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Παρασκευή 20 Οκτωβρίου 2023

CHINESE CIVILISATION AND ITS AEGEAN AFFINITIES: A SUMMARY

CHINESE CIVILISATION AND ITS AEGEAN AFFINITIES: A SUMMARY


This book, written in Greek, critically examines the view that China developed a complex society and high culture without external influence. It is here illustrated that contact and interaction did take place, based on mobility, migration and exchange processes mainly along the Eurasian Steppe Highway and the Silk Road. Not solely via the nomadic tribes but certainly through their agency as well, said interaction included the Mediterranean and Bactria-Margiana Archaeological Complex, as well as Afanasevo and Andronovo cultural horizons. The Hellenistic civilization is shown to be a significant party in this cultural encounter, mainly through its local cultural hybrids of Greek–Bactrian and Greek-Indian polities! The use of gold and silver as preferred luxury materials and the appearance of realistic life-size sculptures are only indicative examples with a rather pronounced Greek dimension; the above, together with architecture, landscape painting, various jewellery techniques, martial arts, and so much more, all owe a great deal to the Aegean heritage.


Concluding remarks

The discovery of mummified remains in the Tarim Basin and the wider Xinjiang area as well as the relevant genetic study on them, confirm the settlement of non-Chinese races in the region since the beginning of the second millennium BC.[11_1] The genetic identity of these settlers has been determined as of European type while in many cases their origin was certified as emanating from the Eastern Mediterranean in particular. 

On the other hand, it seems that major discoveries or innovations were introduced to China from abroad, mainly from the second half of the second pre-Christian millennium onwards. Xinjiang proves beyond any doubt not only as the area of interface with the external environment but also as a place where racial intermixing took place and where important innovations sprouted for the first time on Chinese soil.[11_2] Metalworking, the domesticated horse, the chariot, the domestic wheat are some of the elements that impregnated Chinese culture, in the field of its material culture, which are estimated to be connected to one degree or another with the Afanasevo and Andronovo cultural horizons. Religious, cosmological and other views and ideas also influenced and shaped the spiritual identity of this great civilization. 

Today we know that Chinese culture developed in the framework of an interdependent world where influences and imposition were much stronger and more decisive than we previously thought. The opinion that China developed a high level of civilization devoid of external influences and that it has been the ‘cradle of civilization in the East’ is proving to be-in the first part - inaccurate. Rudyard Kipling's famous phrase: 

East is east and west is west and never they will meet 

is proven to be wrong by the facts: there was contact and interaction and in fact multiple, with the nomadic tribes of the Eurasian steppe, the Mediterranean, the Oxos and the Indus, up to the Hellenistic factor and its cultural hybrids in Bactria and India, and this communication and conciliation proved to be very fruitful! 

Direct political or military contact of the Chinese with the Greek element is confirmed or considered probable for a few cases, despite the fact that the mythological tradition of Central Asia refers to the campaign of the Macedonian Shah-i-Duhan against the Chinese in the very old years![11_3] The oldest (? ) contact is placed during the reign of Emperor Wu when the latter succeeded in conquering and enslaving Dayuan (Greater Ionia?) and Alexandria Eskhate during the War for the Celestial Horses of the latter, in 104 - 102 BC.[11_4] Then, when an alliance of the Han with Hermaeus was reached in order to confront the Sakes of Jibin, with these relations being maintained, at times friendly and at times belligerent, until the dethronement of the Greek ruler. Also during the Battle of Talas in present-day Kyrgyzstan when Greeks seem to have fought in the Roman Apollinaris Legio XV (36 BC). Finally between 64 BC and 114 AD[11_5] Claudius Ptolemy, Ptol.Geogr.1.11.7, refers to the organization and execution on the part of the Macedonian Maes Titianos[11_6] of an exploratory and trade trip from the Mediterranean to the Stone Tower in Xinjiang,[11_7] and then unto the Chinese palaces of Emperor He.[11_8]

