Cycle de conférences : Interweaving Eurasian Visual and Material Arts: Beyond Space and Time
Conférence du 11 juin 2024 : Reception and usage of Northern Wei Textiles among the Tuyuhun, Hephthalites, and Tocharians
Conférencière :
Mariachiara Gasparini, Assistant Professor of Chinese Art and Architectural History, Department of the History of Art and Architecture, College of Design, University of Oregon
Through a detailed analysis of unpublished and published material (such as robes, hats, boots, saddles, and quivers) in comparison with those represented in Buddhist wall paintings (i.e. Kizil and Bamiyan) and funerary art, this lecture discloses the cultural and artistic entanglement between the Tuyuhun, Hephthalites, and Tocharians across the Qaidan Basin in Qinghai province of China and the Trans Himalayan, between the 5th and 6th centuries. Although the origin of these people is still debated among scholars, the common usage of Northern Wei silk, which was often traded in exchange for horses, camels, yaks, and Persian mares, disclosed a similar artistic taste. Such interactions eventually laid the foundations for the development of the early Tibetan artistic identity in the 7th century.
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https://www.college-de-france.fr/fr/agenda/conferencier-invite/interweaving-eurasian-visual-and-material-arts-beyond-space-and-time
Chaire Histoire et cultures de l’Asie centrale préislamique
Professeur : Frantz Grenet
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https://www.college-de-france.fr/fr/chaire/frantz-grenet-histoire-et-cultures-de-asie-centrale-preislamique-chaire-statutaire
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[Music] [Music] for Marini marasini Pro ecographic [Music] exac [Music] [Music] for [Music] [Music] for uh no transcending pattern Sil C cultural and artistic interactions through Central Asian textiles per [Music] [Music] vir H thank you very much for your kind introduction thank you uh Professor Gren the colle the France for inviting me here it’s really a pleasure and an honor and I apologize if I do not not present in French actually um I have been working on Chinese and Central Asian textiles for 20 years I am currently working on texile and metal work from chinai or traded across chinai uh province of China and the transim malayas between the fifth and 9th centuries which uh will include also the formation of the Tibetan Empire in the 7th century and I will discuss a little bit more about that in my third lecture here but today I will focus on the pre- Tibetan period and these are preliminary results um of uh texal material that I researched last summer in Gansu chinai suchan uh in China and Hong Kong and in Hong Kong I came across two private collections that in includes uh various whe silk items which I argue were used by the tuun the falite and the tarians or cin to reconstruct the provence of these items their trade and their usage we first need to look at historical context and the nomadic movement that occur between the fourth and sth centuries in Central asan in China um and then look at the development of silk Dean Productions eventually I will show some of the texal uh items and discuss how and why they can be traced back to the tuun the or the falite and the tarians between the 3rd and seventh centuries the sassan the last pre-islamic Iranian Dynasty established the first post elanic civilization on an Imperial scale and shaped some of the most important ideas which were often expressed with the visual and material culture that true trade and diplomatic exchanges connected east and west across the border uh of known and unknown places in Central Asia this asinan um inherited a lot from the paron uh in terms of also traditions and iconographies and also Al thanks to the contribution on non Iranian people such a tur mongolic and Chinese population this Heritage spread across Eurasia as new forms that although similar show distinctive feature different from the Paran and the sassan while sedentary people often establish the rules of trade Commerce and diplomacy the nomadic or semi-nomadic populations Med such practices through clothing object of Art and weapons they readapted figurative archetypes into new patterns that were assimilated and spread from the Mediterranean to Japan and the Sans are often referred to as the merchants of the Silk Road with the understanding to be the only agent involved in the trade between Iran and China um being soana parts uh of the sassan Empire soan Colony were established in China and soan chief in charge of these communities were also appointed with the name of sabau the portrait of periodical offerings of Lea leang Dynasty as well as a later version by the artist yanii band dated to the 7th century and entitled The Gathering of Kings however document and confirmed the involvement and recognition of other people at least in the Diplomatic trade with China these scroll paintings offer an overview of their clothings and their differences and similarities as also found in mural paintings coins and