bluuebunny/crossref_metadata_2025 huggingface dataset:
The Royal Tombs of Zhongshan (c. 310 B.C.)
Authors: Loewe Michael
Published: July 2010

Zhongshan est le nom d'un petit royaume situé au sud-ouest de Beijing qui cessa d'exister en 296 avant notre ère. On sait peu de choses de son histoire, pourtant ce royaume donna naissance à un grand nombre de pièces raffinées essentiellement en bronze incrusté d'or et d'argent qui furent enterrées dans les sépultures de certains rois. L'ensevelissement d'une plaque de bronze sur laquelle est gravé le schéma de cet ensemble architectural a permis de proposer une reconstitution de cinq grandes tombes qui avaient été projetées mais jamais complètement exécutées. Les principales tombes devaient être surmontées de salle consacrées aux rites réservés aux défunts et étaient accompagnées de fosses annexes utilisées pour y ensevelir d'autres êtres humains, des chevaux, des chars, des bateaux et d'autres objets de valeur. Dans ces fosses on découvrit une série d'instruments en forme de trident, d'un type jamais vu ailleurs, probablement utilisés comme symboles du pouvoir royal. Parmi les dix-neuf mille objets mis au jour, on compte d'autres pièces particulièrement intéressantes comme des animaux en bronze, deux lampes, deux jeux et quelques pièces de poterie noire. En outre ce site comprenait un certain nombre de récipients en bronze de moindre qualité.

Cette région fit plus tard partie intégrante de l'Empire des Han, étant de nouveau appelée le Royaume de Zhongshan. Des sites à l'intérieur de ce royaume ont livré des objets dont le type et la qualité rappellent parfois ceux des objets du royaume de la période des Royaumes Combattants. Il est permis de penser que Zhongshan fut le foyer d'un art particulier qui continua à produire des objets de la plus haute qualité au moins jusqu'à la fin du deuxième siècle de notre ère.
Peintures tibétaines de la vie de sTon-pa-gçen-rab
Authors: Kvaerne Per
Published: July 2010

Among its collections of Tibetan art, the Musée Guimet in Paris possesses a series of ten thankas (MA 121-130) illustrating the life of the Buddha of the Bon religion, sTon-pa-gçen-rab. The series, which must originally have consisted of twelve paintings (nos. 7 and 8 are missing), was acquired by General H. d'Ollone during his mission to China and Tibet in 1906 to 1909, probably in April 1 908 when he stayed for some weeks in Song-pan-t'ing, a small town in the wertern part of China, situated approximately 33' N and 103' 30" E, to the north of Chengdu.

Judging from their style, the thankas would seem to date from the 18th or 19th century. They faithfully illustrate, down to the smallest detail, the life of sTon-pa-gçen-rab as narrated in the 14th century, twelve- volume version of his biography, the gZi-brjid. However, as the thankas have no inscriptions, a careful reading of the entire twelve-volume text has been necessary in order to identify each scene and the numerous figures which give extraordinary life and movement to the paintings.

Each thanka has been analysed by dividing it into sections (numbered 1,2,3, etc.), each section forming a separate scene or narrative unit. Within each section, individual figures, buildings or other details of interest have been provided with letters (A, B, C, etc.). Thus the commentary is at the same time a brief summary of the gZi-brjid, to which the Table of Concordance provides the necessary references.

Recently, two other series of thankas illustrating the same theme have come to light. One is in a private collection in West Germany, the other has been preserved in Tibet itself. Both series have inscriptions. It is also to be hoped that copies of a series of sixty printed thankas, likewise illustrating the life of sTon-pa-gçen-rab, of which the wood-blocks were previously available in the principality of Khro-bcu in rGya-rong, may have survived.

The Bon religion poses numerous problems to the historian of religions, and its art remains practically unexplored. Hence these thankas provide a rare glimpse of a universe in which unfolds one of the least-known religious epics of Asia.
Les premières statues bouddhiques du Japon entrevues à travers les textes anciens
Authors: Berthier François
Published: July 2010

Ancient Japanese texts inform us that many Korean Buddhist statuettes were introduced into the archipelago in the VIth century. These testimonies are more or less trustworthy, but the works themselves have disappeared. If one can accept the fact that Koreans coming to settle in Japan brought images of the Buddha from their country, or that Japanese brought back such images from the peninsula, it is nonetheless difficult to state precisely what might have been these first productions which illustrated the continental religion officially adopted by Japan in 538.

These imported productions soon aroused echos : some natives of the continent, who were already japanized, grasped in their turn the sculptor's chisel. Here again little is known about these first attempts to model in matter the forms of the new " gods ".

Deciphering the ancient texts describing these events is both a perilous and a fascinating task. Trying to read between the lines while remaining within the range of truth is practically detective's business. The art historian when he studies Japanese Buddhist sculpture in its beginnings is rather like the author of detective's novels. But he has of course to set bounds to his imagination and constantly refer to the written sources and to any material indication that may help in supporting his theories. He has to avoid slipping from science into fiction.

If one goes carefully through everything that has been written in the course of years on the new art that sprang up in Japan in the VIth century, it is possible to reconstruct, with little risk of error, the beginnings of that artistic period that is one of the glories of Japan.

