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Hermann Fomichev
Hermann Fomichev

The Prehistory Of The Silk Road (Encounters Wit... !NEW!

Significant is Armenians role in making Europe Asia trade possible by being located in the crossing roads between these two. Armenia had a monopoly on almost all trade roads in this area and a colossal network. From 1700 to 1765, the total export of Persian silk was entirely conducted by Armenians. They were also exporting raisins, coffee beans, figs, Turkish yarn, camel hair, various precious stones, rice, etc., from Turkey and Iran. [114]

The Prehistory of the Silk Road (Encounters wit...

Today the maritime silk road runs with its connections from the Chinese coast to the south via Hanoi to Jakarta, Singapore and Kuala Lumpur through the Strait of Malacca via the Sri Lankan Colombo towards the southern tip of India via Malé, the capital of the Maldives, to the East African Mombasa, from there to Djibouti, then through the Red Sea via the Suez Canal to the Mediterranean, there via Haifa, Istanbul and Athens to the Upper Adriatic region to the northern Italian hub of Trieste with its international free port and its rail connections to Central Europe and the North Sea. As a result, Poland, the Baltic States, Northern Europe and Central Europe are also connected to the maritime silk road.[117][121][129][130]

Many artistic influences were transmitted via the Silk Road, particularly through Central Asia, where Hellenistic, Iranian, Indian and Chinese influences could intermix. Greco-Buddhist art represents one of the most vivid examples of this interaction. Silk was also a representation of art, serving as a religious symbol. Most importantly, silk was used as currency for trade along the silk road.[64]

While the art history of the overland silk road seems distinguished by its continual flux, as disparate visual regimes flowed in and out over the centuries, the art in question is also marked by strong formal continuities specific to its regions, as well as certain adaptations to global paradigms. This talk adopts Kublerian concepts of 'shape' and 'sequence' to identify a formal series instantiated by a range of Buddhist objects and sites, a series structured by an underlying drive toward exactitude. Objects in this series are concatenated from recent fieldwork at a variety of sites along the silk road in western China, primarily around Gansu and Qinghai Provinces. These sites include early and later Dunhuang caves, the 18th century architecture at Labrang Monastery, and various places in between. Positing such a continuity may help shape a larger concept of Buddhist art history.Jon Soriano is a PhD Candidate in the History of Art department at UC Berkeley, working with his advisor Pat Berger on a dissertation regarding the material culture of the Kālacakra tantra between the Gelugpa Gaden Phodrang and the Qing court. Jon has master's degrees in Asian Studies and Ethnology, and has worked for the National Palace Museum in Taipei and the Berkeley Art Museum. He is the current recipient of the Dallan and Karen Leong Clancy Fund for Silk Road Studies, as well as funding from the Dunhuang Foundation.

Jiaohe, also called Yarkhoto and Yarghul is an ancient ruined city and fortress, located on a land plateau shaped like a willow leaf in the Xinjiang Uyghur Autonomous Region of China. The city served as the capital of the Anterior Jushi Kingdom from 108 BC to AD 450, and was an important centre of trade on the silk road for facilitating exchanges between the east and west. 041b061a72


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