pottering from other areas although the San were the primary agents as I say that that shape this trade falite tarians Turks and tuun who had contact with the Chinese were among those who participated in what later become known as The Cosmopolitan style of the tong Dynasty the origin of these people is still debated Chinese sources point to the Alti region and sometimes identify both the falit and tarian as U or more specifically as the U the greater U who were different from the xia U or smaller uaj who instead migrated to chinai Tibet plateau and there are many uh ideas and hypothesis about these people uh they were described as nomadic or sedentary people who spoke um different languages than other uh who or non Chinese and as Professor laer argued they might we might trace the origin of the falite to an episode of massive migration in the second half of the fourth century not to a whole set of migration despite the lack of information the mural painting of the b in bamyan and cucha um in the Buddhist cave complexes are a testament um to their solid and influential presence in baktria Tok caristan and the western region of China document in tarian languages have been found in the tlan desert however we should differentiate those people living in Taran uh properly named Taran from those living in the tarim Basin or more specifically the area of cucha and Anni who have been named tarian for a long time but they should be instead referred to as Cochin under the falite nomadic Elite the soana became prosperous and eventually by the sixth Century all together they allied with the Turks from the northern steps who in five 152 established their first kagad and succeeded the run run which successively split into Western and Eastern uh turkey kaganate in the meantime in what is present day China at the end of the first century the troba people who descended from the shamb state of the steps that had disintegrated the century earlier established the northern way Dynasty they were eventually succeeded by uh other Dynasty in the north and in the South beyond the Yellow River and those in the South established their Capital at jangang um that is there on the map uh there was a strategic point for trading with suan along the yanza river the lack of administrative skills forced the northern Nomads to accept the Chinese administrative structure but at the same time they also created a military system that that included Chinese people among their own the lack of blood lineage the absence of the vine ancestor and the empowerment of local Elite and Regional rulers who exchange a pledge of loyalty in return for an official appointment created a sense of unity among these people their known Chinese background made them more receptive to Forin items the foreign object discovered in pin Chang the capital of the northern who eventually moved to loang in 493 and also another shamb Elite tomb inia in in Mongolia confirmed their exchange with people from Central Asia a famous plate found in a funu Tom in that Tong was likely produced in present day Afghanistan or turkistan and is comparable to another silver plate in New York that shows a very similar compos position allegedly from Afghanistan as well the two Yun like the way also descend him from the shamb Kagan muron to Yun move his people from leoning in Northeast China to chinai where he subjugated local populations his descendant were eventually joined by other shambe tribes which formed the tuun as properly known who in tibetan sources are recorded as AA these people extended their Kingdom from chinai to Gansu ninia little bit of suchan and part of Tibet and also part of U a little bit part of sang and shansi and were eventually conquered by the Tibet in 663 Chinese sources such as the book of langang in the 6th Century mentioned that the tuun served as translators for the falit and mediated their trade in China such information suggest that the tuun and the falite possibly spoke a similar or identical Proto mongolic language but beside the language these people also shared similar customs and traditions archaeological excavation around the chinai lake or kokonor have revealed a few fortify uh to your home settlement such as shun a city in G County that is the red area on the map there which was their Capital until uh 540 and then they moved the capital to fui 15 uh lee about 7.5 kilomet west of uh chinai Lake although the city had inner and outer walls people continued to leave in tent following their original pastoral lifestyle like the northern way in pin Chang which was described as a tend C and here we have two examples uh one is a detail of um tent on a coffin plank from uh to your own tombs and the other one is a wall painting from uh a northern way U tomb and you can see different type of tent even on Wheels and I will talk about this a little bit um later in 439 for the first time the two Yun were attacked by the northern way in the Tian Basin in the northern eastern part of the chhai Tibet Plateau which had become an essential crossborder location the attack continue until 470 eventually