Information given by the ancient texts cannot be accepted just as it is. One has to understand the sources implicitly, without however falling into excessive extrapolation, to sift the facts through an objective criticism and to compare them strictly with the few certainties in one's possession. Such an approach that involves venturing into the forest of imagination, yet without abandoning reason's paths allows us to catch a glimpse, even through a haze, of the early beginnings of Buddhist sculpture in Japan when that country first opened itself to the continental culture.
Recherches historiques préliminaires sur les Saka du Xinjiang ancien
Authors: Binhua Wang
Published: July 2010

This article deals with a preliminary historical research on the Saka people in ancient Xinjiang, that has been published in 1985 by the Xinjiang Review of Social Sciences. The author, Pr. Wang Binghua, Institute of Archaeology, Urumqi, Xinjiang, China, is known for his studies on the Neolithic, Bronze Age and Iron Age periods, and on the problem of nomadic populations (Wusun, Xiongnu, Saka) in north-western China.

The principal importance of this paper lies in the fact that it is not only based on the historical, classical littérature, but also on archaeological studies (part II), even when dealing with questions treated by Hanshu concerning the Saka people (part I) . The archaelogical studies in question concern new finds, particulary important for the comparative work in Central Asia, mostly unknown in the West. The author presents three main groups of finds : the first one is the necropolis of Alagou, near Urumqi, where numerous gold objects with animal decorations and some bronzes, such as a pedestal supporting animals, have been found, resembling those found in the Soviet Union ; the second one is a set of bronzes discovered in the Hi, containing a cauldron, a statue of a warrior, a pedestal... ; the third, an ancient copper mine in the region of III, dated around 2500 B.P., contained ingots, slags and stone tools. In part III of this study, Wang Binghua presents comparisons with other finds in Central Asia and gives certain interpretations regarding the ethnical attribution of the archaeological materials to the Saka people. In part IV, the author questions the nature and importance of the information obtained through archaeological research concerning the history of Saka people, such as the geographical repartition, the social and economic way of life (particulary metallurgy and husbandry), the importance of gold, stylistics, relations with the Saka branches in other parts of Central Asia and also with Chinese culture. In part V, he gives two additional examples of vestiges which have been related to the Saka people in Xinjiang : the first one is the necropolis of Xiangbabai in Pamir; the second contains two necropolis in the Lopnor region. Both of these two examples refer to remains attributed to the Saka people, but perhaps to another branch of this population.
Une sculpture chinoise en bronze du Ve siècle avant notre ère : essai d'interprétation
Authors: Thote Alain
Published: July 2010

In this article, I intend to present a bronze sculpture representing a bird with a long neck having deer's antlers and which has been discovered in the funerary chamber of the tomb no. 1 at Leigudun in northern Hubei Province. This piece which was placed in the proximity of the double coffin of the Marquis Yi of the state of Zeng has brought to light many new questions. For example, what was its original use ? What could be the meaning of such a representation, a bird with flanks underlined by two snakes holding the birds' wings in their mouth, and with a head which is topped by antlers ? Not only does the inscription to be found on the side of the beak testify to the fact that this bronze was made for the marquis, but also its surface ornamentation has close parallels with most of the bronzes of Leigudun. Yet, among these bronzes, it is the only one to combine two kinds of surface decoration, the curling forms in relief which caracterize the " Huai Style " and inlay of presumably semi-precious stones which have now disappeared. This piece, which typifies the ensemble of bronzes found in Leigudun, in my opinion is undoutedly the most outstanding example amongst them all. From a technical point of view, this bronze sculpture has all the features (mortise and tenon joints) which are normally found on the wooden sculptures of Chu. This unique aspect has incited me to undertake comparisons of the close ties of this piece with the wooden sculptures which have been discovered in the last twenty to thirty years in Chu tombs. Through these comparisons, it now appears to me that the piece in question should be a drum-stand ; the drum was probably attached by rings passing through the two finials of the antlers and the beak of the bird. This conclusion is well supported by the fact that a hanging drum with three rings has been discovered in the funerary chamber of Leigudun's tomb, but without stand.
The Temple-palace of gTam-zhing as Described by its Founder
Authors: Aris Michael
Published: July 2010

La description du temple-palais de gTam-zhing par son fondateur

Le présent article sur le temple bouddhique de gTam-zhing dans le Bhoutan central fait suite à celui de Yoshiro Imaeda et Françoise Pommaret, « Le monastère de gTam-zhing (Tam- shing) au Bhoutan central », paru dans Arts Asiatiques, tome XLII-1987, pp. 19-30.

Il se propose d'expliquer et d'interpréter les indications contenues dans l'autobiographie du fondateur du temple, le «découvreur des textes cachés» Padma-gling-pa (1450- 1521).

Cette œuvre donne la rare occasion d'ajouter précision et couleur à la description matérielle d'un temple bouddhique. En particulier elle nous permet de mieux comprendre les ambitions de ce saint, souvent accusé de charlatanisme par ses

porains, qui conçut le temple comme son divin palais, non seulement en y appliquant les dimensions de son propre corps (lui-même perçu comme étant un céleste palais) et pris pour plan modulaire, mais encore en le remplissant de nombreuses formes divines qu'il déclarait avoir redécouvertes dans des manuscrits restés cachés.

