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The 7th century Sogdian paintings of the so-called “Hall of the Ambassadors” at Afrasyab have been interesting student of Central Asian art and archaeology since their discovery happened in 1965. In the last 40 years, the publication of several specific studies[1] allowed to find a solution commonly accepted by most of the scholars[2] to the general meaning of the scenes represented in the Afrasyab mural paintings. Such solution is mostly based on the observation of the same paintings and on literary texts external to proper Sogdiana since the inscriptions found at Afrasyab[3] were not enough to give a detailed meaning to the whole paintings in the “Hall of the Ambassadors”.
The Western and the Southern Walls are in fact interpreted now as correlated to the local celebration of the Iranian New Year Festival (the Nawruz). Although the paintings on the Eastern Wall were preserved in a very fragmentary state, most of the scholars identify them as a representation of Indian scenes[4]. It is not clear if also on this wall there is a celebration of an Indian festival connected to the New Year.
The scene on the Northern Wall is a very elaborated one and a probable interpretation to it was recently proposed by S. Cristoforetti and the present writer[5]. The left part of the scene on the Northern Wall is linked to the celebration of the Duanwu jie (端午节) performed personally by the Chinese Empress Wu Zetian (690-705) and her attendants. In Gregorian calendrical terms, the Duanwu 免费论文网 【http://www.51lunwen.net】Festival falls between May and June, that is to say around the Summer Solstice. In 7th century Sogdiana also the Nawruz was celebrated around the Summer Solstice. The Sogdians probably represented the Duanwu jie on the Northern Wall at Afrasyab because during the 7th century this festival fell around the same period of their Nawruz and because the Chinese themselves considered the Duanwu jie (and, in some way, they still consider it) as much important as their own New Year festivity. In few words, in the Middle Kingdom the New Year Festival and the Duanwu jie were interchangeable as importance. This point is clearly expressed by the auspicious folk pictures (Nianhua) exchanged in China during the New Year in modern times: among the scenes reproduced on the folk pictures, the usual auspicious children attired in Chinese garments are performing also the Duanwu jie[6].
The right part of the scene on the Northern Wall at Afrasyab most likely represents the celebration of an ancient aspect of the Chinese New Year Festival performed by the Tang Emperor Gaozong (649-683). His figure can be discerned very easily since he is represented bigger in size than his attendants. But, even if one should consider the Iranian or, better still, the Turco-Iranian environment for such a scene, actually, the representation of this hunt mirrors a habit fitting almost perfectly with Chinese rituals as well. In a poetic composition written by Zhang Heng (78-139), commonly known as the “Western Met
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