peace was established and between 473 and 534 the two Yun sent 56 envo to the northern Way Court and other envo to to the northern tea throughout the 6th Century the tuun trade a large quantity of silk and sanes horses chinai pel horses Persian mares camels and Yaks also involed from cucha kotan gaang in sang and Persia use the tuun road across chinai suchan and along the yanza river that is the um the line in red there to jangang that has I mention is that was the capital of the Southern Dynasty uh Persian embassies um are portrayed in the uh portrait of periodical offering of lean Dynasty that I show you before and the text that companies the portrait of this Emissary quotes from the mon da And Trades of the kingdom of the western regions and says and I quote in the second year of the tonon Reign period in 530 an Ari was sent via Gandara to present the th of the Buddha although it doesn’t provide more information regarding the origin of the emisar the passage suggests that possibly he took the southern tuun Ro rout to chinai to Sichuan and from there along the yanza river and he reached jangang the capital of the Southern dynast while the tombs excavated in Shin High which I will discuss in more detail today might be only partially attributed to the tuon those recently Excavating Gansu Pro Province can be with C certainty attributed to them in 2019 Chinese archaeologist unhe hearded the tomb ofur known as the king of shei the third son of the last tuun Khan who died in 691 at the beginning of the Tibetan period uh near vou this one uh is um one of the 23 Tang period Royal tuun tombs across four areas that continue to be excavated until 2021 uh but it’s the only one in the cha Village that is the red triangles on the map and as you can see it’s very far from the other triangle in purple and black that are in different areas an epit in the corridor at the entrance in tuun language refers to the site as the molum of the great KH for this reason it is possible that Muran moo the first king of chinai was also buried in the Tomb after the tuun submitted to the Tang Dynasty because the Tibetan uh arrived the muron clan control chinai Lake and is um surrounding territories while while other kings were responsible for guarding their own areas and taking order from the muron Kong the variety of textile material excavated is well preserved and has been analyzed and published in Chinese in uh this monograph and also in a few short English articles in terms of structure and style the two Yun tombs in Vu which has not Mount like those in chinai show strong con connetion with the shamb elite now moving to the actual Texas cotton wool and silk had been available in various forms and structure along the Silk Road Network for a long time steel cotton was only officially recorded in Chinese document in 477 a contract Discovery Nia in s Jang mention a sagia merchant sales of an in Saed Iranian for 101 bolt of cotton until the 3rd Century the production of refined silk remain secretive and China will only allow the export of finnished silk of damaged silk yarn to the West we have two main types of pattern weavings both called Gene and m translated into Western languages as brocad and I always point out that is not a broade one is the warp phas weaving and the other is the W face weaving and I will simply refer to them as warp Gene and W Gene to make it uh clear the warp Gene technique is attributed to China four me mini Gene looms were discovered in Han Dynasty tomb in suchan in 2013 between the fth and sixth centuries unspun we jein silk eventually began to be reproduced in the western region of China the assimilation of such techniques occurred through the acquisition of Western wo uh W genin which was initially woven in the Mediterranean or uh the near East at the beginning of the 1 Century CE and one of the very earliest example is um from Syria uh dated apparently to the 3rd century is in the philad Philadelphia Museum of Art by the third and fourth Century around the tlam Maan such compounds were only woven in Z Pon silk eventually by the fifth century unspun silk weaving uh made with the real silk fibers appeared early examples show Iranian Motif such as a large wing pedestal uh combined with Chinese characters such Tex were generally made and used as tributes or gift to foreign people however despite the advancement in silk technology in the 7th Century silk textiles around the tlam makan were still limited to specific areas the piligrim mon shanang recorded that in kotan and I quote in the past neither the Mulberry Tree nor the silk worm was known and those the king asked for a bride from the East and ask her to bring some Mulberry seed to make silk garment for herself she eventually secretly smuggled the seed in her hair or hat to pass the frontier as it is all also Vis visually recorded on a wooden panel uh from a Buddhist Shrine in dandik near kotan now in the British Museum of Art which is very uh well known swanang also reported that only people from cucha dress in Jean clothes and people from hotan produce and wor P silk in