Cette autobiographie révèle tout le programme d'exécution des peintures murales du rez-de-chaussée, l'identification de chacun des panneaux et le nom des artistes tibétains qui les ont réalisés. Elle nous donne également un aperçu sur le milieu social qui encouragea la population à contribuer librement par son travail à l'édification du temple.
Un bodhisattva néwar au musée Guimet
Authors: Béguin Gilles , Drilhon France
Published: July 2010

In May 1987, the Musée Guimet bought in London a rare sculpture of a bodhisattva from Nepal. The piece, made by the lost wax process, is in quite pure copper as many old nepali statuettes. It contains some metal shafts to give more solidity to the figure before and after the cooking. This inside structure appears by radio examination. In the head, its top extremity is scroolled on, in crozier shape. This strange particularity is also present on another sculpture of a bodhisattva in the Guimet collection (MA 3373).

To give a precise iconographical identification of this deity is difficult. The lotus flower, took by the left hand and perhaps supporting some attributes, and disappeared. However, the right hand is depicted in argumentation gesture (vitarka- mudrâ). In the group of eight or sixteen important bodhisattva, only Maitreya and Manjuçrî usually do this mudrâ. In a strict canonical iconography Maitreya, as a bodhisattva, bears a stûpa in his hairdress. It is true that this rule is not strictly used in Nepal. But without any definit argument, it is reasonable to identifie the new bodhisattva of the Musée Guimet as Manjuçrî. The sculpture belongs to the classical style of the XIIe-XIIIe century. Close comparisons with other bronzes give some more similitudes with the imposing figures of the XIIIe century than with the refined pieces of the XIIe century. In the XIVe century, a new taste for affected attitudes and decorative ornaments appears.
La peinture monumentale de l'Asie centrale soviétique : observations techniques
Authors: Lapierre Nathalie
Published: July 2010

The sum of scientific data on Central Asian Painting recently brought to our attention by Soviet Archaeology is for the moment unequalled in Asia. Each fragment uncovered of mural painting on loess ground is strengthened by polymerisation with PBMA, before being removed from the wall and treated in situ or sent for further examination and restoration to Leningrad or Moscow where some samples from Adzina Tepe, Pendzikent (Tadjikistan), Afrasiab, Dal'verzin Tepe, Fajaz Tepe, Kara Tepe, Halcajan and Toprak Kala (Uzbekistan) and Mansur Depe (Turkmenistan) have been tested by chemical, spectrographic and chromatographic methods to determine the components of the pigments and the binding media of the ground and the paint.

With few exceptions, due to the local particularities resulting from direct hellenistic influences or atmospheric conditions, the uniformity of the ground preparation techniques never allow datation of the murals.

It is clear that the painters knew the prescriptions of the silpas. They apply strictly the four steps described for the execution of the murals: preparation of the ground, drawing, filling in with paint, outline.

Conclusion drawn from these technical experiments challenge some earlier affirmations on Central Asian Painting and record for instance most of the time the lack of indigo and green colour, the use of ultra-marine for the antique period and the continuity of the loess ground or well-prepared subjectile tradition, as well as the presence of a binding medium in a paint always applied a secco.
Le voyage des motifs. I. Le trône aux lions et la porte aux lions
Authors: Berthier François
Published: July 2010

A Japanese embroidery of the 8th century represents Buddha being seated on a throne with two lions at right and left sides. This buddhist theme is often seen in China and came from India and Gandhāra, where it had appeared about the beginning of our Era. But its origin seems older: a Mesopotamian statue dating from the 3rd millenary and an Anatolian little figure from the 6th millenary represent the Great Goddess on a seat flanked by two lions (or panthers). The small statue from Anatolia is probably the archetype of Cybelia, the Mother- Goddess which was adopted and worshipped by Romans. Therefore the Oriental lions throne was introduced in Europe. At least from the 9th century, it was the seat of kings and saints. In the Middle Age, we can see in Italia bishops chairs adorned with two lions.

The theme of the lions gate appeared in the Near East around the 19th- 18th centuries B. C. Then it passed to Greece and Turkey. From that crossroads, this subject spread towards both East and West. In india, lions couples are guardians of stûpa; in China, they protect tombs, temples and palaces; in Japan, they swarm in shintoist shrines. In Europe, guardians- lions are seen since Roman period. Then they are frequent at the gates of Romanesque churches, in Italia, in France, in Spain and even in Scandinavia. The royal couple stands also in front of secular monuments as Italian villas or French castles. Lastly, the theme of lions gate is not rare in the streets of Paris, at the entrance of buildings dating from 19th and 20th centuries.
Śiva porteur de son propre Liṅga
Authors: Legrand-Rousseau Blandine
Published: July 2010

This article brings out a set of images of Indian dynasties cālukya, pallava, rāstrakûta and cola.

These representations are spaced out between the VIIth century and the beginning of the Xth century. They show the god Siva in his anthropomorphous aspect carrying his own Linga on his shoulder or in his hand.

An account from the Kotirudrasamhitā of Sivapurāna seems close to the representations mentioned above. Moreover, a late Vîrasaiva text, the Sivatattvaratnâkara bears testimony of ever- lastingness of the theological concept expressed by these ancient pictures.