Εικ. 11_1:  Χρυσά πλινθία Δυτικών Han σχήματος οπλής ίππου από τον τάφο του Marquis of Haihun

In the wider Eurasian region high civilizations flourished that influenced the Chinese, being in interdependence as a whole. In Central Asia during the Bronze Age, until the middle of the second millennium BC, the culture of Bactria - Margiana Archaeological Complex

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(BMAC) flourished, while in neighboring India the culture of the Indus Valley. Since the first external influences on emerging Chinese culture date back mainly after the decline of these cultures, any influence exerted by the latter could be linked to population movements from the BMAC and Indian centers, without ignoringin direct contact through trade relations or through the moving steppe pastoral populations from thesteppes.[11_9] Indeed the comparison of cloth prints on pottery originating on the one hand from the Begash (Seven Rivers Region, Semirechye East Kazakhstan, period 1600-1000 BC, and on the other hand by Gonur (of the period 2200-1800 BC), revealed that they were fabrics of the sametype.[11_10] It is estimated that this is a presumption for the existence of contacts and the diffusion of technologies with a source in the BMAC and mediators of the migrating pastoral populations with a temporary headquarters in Begash on the borders of China. 

The same researchers, Doumani and Frachetti, also believe that the discovery of cloth-shaped pottery in Ferghana of the late second to early first millennium BC. may support the existence of a wider material base for the commercial networks in this region.[11_11] Moreover, recent research has revealed additional evidence of contact of the Oxus culture with the Qijia and Erlitou cultural circles, while the contact of the Chinese area with the Indian subcontinent and NE Asia have played an important role from the last pre-Christian centuries onwards. 

Farther away were the civilizations of Mesopotamia, Egypt and Greece, while the nomadic peoples of the wider region were not absent. Little is known about the mechanism of influence and their historical details, but from the result and further taking into account the findings of genetic research, we can assume that the greatest influence was exerted by population groups of European related descent originating from the two affiliated Asian cultures as well as from other population groups more or less influenced by them. The direct influence of Egyptian culture can be considered negligible,[11_12] due to the ‘endoscopic’ attitude of the latter, while the influence of Mesopotamia should also be considered indirect. In any case, however, we must not miss the fact that up to, at least, the borders of (later)China, that is, up to the Anau, the Bactria and the Indus River, as early as the third millennium BC there were trade routes that enabled the communication and dissemination of cultural elements, and even the creation of a commercial-cultural sphere from the Mediterranean to the Indus.[11_13] Given the performance of the Aegeans in trade, their involvement in this activity is highly probable, as they seem to confirm relative archaeological evidence. In this case, the relevant myths referring to the ancient campaigns of Dionysus and Hercules at the ends of the world may reflect real events. It has already been noted that from 2000 BC. Population 

Fig. 11_1: Alexander the Great in his legendary ‘meeting’ with the King of China (Nizami Ganjavi – Walters W612307B)

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movements to China itself took place around the same time, while similar but older migrations are reported starting from present-day Kurdistan, Asia Minor, the Aegean to the area around Lake Urmia, to Bactria-Margian of the Oxus culture (BMAC)![11_14]

The creation of the Persian Empire expanded the borders of the known world and created further possibilities for the permanent or temporary settlement of Greeks, in large numbers - as a distinct community or as individuals - in distant parts of its territory and beyond. It is characteristic that Darius I during the sixth / fifth c. sent the Greek Skylax of Caryanda to explore the Asian coast across the Indus River, Hdt. 4.44.1-3, without necessarily being the oldest relevant exploration effort. Following this successful mission, Darius subdued the Indians and made use of their sea. The presence of the Greeks at least from the sixth / fifth century BC in various places is historically confirmed. Indeed, the highly educated Branchidae are said to have settled in Sogdia, Curt. 7.5.28-35 and Strab. 11.11.4, the Barceans in the Bark (Balkh) of Bactria, Hdt. 6,204, the Milesians in the Persian Gulf Ambe, Hdt. 6.20, the Eretrians in Cissian land of south Persia, Hdt.6.119.2,[11_15] while the diffusion of Ionian ideas in the wider region is undeniable, already from the time before Alexander the Great.[11_16]  OK