great quantity according to the record however compared to the silk produced in the eastern part of the country cottony textiles were made with spun silk derived from Mulberry and a melanous of plants used to feed the silk worms because of Buddhist tradition in the area silk worms were not killed and only when they had change into moth and broken away from the cocoons could silk be reeled as eventually by the 8th Century the we Gene also known as a samit or samite completely substitute the warp Gene so during the northern and southern Dynasty period there were four primary areas of silk production in China Northern Region southern region sang and suchan both northern and southern Dynasty had Institution for the supervision of handcraft professional Weavers produce silk textile on the ruler behalf and by ordinary people especially woman uh women of the farming class during the northern way the uh the production of silk was maintained in the main Plains uh shansi Shandong Hanan also on the North in h Province however once the capital was established at pinang many Artisans were relocated from the other province and the city became the main Center of silk Productions the northern way began producing a type of weaving recorded as wayin which was traded to the western region Artisans from the north were also moved to the South between the fourth and fifth century and Jin Workshop was uh were established in Jang Kang by the sixth Century Southern silk had improved and was also sent in the north sang silk was mainly producing in gaang cucha and hotan although the court regulated these Productions the Chinese did not appreciate the sang pattern Gene which was considered less refined the sang genan was measur in Jang meaning pieces about 1 M wide exactly like the Persian silk bosin which is mentioned for the first time in a document from a toming ga Chang dated to 400 82 although might have been sent to China with the Persian Embassy in 455 and different from um Chinese silk that instead was measuring D or a certain length and P bolt of uh 5068 CM wide and 9 uh 21 cm long so was a very precise measurement a particular type of silk from cucha was recorded for the first time in two documents discovering turfan dated between the 5ifth and sixth centuries the document inform us that the so-called cochan pattern silk cha Gene was measured in Jang and imitated in GA Chang it was also used as currency to buy slaves as well um as demonstrated by satomi Yama a possible example of kuchan silk might be a fragment made of spa silk with with yellow ground and a green pattern discover um along with the golden Treasures including this mask with garet in the bomma cemetery um in kazak AOS prefecture in s Jang in red um on the map this textile appears in many Buddhist caves used for the SE of Buddhas or for uh monastic robe uh robes in both cucha and dang Buddhist caves but more importantly it also found in bamyan cave 111 which apparently has been radiocarbon dated to the fifth century and here a donor probably an Nealy is wearing a robe made of uh this Texa finally suchan which had always been one of the most important silk hubs uh and at this time was controlled by the southern dynasties continued producing the most Exquisite pattern Sho jeene which was in such high demand the strict purchasing controls were established due to the high numbers of merchants in chendu including the sassia who also arried via Sea from Canton written sources and some textile examples discover in other areas including sing Jang will confirm a Sichuan silk production in Persian style the production of of multicolor Persian Jean including golden weaving began in sichan in the fifth century and Contin and evolve until later the book of langang mentioned that the Persian wor golden Dean robes at wedding ceremonies the book of the Shue Dynasty also confirm the Chinese replication of such golden textiles in suchan in the 6th century and for instance here in chapter 68 we can read the person presented to the emperor a beautifully woven gown of zening golden uh thread the emperor ordered hero to reproduce it he began to weave and succeeded in the making of a type even more beautiful than the one sent as a gift the emperor was extremely satisfied the sils were traded across chinai and therefore across the tuon kingdom eventually Chinese replicas of Persian we Gene made in Sichuan in the 7th Century reached Japan and were recorded as shako kin as I will discuss later however except for the forehand replica of the warp genin looms that I show you before discovering sichan no example of w genin looms have have been discovered yet as I previously mentioned I came across some clothing and texal items in Hong Kong that I had never seen before they cut my attention because they look looked unique still they also recall the attires of horseback Riders and Farmers for trade on a group of cofin from chinai dated to the tuun period which I will show in comparison with this textile material these texile items which were acquired in the ’90s in Katmandu Nepal allegedly come from chinai not