The genealogical chart made up from the Vàkâtaka inscriptions about the Bhārasiva kings (Vth century) who carried the Linga on their shoulders highlights the kinship between those kings and the great Gupta dynasty. Eventually the documents would seem to prove the existence of a link between a puranic theme, the religious observances of Saiva sects and the representations studied here.
La Naissance de Tīmūr : une illustration inédite de l'Akbar-nāme
Authors: Okada Amina
Published: July 2010

In 1990, the Guimet Museum was fortunate to purchase a newly discovered page from the first volume — now lost — of the famous Akbar-name, the chronicle of the reign of the Mughal emperor Akbar written by his biographer Abu'l Fazl. This page, which shows the birth of Amîr Tïmûr, Lord of the Astral Conjunction — and which is the work of two great painters of the imperial kitâb-khâne, Shiv Dâs and Miskïnà — ranks among the finest illustrations of this renowned manuscript. Moreover, given its peculiar subject — the birth, not of a Mughal prince or emperor, but of Amïr Tïmūr, the illustrious ancestor of the Mughal emperors — , it betrays in a very convincing way the Mughal rulers' enduring concern for dynastic and political legitimacy.
Le Monastère de la Félicité Tranquille, fondation impériale en Mongolie
Authors: Chayet Anne , Jest Corneille
Published: July 2010

Among the numerous Buddhist temples and monasteries built in Mongolia between 16th and 20th century, Amarbayasgalan, imperial foundation, 278 kilometers in the north-east of Ulan- Bator, is one of the very few to have escaped, at least partly, the destructions of 1937.

It was built in the time of Emperors Yongzheng and Qian- long, between 1727 and 1736, to shelter the reliquary of the First rJe-btsun dam-pa, the highest religious authority among the Qalqa Mongols, and one of the great figures of the history of Buddhism in Mongolia, as well as an important partner in the Emperor Kangxi's policy concerning Tibet and Mongolia.

The general features of the remnant temples are obviously Chinese, but the main temple, the Cogcin, is a very peculiar illustration of the imperial policy, associating some faint Tibetan reminiscences, stronger elements of Mongol tradition and an overwhelming Qing splendour and technicity.

A conservation program is under way with UNESCO support and advice.
Le voyage des motifs. II. La Lune, le Soleil et le Feu
Authors: Berthier François
Published: July 2010

In Japanese Buddhist sculpture and painting of 7th and 8th centuries, several bodhisattva have their tiara or diadem decorated with a disk cradled by a crescent. This pattern is also seen in Korea and mainly in China where it appeared about the 5th century. Some scholars had shown this disk-and-crescent motif, which is rather frequent in Buddhist paintings of Afghanistan, took its origin from Sasanian kings crowns. But in fact, it is more ancient: we can see it on the rock grave of King Darius (522-486 B.C.) and even on a cylinder-seal from Susa dating from the 3rd millenary. This motif is probably an abbreviated repesentation of the Sumerian astral trinity, that is to say Moon, Sun and Star (planet Venus). On the other hand, the disk-and-crescent pattern is seen too in Egyptian art. For example, the Sun cradled by horns of god-bull Apis and goddess-cow Hathor, or covering the head of Sun-god Amon-Rê's sacred ram. By the way, the theme of solar ram had existed in Northern Africa since the Neolithic period, and is also known to-day in Western Black Africa.

Another pattern in Japanese Buddhist sculpture of the 7th century is flames springing from bodhisattva shoulders. Unknown in Korea, very rare in China, this motif appeared in certain of Gandharan statues. But its origin is older: such flames are spurting out of shoulders of Babylonian Sun-god Shamash, as it is represented on the famous stele of Hammurabi's Code (18th c. B.C.) and also on Mesopotamian cylinders from the 3rd millenary. The fact that this Fire motif had been transmitted to Buddhist statues let suppose relations between Buddha and Light or Sun gods in Middle and Near East, especially Persia. And the golden colour of Buddha's body has perhaps some connection with beliefs of ancient Egypt.
Les miniatures indiennes de la collection Feuillet de Conches
Authors: Lobligeois Mireille
Published: July 2010

The collector Félix Feuillet de Conches (1798-1887) wanted to make La Fontaine's Fables known in every country of the world. In India, Generals Allard and Ventura, who were in the service of Ranjit Singh, Maharajah of Lahore, acted as intermediaries. In 1837 they had miniatures made at Attock (Punjab), of which 64 remain and on which are 59 illustrations of the fables. The painter was Imam Bakhsh Lahori, though he was probably assisted by another artist. This would explain certain variations in the quality, particularly in the treatment of the animals. However, these paintings are bursting with colour, gleaming with gold and remarkable for their variety and for the perfection of their composition. The European influences occasionally appear in an unusual manner. On the other hand, the snow-covered mountains of the Himalayas constitute scenery unusual in the illustrations of the Fables. Some of the fables were inspired by Indian stories, and this therefore represents a « return to the sources ». These pictures are kept at the Musée Jean de la Fontaine at Château-Thierry.
Un « peintre du dimanche » à Angkor : Jean Commaille
Authors: André Nadine
Published: July 2010