Indirect or direct trade contact with India is presumed by Sappho's reference to cassia (cinnamon, Cinnamomum iners), Sapph.Supp.20c.2, most likely of Indian origin, while in Heraion of Samos dried flowers of the same plant have been found. parrots that live in this subcontinent.[11_17]{7_148} The Indian grammarian of Sanskrit Panini, who clearly lived before the Alexandrian era, also refers in his Grammar to Ionians, under the name Yavana,[11_18]{7_148a1} some of whom he apparently met during his tenure at the University.[11_19]{7_148a2} In the Buddhist work Majjhima Nikaya we have already mentioned that the existence in the Indian subcontinent of the Greek state, Yona, specifically Ionian, is also commented. Yona and neighboring Cambodia were located in northwestern India, and according to the scriptures they had a different social organization from the other Indian states, their inhabitants had foreign habits and were known for their horse-related abilities.

The presence of Greeks in various places in the Persian Empire is also noted as a result of the professional mobility of craftsmen, architects, jewelers and many other specialties within the Persian palaces or more broadly,[11_20]{11_17} as evidenced by a number of Greek inscriptions from the period of area, Iranica online sv EPIGRAPHY, ii. Greek inscriptions from ancient Iran. Enlightening in this case is the written text NN 2261 from which it is presumed that the mission of Greek technicians to Arachosia, in the context of their work led by the Persian palaces, and their return to the center.[11_21]{11_18} From the sixth / fifth c. BC there are five engravings from the limestone quarries of Kūh-e Raḩmat near Persepolis, one of which bears the signature of a Pytharchos.[11_22]{11_19} A clay tablet from 500 BC from Persepolis refers to the Persian measure of wine (marin). From Susa comes an early Milesian dedication to Apollo (sixth century BC) engraved on an ankle-shaped brass weight, which is believed to have been transferred from the Didymian sanctuary of Miletus in 494 BC and today is in the Louvre.[11_23]{11_20}

Of particular importance is a short inscription in Greek, coming from the Archive ofthe Fortifications of Persepolis,[11_24]{11_21} while the Greek indirect presence there is underlined bythe adoption of Greek coins for the stamping of clay tablets,[11_25]{11_22} but also the finding of the so-called those of the Greek world abounded![11_26]{11_23}

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We also add an inscription of Nichokles of Sinope belonging to the fourth c. BC or earlier. According to Rougemont, the total number of Greek inscriptions that have been discovered to date in the area defined to the west by Iran and to the east by the Indus Valleyamounts to a total of 157 texts.[11_27]{11_24}

Presumption of Greek expansion and presence in Bactria centuries before the Alexandrian campaign is a silver statue of a naked young man (kouros) with a conical head covering and a characteristic short head, as well as cast heads which are thought to be parts of similar statuettes.[11_28]{11_25}

These kouros and the busts are considered works of Greek craftmanship {sculpture}, while it should be emphasized that through these items local Greek sculpure appears already established in the area. The sculptures follow the Ionian canon, but have been executed on the spot and incorporate additional local influences. At this point it is important to note the view of the researcher Wiesehöfer for the coexistence in various positions of the Persian Empire of communities of different ethnic and religious backgrounds such as Greeks, Parthians, Iranians, etc. According to him, the coexistence of these communities for a long time before the Alexandrian invasion and the arrival of Greek settlers had already set in motion a variety of intercultural processes which included art, ideas, the comparative formation of religious faith, etc.[11_29]{11_26} Without no doubt such processes intensified after the Alexandrian conquest, the colonization and the formation of Greek or hybrid states by his descendants. It is in the context of these processes that works of art of the Greek spirit such as the aforementioned combining local elements can be produced in this very early period. The 'high' dating of this kouros, of Greek inspiration and craftmanship (?), is also supported by the finding in various remote parts of the Empire, of treasure coins with a strong Greek correlation.[11_30]{11_27} Among them we may cite those from Persepolis, Ecbatana (Malayer),[11_31] Kabul,[11_32] Mir Zakah,[11_33] {11_30}Ai Khanoum and Balkh, with the latter, discovered at the site of the ancient Barca (Βάρκη), is the most important, from the point of view examined here.