all of them but many of them were created as matching set generally including a Rob large trousers a hat boots and sometimes a saddle A Horse cover creaver and bow holder and horse chaffron the two coffins which were initially lacquered include images of the grassland lifestyle procession of horse rider hunting scenes in the mountain also funerary rides and they are all enclosing large red frames with dots more importantly the costume of these people and their tent suggest their social rank on six coffing panels from the chinai huan ancient Road Museum Farmers pastors and workers wear clothes different from the horseback Riders and Chiefs the first group of people are depicted in the field or grassland and wear simple monochromatic robe with or without a lapel a black belt and no hats in contrast the second group of people who are depicted in Mountain sceneries wear more complex pattern clothing including clo or coat laid on the shoulder hat with colorful long ribbon on the back and large hat their horses are richly adorned with colors harnesses and elaborate Saddles all decorated with colorful trims and facial chaffron like those of the northern way on only two panels of these six that I just showed to you show images of white tent possibly made of felt decorated with simple red lines and with a top opening for the smoke of the fireplace inside on the first panel two small tents are placed next to each other in a field the one on the right is open and shows a man wearing a typical Northern wayist style hat and play The Loot on the second p pel a much larger tent is depicted in Mountain scenery a small gabble roof covers the smoke opening at the top and the outer tent covering is folded at the bottom at the two side of the entrance showing the wooden ltis structure of the tent which appears identical to the yur in use today in Mongolia and Central Asia kazakistan to be precise the tent is open and show a man probably a chief kneeling on a rug here he has a mustache and long hair and wears a red robe open on the right and a tall black headdress similar to the type also in use among the northern way people an attendant is standing in front of him and At His Feet there is a bowl with food and a jar that records the set of tble Weare items from the muron in Ganso similar scenes appear on a sixth Century sinogan funerary couch uh from uh the Chinese Central uh Plains now in the mo Museum in Japan on the other panels horseback Riders wear elaborate clothing hat such as a wide brim ear flap with long ribbon on the back in two of these panels we can see a man leading the group of horse uh covered with a black caparison and a red chaffron while launching a spear an animal perhaps a hunting dog with a red reble around his neck appeared in front of him very similar dog sculpture again were found in the tomb in Ganso as I mentioned the two private collection in Hong Kong have provided physical evidence of such attires as depicted on the two Yun coffins the boots have been heavily restored and might have been altered nonetheless the text are used are original and mostly dated from the nor Dynasty to the sh Dynasty period similar pairs of boots with the same features are also held in the cuts and collection in the texile museum in Washington DC beside the embroidery what they have in common is what I call the rainbow trim because they have this multicolor trim tubolar with the Chevron Motif now is darken um are details that appear on many texile excavated uh in Shai most likely These boots were originally taller and padded like those in Hong Kong however among those in Hong Kong only this pair is created with purple silk with various monochromatic tles shell Motif that match a pair of trousers and a Hood hat of the same type the others are embroidered Motif that might be found in Central Asia Texel with such type of turtle shell uh patterns were discovering dunan cave3 and IND Dulan in chinai the new history of the tongue mention that Turles back lining been used among the garmer of Emperor taong likely this type of turtle shell pattern texes was added later to the boots during the restoration but is not excluded that such texile was already used during the way period interestingly one of these pairs shows a complex so made with with rum by pattern of wol knuts that recall the soul of the cityan leather boots from the alai dated to the forter century BCE but the most important items of this collection Hong Kongs are the Hat a large black hat made of thick and coarse animal hair that looks like a scarecrow hat used by Farmers a wi brim felt hat with a long red dyed Yak hair at the top and a double ear flap hat with a long Patchwork and embroidered ribbons seven precisely some with the Lamb of sheep fur both used by the horsemen depicted on the coffins a similar hat but without ear flap made with W jein is also held in the China National silk Museum the Scarecrow hat is woven as a tight basket structure braided interlaced at the bottom and a circular wooden frame inside that is still partially visible the lining around the circumference of