Widely known for being the first curator of Angkor, Jean Commaille (1868-1916) is not so known for his pictural activity. Today his original works are kept at the École Française d'Extrême-Orient. It is about water-colours, oil paintings, washings, charcoals and drawings. In the last decade of the 19th century, Jean Commaille arrives in Indo-China with the Legion. Then, he goes in the civil Services of the Protectorate and does his first visit to the khmer temples and notably he stayed in Angkor in 1899. After having filled various offices within the E.F.E.O., he is selected to occupy the first curator's post of Angkor in 1908. As soon as 1898 and at least until 1914, accounts of his artistic works are found. Dates allow to mark out his itinerary across Phnom Chisor, Prah Khan de Kompong Svay, Angkor Vat, Bayon, Bakong... However, from a stylistic point of view, a sudden transformation in his painting is noticed between 1898 and 1913 : this stays the most characteristic point of his work. Within the space of fifteen years, J. Commaille diverted from soft and harmonizing colours to adopt dense, luminous and distinct tonalities, whereas his touch is henceforth marked. From a very objective representation, without any emotion, nearly at the image of a coloured architectural turned-up, he has come to paintings strongly coloured, where the monuments tend to disappear. His first works, very sober, do not come from a distinctive style. However, from 1913, his works are at the same time colourless and more composite. It means that on top of a personal marked touch, varied influences are brightened. We can imagine that, charmed by the khmer temples he discovers in 1898, J. Commaille decides to reproduce them with the help of precise line and some colours. Gaining self-confidence, he tries to go further in his return, all the more that others give him the exemple. So he lets himself attract by movements like "néo-impressionisme" or "symbolism" that the public opinion has finally accepted.
Art rupestre du bassin de Minusinsk : nouvelles recherches franco-russes
Authors: Francfort Henri-Paul , Sacchi Dominique , Sher Jakov A. , Soleilhavoup François , Vidal Pierre
Published: July 2010

The article is an account of a Franco-Russian field work performed in the summer of 1992 in Southwestern Siberia, in the Minusinsk basin (Khakassia). Prof. Ja. A. Sher gives an historical account of the researches in rock art in this area, from the 17th century to present days. F. Soleilhavoup, geomicrobiologist, demonstrates that the patina and calcification on the rocks surfaces, before and after the creation of the petroglyphs, are of biological origin (bacterias, etc.). He describes in detail the methods used to evidence this old microbiological activity and to reactivate the organisms in vitro. These methods have a great potential for datation and restauration of stone moments. P. Vidal describes the way the photography records are used (notably stereomacrophotography), as well as a method of watching the evolution of rock surfaces. H.-P. Francfort and D. Sacchi give a full archaeological account of some surfaces, from fresh drawings. It appears that seasonality is a central concept in this naturalist art. It is argued that the traditional concept of a Neolithic art of elk hunters and a Chalcolitic- Bronze Age art of pastoralists (engraving images of bovids) is not enough founded. More reflexion and new interpretations are hoped, based on the elaboration of an extensive corpus of Central Asian rock art.
Propos sur Tham Phra Photisat et les cavernes bouddhiques de Thaïlande
Authors: Boisselier Jean
Published: July 2010

Nowhere in the whole Indochinese Peninsula — and not in Thailand either there exists such a Rupestrian art as the one in India or China. But, on the other hand, the use of natural caves by Buddhist monks does testify of its existence during the Dvaravati period (c. VIIth-IXth centuries). First revealed by the presence of deposits of the votives tablets, the occupation of the caves also — sometimes — let to the crafting of wall sculptures of Buddhist inspiration. Varied techniques were used: direct sculpting of bas-relief, reliefs completed with stucco or even using raw clay. Today, seven of these caves are known in a region extending from Surat Thani, in the South, to Si Thep, in the North. Despite the poor state of conservation of the sculpture, these caves reveal one of the most remarkable aspects of the Dvaravati art. Discovered circa 1965, Tham Phra Pothisat (or Tham Ngam) offers a special interest because of the quality of the craftsmanship and the unusual character of the illustrated theme. Putting together the Teaching Buddha and two divinities from the "Terrestrial World", Siva and Vishnu, this scene is not mentioned in the canonical texts, but some local cosmological treatises, such as the Burmese Lokapannatti, can help to understand it. By showing the contemporaneousness of some representations of the Buddha, Siva and Vishnu reunited for the first time, this scene guarantees the pertainance of those images to the Dvaravati Art. The interest for these caves of the VIIth-IXth centuries period seems to be justified by the Buddhist cosmology as much as the story of the Buddha's Life depicted.
Agriculture irriguée et art bouddhique ancien au cœur du Taklamakan (Karadong, Xinjiang, IIe-IVe siècles) [Premiers résultats de l'expédition franco-chinoise de la Keriya]
Authors: Debaine-Francfort Corinne , Idriss Abduressul , Binhua Wang
Published: July 2010

The Sino-French Archaeological Expedition in Keriya has been settled in the frame of an official program of field cooperation signed between the UPR n° 315 in CNRS (France) and the Institute of Archaeology in Xinjiang. In a first stage, the program is focussed on the exploration of the Keriya valley in Southern Xinjiang (Khotan region). The aim is to find remains of an ancient human occupation along the ancient dry courses and deltas of the river, to date this occupation, and to study it in relation with the moves of the river in an environment turning into a desert. A first survey has been conducted in 1991. New sites has been discovered which are the vestiges of an ancient oasis approximatively dated between the 2nd and the 4th centuries A.D., with Karadong as the center of it. In 1993, a joint excavation has been carried out at Karadong (the first joint excavation undertaken in China since 1949). New archaeological remains has been discovered, including houses, craft areas, irrigation canals, traces of fields and orchards, ceramics showing contacts with the Kushan world and Central Asia, objects in metal, wood and glass, fragments of fabrics, etc. We also excavated a small square Buddhist temple with many fragments of wall paintings of an original style, one of the most ancient ever discovered in Xinjiang.
Une peinture de Dunhuang conservée à la Bibliothèque Nationale de France
Authors: Wang-Toutain Françoise
Published: July 2010

