Conference by Bruno Genito, Professor at Naples University
“The theme chosen is related to an already abused, and perhaps not understood in its original sense, concept of “Seidenstraße” and, especially, in light of new possibilities of knowledge and cultural exchange, including international, only few years ago unthinkable. The reference points of the topic are related to the following conceptual aspects of the archaeological evidence:
the cultural centrality, not uniquely chronological, of “Paths, Images and Material Culture” that were previously categorized within the concept of “Silk Road”;
the plurality of routes and sea paths of the “Silk Road” that can only be updated with that now, more precisely, of “Silk Routes”;
the concept of “Silk Road” never based on any clear historical concept, combining features of commercial, diplomatic and religious differences;
the “precedents” and “contemporary” paths to the “Silk Road” (e.g. Jade Road, Lapis lazuli Road, Incense Road etc.) as determinants aspects of a much more broad and diverse ground, embracing the whole ancient trade, between Rome, the Near and Middle East, Central Asia and China from the early historical times until the late Middle Ages;
the centrality and importance of territory settlements, parking stations, military garrisons and forts along the routes of trade;
the Unitarian relationships between settlements, trade routes and geo-environmental conditions.
the “Silk Road” as a phenomenon of political structure based on work at various levels and in various specialities, that virtually “invented” the modern economy, dominated by the market and not by the state power. For this reason, businesses are able to integrate with agility and dexterity in far more rigid state economies, such as Chinese, Indian and Western.
How to be a Good King: Tibetan Treatises on Monarchy and Statecraft
by Charles RAMBLE, Directeur d'Etudes, Ecole Pratique des Hautes Etudes
On the steps of Manjushri: from Wutaishan to Kathmandu valley
by Corneille JEST, Directeur de Recherche Honoraire, C.N.R.S.
The tsha tsha from Tibet : clay Buddhist moldings and stampings
by Kunsang Namgyal Lama , Doctorante Paris Sorbonne 1V, Department Art et Archéologie
Tepe Shotor Cave A as a meditation place in Afghanistan
by Anna Maria Quagliotti, Professor at Naples University
The Archaeology of the Silk Roads: Paths, Images and Material Culture
by Bruno Genito, Professor at Naples University
Mur du fond de la grotte A de Tepe Shotor. Afghanistan.
Cliché G.Fussman. Collège de France
Conference by Anna Maria Quagliotti, Professor at Naples University.
This study is dedicated to the analysis of the four «encounters» of Siddhartha with the old man, the sick, the dead and the ascetic which, in our view, would be a possible source of inspiration for some pictures of meditation as in cave A of Tepe Shotor in Afghanistan.
From Gandhara to Central Asia, we believe that images of the emaciated future Buddha, those of the encounter of Siddhartha with death and those of skulls and skeletons found in these areas are closely related. In this regard, it is interesting to note that in Toyuk (Turfan), on the right wall of cave 20, we find the images of a monk contemplating a corpse while on the left wall of the same cave, there are representations of monks meditating on the Pure Lands.
We shall also demonstrate that images of monks meditating before corpses survived through centuries as in a Thai painting from 19th century and on a photography taken before 1906 from the Gerini collection, today given to Naples’ University « l’Orientale ».
We shall also show that the four encounters and the monk meditating on a skull are found in Kizil (North Silk Road) suggesting a relation between the two.
The journey of an indian monk to Wutaishan and the diffusion of Buddhoṣṇīsavijayā dhāraṇī (formula ensuring salvation) by Madame Liying KUO, Directeur d'études à l’EFEO.
Colloqium in Rome.
Round table on Avalokiteśvara in Rome.
From dustbin to showcases: recent studies on textiles from Dunhuang by Mme Laure Feugère, chargée de mission honoraire au Musée Guimet.
Termez on the Oxus. Central-Asian Capital-city by Monsieur Pierre Leriche, directeur de la Mission Archéologique Française en Ouzbékistan du Sud (MAFOuz), directeur de recherches honoraire au CNRS.
Bannière aux cinq couleurs. MG 26460.
copyright Musée Guimet, Paris. Dist.RMN.A/Th. Olivier.
Conference by Mme Laure Feugère, chargée de mission honoraire au Musée Guimet.
The collection brought by Pelliot in 1909 to the Louvre museum included many pieces of silk, hemp and linen. Some of them were for religious purpose ( sutra covers, offering table cloth, long blue, red or yellow silk rolls to decorate monasteries during festivals).
Many banners were in poor conditions and were dismounted, the central part being kept, side ribbons and lower part being thrown away in a box "A jeter" written on it.
It is only on 2010 that all textiles were completely cleaned, measured and registered in the publication of the book "Textiles of Dunhuang (October 2010) under the direction of Zhau Feng, Director of the National Silk museum in Hangzhou.
Pelliot did not care about these fragments, although they were the first archeological testimony. Fortunately, in 1964, Krishna Riboud was appointed by Jeanine Auboyer to study these pieces with the help of Gabrel Vial, a first book was published in 1970, a very technical study with, unfortunately, black and white photos. Mrs Riboud, in the Kodansha 2nd volume, published a study of many of these items with beautiful colour prints, which allowed to appreciate their beauty.
The journey of an indian monk to Wutaishan and the diffusion of Buddhoṣṇīsavijayā dhāraṇī (formula ensuring salvation) by Madame Liying KUO, Directeur d'études à l’EFEO.
La Buddhoṣṇīsavijayā dhāraṇī, “Formule de la victoire du sommet crânien du
Buddha” est parvenue à Chang'an (actuel Xi'an) dès la deuxième moitié du VIIe siècle de n.è..
Elle y aurait été apportée à la demande de Mañjuśrī par un moine indien venu dans les
montagnes de Wutaishan pour y vénérer ce bodhisattva. Entre 679 et 710, cinq traductions
chinoises en ont été réalisées. Une seule devint vraiment populaire. Cette légende fut souvent
gravée sur des colonnes octogonales dont l’approche était censée produire des miracles et
sauver les damnés. Elle est également illustrée sur les parois de grottes de Dunhuang.
La conférence, illustrée de vues montrant ces monuments, montrera le cheminement
de la légende et étudiera certaines des raisons de son emploi.