the head is created with plain blue silk and a warp Jean with a colorful hexagonal open grid pattern and there is also yellow silk ribbon used to tie the Hat under the chin the pattern silk uh with small flower used for the lining is probably the most important part of this hat it is in fact a rare type of of textile which is mainly found in the cucha area in s Jang the skirt of Queens wraa depicted with King TOA imaya cave 2005 in Kil dated after 550 between the 6th and 7th century is one of the best known example or I I should say was one since we don’t have this painting because was destroyed during um World War II still other Royal or Buddhist mons clothing of texile items from the caves are made with Tex with similar hexagonal grid patterns it also appear depicted on a small vative umbrella made of Ramy discovering a Buddhist Sanctuary east of cucha and you can see the pattern here and also here interestingly similar red ground silk dated to the seven Century label as sooin or shuin meaning suchan silk were acquired in Oru and toai G in Nara Japan is this one here however an early vo fragment discover in lulan possible from the 3rd century and another we gen wood fragment held in the Y Museum in San Francisco confirmed that such pattern were producing different materials and structure for a long time unlike the other example the fragment in the Young Museum shows an exagonal close grid pattern with alternate rosette and birds in pairs and car carry the Greek pie signs like those on the Hem of the queen skirt in the wall painting Ying Ying the Ebert is one of the first Scholars who discussed these types of textile in cucha suggested that these were copied from Paran textiles made of wool which were acquired in s and sichan at the beginning of the first Millennium CE the double ear flap hat are made with various type of silk and Embroidery in wool and silk they have a wooden step protrusion at the top to hold the feather and those with fur are padded as I mentioned before they as I I also mentioned were part of a clothing set for instance this one is made of a very similar type of texile um in W gin with a geometric greed small Palmetto leaves Wing Mo and a repetition of the Chinese character Geo speciousness the coat which is open on the front could be fastened at the collar with a long wide Red Ribbon possibly it was tied at the neck and left loose on the shoulder like a clock or Cape as seen among the horse rider on the cof the second pad that hat trimmed with the fur is made of dark brown warp jein featuring small roundles inclosing a crescent surrounded by dots a rosette and a tree dot Motif which are all Iranian Motif a chaffron made of an identical textile is also now held in the Metropolitan Museum of Art in New York the collection also include a quer and a b cover made with the same textile as the Hat similar types of Patchwork composition were were also excavated in chinai in terms of shapes these items are comparable to those in the coton collection in Washington DC uh and dated to the same period these in theca are made with embroider beaded Circle enclosing a crescent and trim with the northern way silk finally the last year flap hat is not padded or trimed with fur like the previous two but still holds the step protrusion wooden element at the top beside the long seven ribbons on the back either embroidered or patchworked this hat also carries a panel at the nape of the head the panel is made as a red and white warp Jee featuring a geometric pattern resembling an abstraction of deranian wings with ribbons that were reproduced on silk during the northern way period such as the one that I show you before from Sing Jang the main fabric of the hat is a Chinese D mask embroider with a repetition of small circle that recall the warp Jee on the previous hat so we have those woven and those embroidered in this case the ear flaps show a large leaf Motif and an abstract Motif framed by dots of various colors similar to those found on an embroidered piece from samangan Province in Afghanistan now in the AL Alaba collection in kuite um which has been radiocarbon data to uh and show the radiocarbon analysis show 465 plus minus 25 years um old uh the piece also feature be Randle including bads similar pieces are now held in various collections world wild and allegedly acquired all across the trans Himalaya including a quer in the ca national uh Museum in Japan that still shows the original red color of the ground and also a beautiful horse cover in the texile museum in Washington that I had the pleasure to uh analyze last December and will be exhibited in uh 2026 in a dedicated uh exhibition the bhead was one of the most popular Iranian of Central Asian I would say Motif adopted Beyond Iranian cultural spheres in Buddhist World painting in bamyan kizil like you see here kisil cave 77 to yuk and dang and is also found as warp and weft Gene excavated in s Jang later embroidery which I believe um are properly Chinese generally show Four Square motif they recall the Chinese character H which is different from the types of early