Among the paintings recovered from Dunhuang, the one kept in the Bibliothèque Nationale de France under the number Pelliot chinois 4070, has been identified in catalogues as a representation of the bodhisattva Ksitigarbha, the great savior of the hells. The purpose of this study is to demonstrate that this image is in fact a representation of a great Chan master. Unlike in India, in China and adjacent countries, Ksitigarbha is always depicted as a monk and in Dunhuang and Sichuan particularly, his head is covered by a shawl. That is the main reason why the painting Pelliot chinois 4070 was regarded as a representation of this bodhisattva. But many details enable us to say this is not well-founded. First of all, the man does not carry the khakkhara and the cintamani, the caracteristic attributes of Ksitigarbha, nor does the aureole or the nimb, appear behind him. But most important, shoes are represented under his seat. How could bodhisattva wear shoes ? They always just have lotus under their feet. The two young people flanking him cannot be the young divinities, in charge of controlling the acts of beings, which frequently figure with Ksitigarbha. Considering the things they hold, they are more certainly two attendants of a great master. We have suggested with great reserves that the monk represented on this painting could be Sengjie, the great Chan thaumaturge who lived in the 8th century. Many documents found in Dunhuang attest that he was popular in this region and some sculptures of Sichuan show him with the same type of clothing. But this remains a mere hypothesis and the only thing we can be sure of concerning this painting is that it does not represent Ksitigarbha but a great buddhist master.
A propos d'un cimetière Liao. Les belles dames de Xiabali
Authors: Elisseeff Danielle
Published: July 2010

New excavations in a small cemetery (Xiabali, Xuanhe, Hebei prov.) of the end of the Liao dynasty are presented here. A particular attention is payed to tomb n° 3 (end of the 12th century) : a house-like burial with some very fine but intriguing wall-paintings. An important feature is that this Buddhist cemetery is located in a geographical area where Chinese and non-Chinese societies traditionaly met, and this graveyard is a fascinating example of culturaly mixed archaeological remains. The place is relatively well preserved, well dated (1093- 1117) and original : ashes of incinerated corpses were kept in wooden figurines. The most difficult question is raised by the interpretation of wall-paintings. Although this question cannot be answered before a large scale program of Liao painting study be completed, the urgency of such a research is stressed through this new and challenging discovery. The difficulties of pictures interpretation are subsequently underlined and a new approach is suggested, which is based on an entropy-like notion, in order to interpret pictorial transformation in a changing society.
Du néolithique à la civilisation de l'Inde ancienne : contribution des recherches archéologiques dans le nord-ouest du sous-continent indo-pakistanais
Authors: Jarrige Jean-François
Published: July 2010

This article develops some of the points which were discussed in the keynote address of the Annual South Asian Conference in Madison in November 1994. The main question was to know what was the true significance of the pre- and protohistorical investigations in the Indo-Pakistani subcontinent for the specialists of the later Indian civilisation. It has often been thought from the archaeological record that a very important break had occurred between the end of the Indus civilisation and the coming of the Indo-Aryans which could mark the true begininng of the Indian civilisation. The controversy between those who assumed that the Indian civilisation owed some of its aspects to the earlier Indus civilisation and those who were convinced that there was very little to sustain such an assumption is still far from being settled. Using some of the new data provided by the work of our archaeological mission in the Kachi/Bolan area (Mehrgarh, Nausharo, Pirak) and the available information about the Indus civilisation, we first stress the fact that many features of the cultures of Balochistan and of the Indus civilisation ranging from craft activities to burial practices are highly original when we compare them with what we know from the contemporary cultures and civilisation of Middle Asia, Central Asia and Egypt. Then our assumption is that such original features including the apparent absence of the royal and religious apparatus found everywhere else in the great civilisations of the Antiquity could precisely provide us with some important key to understand some of the very specific elements of the Indian civilisation. It is also assumed that the particular agricultural system of the Northern part of the subcontinent with the summer flood of the Indus and the summer monsoon is also a major factor which has contributed to the originality of the subcontinent from the Neolithic period till the historical time. Before concluding, the question of the Indo-Aryan invasion is briefly discussed. In spite of obvious factors of continuity between the 3rd and the 2nd millennium BC, excavations at Pirak (Balochistan) and in the Swat Valley show the occurrence of major changes around 1800 / 1700 BC. The farming economy with the beginning of the system of two crops a year and the arrival of the first horsemen are among the most spectacular new features of the 2nd millennium BC, in a context antecedent by a few centuries to the earliest possible evidence of the Vedic culture. The gap between the end of the cities of the Indus civilisation and the estimated age of the beginning of the Vedic period is now filled by many archaeological finds which change entirely our perception of the 2nd millennium BC and we can now assess that from the Neolithic time till almost today there has never been in spite of spectacular changes in the course of time, a definite gap or break in the history of the subcontinent.
Bustan VI, une nécropole de l'âge du Bronze dans l'ancienne Bactriane (Ouzbékistan méridional) : témoignage des cultes du feu
Authors: Avanessova Nona
Published: July 2010

