradise birds, you know the absolute joy of Naqali,the art of storytelling. This is Morshed Mirza Ali whose family have been storytellers for generations. 1/17 @GolnarNemat
These days brilliant women storytellers are part of this traditionally male-exclusive profession. This is Sara Abbaspour; one of Morshed women today. The staff stick is a crucial part of performing, used to dramatize and to point to the painted scenes. 2/17 @GolnarNemat
In 19th century Persia forms of storytelling ranged from literature and oral anecdotes to themes of romance, chivalry and history of Shi'a Islam. Today we know Naqali mainly as reciting the epic of Shahnameh (Book of Kings) by 10-11th c. poet, Ferdowsi. 3/17 @GolnarNemat
Thank you all for your support this week. It's been a blast! If you missed anything, here's a "thread of threads" of everything I talked about this week.
Please follow me at @IranChinaGuy for more posts like this! Also please check out my other project, @iranstudiesUS
1/ How far back can ties between ancient China and early Iranian societies in Central Asia be traced?
1/ In 1965, a leftist Iranian student movement in Europe declared its support for Mao Zedong's theories. The Revolutionary Organization of the Tudeh Party (Sāzmān-e Enghelābi-ye Ḥezb-e Tūdeh) would become a major faction of the student opposition.
2/ The ROTPI claimed “Comrade Mao has evolved Marxism, [and] we must solve issues from the point of view of Mao Zedong Thought." They began circulating translations of the works of Mao Zedong and other militant texts among Iranian students abroad. In pamphlets and periodicals...
3/ they extolled the virtues of andishe-ye māu se dūn (Mao Zedong Thought). They were an offshoot of the Tudeh, and bitterly opposed to its leadership. To them, the Tudeh were ineffective, disconnected from the situation in Iran, and excessively under Soviet influence.
2/ During the Yuan, China and Persia were linked by Mongol rule, and Persian was one of the official administrative languages. A few Persians held important status as members of the semuren (色目人), an administrative class made up of non-Mongol, non-Chinese subjects.
3/ For example, Sayyid Ajall Shams al-Din Omar al-Bukhari, a Persian Muslim from Bukhara, was appointed by Kublai as governor of Yunnan in 1274, a fact mentioned by Marco Polo. Chinese sources record him as Sàidiǎnchì Zhānsīdīng (赛典赤·赡思丁).