embroidery that as you can see do not show this kind of square on both type however the B is always depicted with an open mouth and a long tongue sticking out which differentiated from the kind of bore on textile from the Western areas as you can see from this fullo embroidery uh there on top most likely ranian and it also appear on an attendant garment in the Rock relief in tustan many scholars have attributed the board to the zoroastrian God vagna but this is the only one the only animal depicted with without the full body among all the animals that generally are depicted in the randles bhead in randles also appear on what have been called the fashion vases from Pakistan and Afghanistan they either to the kusan San or Al early Islamic period and also for instance to metal work and here is an example in DC and in this case the boore uh has a closed mouth again not open one uh in a banquet scenes depicted a balik tip in Tok caristan dated to between the sixth and seventh centuries I believe we can see a man wearing an one lap robe with randles inclosing Tusk animal head which might res symol B head but this is only a reconstruction the graphic reconstruction uh more likely the head was not the representation of a God but possibly a trophy of the Iranian Royal Hand as also Mato compared discussed in any case texile items embroidered with bhead in Randle and her shaped leaves mainly appeared across the transim malas between the 4th and 7th century and were used to decorate hunting clothing set although the silk is mainly from the northern way this ear flap hat was not used by the northern way who instead whose Hood hat as a mark of the chambay elite ear flap hat or helmet which would not entirely fit the head but hel held almost on top of the head were called Cola and used by the Paran from the 2 Century BCE until the end of their Dynasty in the 3rd Century CE and also by the sassin at the very beginning of their Dynasty along with a cloak or a coat laid on the shoulder and tied at the neck known as Candice a fashion that was acquired by the northern way to Yun tarian or falite and later also by the Tibetans such hat with ear flap were possibly introduced to the Iranian during the ained empire in the 6th Century BC by the Sak as portrayed in the aadan perol although as you can see they are quite different in terms of shape um material evidence with wooden zoomorphic protr and golden stag embellishment or cover with gold foils was discovered in paseri in the AL Tha although the protrusion attach attached to the hat that I described are much simpler and currently do not show any zoomorphic form the stilling include small pieces of feathers and also seen um as also seen among the horseback rider depicted on the coffins such wooden protrusion might have initially supported extra golden ornament as well identical pieces were in fact discovering the largest of the Tomb Inu in Dulan in chinai near a golden casket and once function as support for support for Guild uh silver plaques in the ship shape of phoenixes standing at the top on top of this casket and they have exactly the same type of protrusions a similar attires appear also on a Silver Saddle ornament in the same collection in h Kong uh you can see Archer on Horseback wearing a helmet hat with floating ribs Falcon Palmas a ruler between two lions and also two lovers often depicted in doesn’t show the image here but the two lovers also depicted in early uh Tibetan um art the Prov provence of the Saddles decoration is unknown I have not found any similar examples and unfortunately I cannot confirm whether it is to Yun early Tibetans or something else however the coffins are the only visual example dating to the tuyuhun period that offer a glimpse of their costumes and some evidence to contextualize and Trace the possible provence of the textle material in Hong Kong and also other collection worldwide as I have previously mentioned colorful patchworks or the preference for multicolor trims and embroideries seem to be the main features that distinguish these items mostly made with Northern way silk which copied Paran and then sassan wool textiles to conclude between the fifth and 7th centuries CH chinai became a crucial region for cultural and artistic transmission between China and Central Asia including such one but the inter relationship of nomadic population of protom mongolic and Iranian origin also Ed along the so-call tuun roads and the yanza river and uh from chinai also to the transim Malia and Central Asia at Large which was likely that land that later was described as Tan in Islamic sources opponent of Iran on the other side although some of the material presented especially textile without a doubt might look Iranian or Central Asia they show composition that were instead created explicitly for or used by the tuun the falite or karian uh who shared much with the northern way and developer style that was eventually Acquired and retransformed by the Tibetan in between the S and 8th Century as I will discuss in my third lecture here thank you very much [Applause] [Music]