A cemetary, Bustan VI, situated near the site of Dzharkutan in southern Uzbekistan, dating back to the last phases of the Sapalli Culture (Mollali and Bustan), has been excavated by the author during the last years. Several types of tombs and different rituals, apparently all taking place at the same time, have been noticed in the different areas of the cemetary. Both inhumations (sometimes secondary) and cremations were practised, and the author considers many of the observed rituals to be evidences of a cult of fire. In the central part of the cemetary, three special brick constructions are thought to have been used as crematorium. They are surrounded by three altars, one dedicated to libations, the second to ritual meals and the third to sacrifices (for animals and human beings), and by hearths. Tombs where cremation is attested are not very numerous and placed in a special area of the cemetary. In them and the other ones, many different symbols considered as elements of a fire cult have been found : charcoal, ashes, ochre, gypsum, and series of similar but not identical small objects made out of raw clay (miniature altars, vases, spoons, anthropomorphic figurines and conical "tokens" grouped by three). The author establishes links between these completely new rituals and symbolic items and the arrival of Indo-Aryan tribes which she connects mainly to the Andronovo Culture because of the presence of a few Andronovo sherds and metal objects, and similarities in the rituals.
Note sur Kumbhakarṇa dans l'iconographie khmère
Authors: Giteau Madeleine
Published: July 2010

Among the representations of the Ramayana in Cambodia, the battle of raksasa Kumbhakarna, Ravana's brother, against Rama's army appears in both the Angkorian and modern arts. Angkor iconography follows Valmiki text (Baphuon, Thammanon, Khao Phanom Rung temples), favouring two episods : Kumbhakarna's awakening and his struggle with a host of monkeys. Modern iconography follows the Ramakerti which is the Khmer version of the Ramayana (S. Pou, Ramakerti (XVIe-XVIIe siècles) Paris 1977) as well as an early twentieth century text written by a high ranking Khmer official, Oknha Veang Thiounn. In these texts, Kumbhakarna's struggle is, together with that of Indrajit, one of the great battles which precede the final mêlée. This series of episods has been depicted in the paintings in the cloister of the Silver Pagoda in Phnom Penh, and those of Vat Bho sanctuary in Siemreap, as well as on the cement reliefs of Vat Kdol surrounding wall, in Battambang. In the most original paintings in Vat Bho, scenes displayed one on top of the other recall the pictures which appear on the screen of the Shadow theatre in Siempreap. The paintor showed in the sequence of scenes Ravana's call to Kumbhakarna, Kumbhakarna's act to deprive Rama's army of water, his asceticism to obtain a magic weapon, and finally his last battle. In this ultimate episod, Oknha Veang Thiounn's text introduces a buddhist note : dying Kumbhakarna is depicted sitting in meditation; as a matter of fact, having acknowledged the sacred nature of Rama, he will be able to be reborn in the Tusita heavens.
The Moutuo Bronzes : New Perspectives on the Late Bronze Age in Sichuan
Authors: Falkenhausen Lothar
Published: July 2010

Une centaine de bronzes de styles très divers ont été découverts dans une tombe à cistes et dans trois dépôts funéraires situés à Moutuo, dans le district de Mao (Maoxian) au Sichuan. D'un caractère hétérogène sans précédent, cet assemblage comprend 1) des vases et des cloches provenant des États de la Chine des Zhou — l'un d'eux, un tripode ding dans le style de Chu, porte une inscription — ; 2) des objets provenant d'ateliers situés dans le bassin du fleuve Bleu en dehors de la sphère culturelle des Zhou ; 3) un nombre considérable d'armes de « Ba-Shu » fabriquées dans le bassin du Sichuan ; et 4) un ensemble composé d'armes et d'ornements dont l'origine est difficile à préciser, mais qui montrent des ressemblances particulières à la fois avec des objets relevant des traditions steppiques et avec des bronzes de Dian. L'ensemble de ces bronzes permet de poser de nouvelles questions quant au caractère de la « culture des tombes à cistes » des montagnes du Sichuan occidental à la fin de l'Âge du Bronze, et plus généralement de s'interroger sur les échanges qui s'établissaient avec des régions écartées, situées à la périphérie de la Chine des Zhou.

Avant de poser des questions de portée plus large, il convient d'établir la chronologie de tous ces objets. Cette tâche soulève de nombreux problèmes, en partie parce que la chronologie générale des découvertes archéologiques du Sichuan qui est communément acceptée de nos jours souffre de graves lacunes et présente des contradictions. Comme, dans l'assemblage de Moutuo, aucun vase ni aucune cloche relevant de la sphère culturelle des Zhou ne semble postérieur à la période des Printemps et Automnes (770-481 avant J.-C), on peut penser qu'il en est de même pour le reste du mobilier, bien qu'il soit encore impossible de le définir sur le plan archéologique dans le contexte du bassin du Sichuan. Si cette hypothèse est correcte, il en résulte que : 1) la datation sans distinction de toutes les armes de « Ba-Shu » (et de tout contexte archéologique associé à ce type d'armes) ramenée à la période des Royaumes combattants (481-221 avant J.-C.) ne tient plus aujourd'hui ; 2) les objets difficiles à identifier sur le plan culturel à Moutuo seraient représentatifs de la production métallurgique du Sichuan occidental et formeraient un jalon, en raison aussi bien de leur datation que de la position géographique du site, dans la diffusion souvent postulée — mais qui jusqu'à présent n'avait pu être démontrée faute de sites — d'éléments culturels de la steppe eurasiatique vers le Yunnan au cours de l'Âge du Bronze. Ce phénomène, d'une portée historique importante, annonce la genèse de la culture de Dian.
Une chinoiserie insolite : étude d'un papier peint chinois
Authors: Berger Günther , Watabe Takeshi , Métailié Georges
Published: July 2010