Εικ. 11_5:  Χρυσό νόμισμα του Mir Zakah με τον Μ. Αλέξανδρο


It is characteristic that the above-mentioned treasure of the capital of Bactria contained more than 170 coins, most of which Athenian, the collection also does not include pieces from Aegina, Vergi or Liti[11_34] {11_31}and other parts of Thrace and Macedonia. The discovery of these 

Fig. 11_2: Brass model weight from Susa bearing dedication to Greek 

Fig. 11_3: Silver statuette of kouros from the treasure of Oxus

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Greek coins in such remote areas, and especially in Bactria, during the Achaemenid period is a result of the Greek influence there before the campaign of Alexander the Great. Indeed, according to Holt, the publication - circulation of copies of Athenian tetradrachms (glaux) in Bactria since the early Hellenistic period is not simply due to Greek colonization, but was the result of the efforts of the first Hellenistic satraps in the region (such as Stasanor and then Sophytos?) to provide a currency that was already familiar and accepted by both the natives and the settlers.[11_35] {11_32}However, the circulation as a medium of exchange of Greek coins found in treasures in various parts of the Empire is not confirmed in all cases. In fact, the last, at least, use of these of Persepolis seems to have been made for ritual purposes, since they were part of the foundation deposits of the palace.[11_36]{11_33}

The kouros and the heads are considered part of the treasure of the Oxus temple (Takht-i Sangin), and for their functionality and symbolism by the eminent archaeologist Kuzmina, interesting hypotheses have been made, with the most striking one connecting the artifacts with the worship of the related deities of Mithra and Dionysus which at this time are said to have merged! To this extent, this dissemination included the acceptance of the relevant symbolic content. 

However, at least in India Dionysus joined the Buddhist pantheon, while the acceptance of Hercules (Vajrapani), Fortune (Hariti), Zeus (Indra), North and Athena was similar. Like the Scythians of Pontus, the Cossacks in turn accepted a series of Greek gods, whom they depicted on their coins (Hercules, Zeus, Nike, Sun, Moon, Dioscuri, etc.), while others matched their counterparts with similar ones. characteristics (Oado / Vata - Wind, North).[11_38] Thus the North who with his cloak full of winds threatens to grab Oreithyia, Plat. Phaedrus 229b —230a, seems to be copied in a Buddhist relief of the Oado of Gandharan art, while it survives much later as a model of the Japanese god of wind in the sacred Myouhouin Temple (Kyoto).[11_39]

Fig. 11_4: The god of the wind: Boreas (art of Gandhara, Hadda, left), God of the wind from the Kizil of the Tarim basin (7th century, middle). God of the wind Fujin (Japan,17th century, right)

Fragment of the architectural decoration of aivan from the palace in Varakhsha, VI-VII centuries
https://uzbek-travel.com/about-uzbekistan/monuments/culture_museum/?fbclid=IwAR2UDUd2iGZasLO2d6ZAGRgsTMkT_DtbiYXytKjzkZV1WPjIHHFnkbRh1Rs



The inclusion of a distinct 'Greek' component in the religious consciousness of thepeoples of Asia concerned other races as well, such as the Isidones (Wusun?), The Sakes, etc., and emerged as a result of the strong influence of the Hellenistic period and the survival of strong Greek communities or discrete individuals of increased influence in the societies of the time. It is characteristic that in the Kushan period of Gandharan art the god of war Skanda -