Although Chinese wallpaper was appreciated by the 18th century Europeans, and can be found in a number of castles throughout Europe, it did not attract the attention that Chinese porcelain or lacquer did. The wallpaper example presented here is quite special in that it shows unusual scenes of Chinese rice cultivation, and silk, tea, and porcelain production instead of the common ornamental flower and bird motifs. Depictions of rice cultivation and silk production can be found in Geng zhi tu paintings and prints starting from the Song period. Representations of porcelain techniques and tea production, however, might date no earlier than the 17th century. The wallpaper of this study offers, therefore, probably one of the earliest examples. It is currently housed in Germany where it was transferred from one of the castles of Empress Maria Theresia of Austria who seems to have had a passion for things Chinese.
Sites portuaires et emporia de l'ancien Sri Lanka. Nouvelles données archéologiques
Authors: Bopearachchi Osmund
Published: July 2010

The main aim of the article is to discuss how the results of our investigations on the organization of maritime trade in the Indian Ocean connected with Sri Lanka, throw light on the trade relations with Iran, Central Asia, Northwest India and South India. New archaeological evidence has been obtained from the exploratory programme on the ancient western and southern ports of the island. The most important characteristic of all ancient ports of the western and southern coast and many others around the island is their geographical situation at the estuaries of rivers. The location of emporia along rivers must have facilitated transactions with the interior regions. The positive results of the explorations and excavations carried out since 1994 and our research on beads, iron metallurgy, inscribed coins, seals, sealings and imported pottery, put into question most of the previous hypotheses on the organization of trade activities in the island. It is now evident that Sri Lanka cannot be isolated from the regional exchange pattern connected with India and dating back to the megalithic period.
Les Seize Arhat dans la peinture chinoise (VIIIe-Xe s.) et les collections japonaises : prémices iconographiques et stylistiques
Authors: Mesnil Evelyne
Published: July 2010

A l'appui des sources écrites et de l'analyse de rouleaux peints conservés dans les collections chinoises et japonaises, cet article propose de définir la genèse stylistique et iconographique des Seize Arhat dans la peinture bouddhique du VIIIe siècle au Xe siècle. A travers l'œuvre de Lu Lengjia, la prédominance des arhat en séries de seize, traités à la façon des portraits de moines éminents, est attestée dès le milieu du VIIIe siècle. Sous l'impulsion d'un marché intense et d'une large diffusion, notamment pour des raisons religieuses, la peinture d'arhat apparaît, au début du Xe siècle, extrêmement diversifiée. Deux courants iconographiques se partagent alors l'inspiration : le courant « atemporel » de composition minimaliste et le courant « anecdotique » à l'environnement détaillé relevant des arhat à l'aspect humain de Zhang Xuan (actif ca 908- 910). Devenu aux siècles suivants la référence en matière de peinture d'arhat, le moine Guanxiu (839-912) en développa trois styles : réaliste, mais surtout grotesque et simplifié, tous trois perceptibles dans la série complète de la collection impériale japonaise. Stèles, xylographies et descriptions littéraires ont contribué à la transmission de la tradition picturale des arhat selon Guanxiu. La similitude de certains détails de ses arhat avec ceux du Seiryoji et du Kodaiji et avec ceux peints par Liu Songnian (ca 1207) montre l'influence durable de Guanxiu sous les Song. Plutôt qu'une création délibérée, l'addition de deux arhat supplémentaires dans certaines séries apparaît comme une incohérence. Celle-ci résulterait du processus de copies stimulé par la fonction magique que l'on prêtait aux œuvres de Guanxiu.
La peinture des donateurs du temple de Maitreya en Mongolie méridionale
Authors: Charleux Isabelle
Published: July 2010

Le Mayidari-yin juu, temple bouddhique fortifié fondé en 1575 par Altan qan des Tümed à 70 km à l'ouest de Hohhot en Mongolie méridionale (Région Autonome de Mongolie-Intérieure, Chine), a conservé un important décor mural que l'on peut dater du début du XVIIe siècle. Les donateurs mongols qui ont financé les constructions et réparations de 1606 sont représentés dans le registre inférieur du mur occidental du sanctuaire. Jüggen qatun, célèbre troisième femme d'Altan qan, et Macay qatun faisant face au Mayidari qutuytu, occupent le centre des deux parties de la peinture. La variété des costumes, des chapeaux et des coiffures fait de cette peinture un document ethnographique unique en Mongolie méridionale. La peinture des donateurs est ainsi le résultat de la rencontre entre religieux de diverses obédiences et artistes mongols, chinois et tibétains.
Étude pétrographique des collections « gréco-bouddhiques » du musée Guimet
Authors: Cambon Pierre , Leclaire Alain
Published: July 2010

The analyse takes over the work started in 1962-1963 by Liliane Courtois with the sculptures of the so-called Graeco-buddhist school in Northwest India, a school which developed under the Great Kushans (1st - 3rd cent. A.D.) Starting with a much richer line of samples (196 pieces have been collected), it takes into account the nowadays available data about geology of Afghanistan and North Pakistan. The results confirm the homogeneity of the material used in Gandhara art, to which is related the group of schists from Hadda. This group includes nearly identical rocks - the only exceptions are related to Swat, with chloritite as a case apart. Opposite is the group of pieces from Kapiça, the plain of Begram close to Kabul.