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Mars is represented with Greek war dependence, implying a corresponding correlation and possibly referring to the existing Greek community in their territory.[11_40] In his article Skupniewicz examines infantry warriors appearing in the art of Gandhara during the Kushan period. The warriors are depicted as a local mutation of the supporters of the Hellenistic period (shield-bearers with spears), having wings and armor of the trunk covered with rhombuses or with staggered decoration. This may mean that Skanda (son of Shiva and god of war), often depicted with the above war addiction, was associated with the Greek population outside the caste system (Varna). The depiction of the god Skanda-Kartikeya as a hoplite - supporter -Mars - Mars may indicate the important role of the Greeks in the military history of the Cossacks, but it could also refer to the situation of the Yavana themselves, people not integrated into the caste system, but nevertheless valuable warriors or kshatriya. Therefore Skanda can not only be a deity of war, equivalent to Mars, but also, as an external child, a powerful wicked god, corresponding to the social position of the Greeks.

The shamanistic character of Asian races, where the use of psychoactive substances was adopted to promote ecstasy, was a bridge that facilitated the spread of Dionysian worship over a wide continent. Aspects of the Dionysian ritual associating the god with death and rebirth made it possible to merge his worship with that of other deities with similar references, accomplishing what we might figuratively call Dionysus' triumph! Fundamental human needs such as the idea of the son rescuing his mother from the Underworld or, more generally, the desire to reunite with loved ones who were lost[11_41] met their similarities in different places and times helping to create a relaxed religious community that the possibility for individual races and communities to specialize their theological beliefs without straying from the developed Asian religious common ground. In this cultural - religious land Dionysus can alternate with Mithras or Apollo and Virgo can be represented by Athena or Anahita, while wine can take the place of psychotropic substances leading to ecstasy and transcendence of everyday life. .. At this point we consider it appropriate to reiterate Kuzmina's view on the spread and prevalence over a wide geographical area through the comparison of the Dionysian cult, a position that is not abandoned and the views of Carey.[11_42]

In the same Eurasian region, the expressions of the Dionysian theme with its various components abound Maenads, Medusa, apotropaic heads, eros (putto), Silenus, satyrs, panthers and dragons were generously adopted in religious, burial or other environments between the Greek cities of the Black Sea, in the tombs of the Scythians / Sakas, of the Issedones, from the Chinese mainland! After all, Francfort, studying the 'art of the steppe south of Taklamakan', proclaims the existence of an artistic common in Central Asia.[11_43] Accordingly, Trousdale, in his study of the long sword of the nomads, has argued that after the conquests of Alex in large parts of western and central Asia a degree of homogeneity was restored between racially and linguistically distinct peoples.[11_44]

Hellenistic syncretism on a practical level of worship was basically a means of promoting mutual recognition between the gods of different ethnic groups and did not always involve changes in their fundamental belief in traditional deities, while at the same time being a mechanism for assimilation and naturalization of potential religions.[11_45] On the other hand, it has been argued that in the Hellenistic world and then the Greco-Roman polytheism was characterized by a multiplicity of characteristics and symbols of deities which were recognized

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differently by each group, but their exchange was unimpeded, so that as loans they were incorporated into a new framework without much difficulty.[11_46]

Based on the Greek legends, on the reports of the Greeks before the time of Alexander the Great, but also on the archaeological data, we can reasonably assume that there were ancient contacts between the Aegean and the Indus. Of course, the expansion of the Macedonians of Alexander the Great was, until the time of the descendants, the preeminent period when Hellenism met the local traditions of Asia and North Africa, resulting in the fertilization of vast areas with the Greek spirit and the creation of special cultural idioms by merging with domestic elements (comparative).[11_47] Especially for China, considered as the cultural bond of Greece in the East, the contact with Greek culture during the Alexandrian period was decisive, among other things because it coincided with the unification phase. of the country for the first time and the building of a national identity, common among the warring parties and tribes until then. 

After the decline of the Persian Empire and the emergence of Alexander the Great and his descendants, the Greek influence in China strengthened, while the influence of a number of nomadic tribes was also significant. After all, the transport of goods for commercial purposes had one or more intermediate stations,[11_48] involving more factors. Among them, the bloodthirsty Scythians and the Parthians, more or less carriers of the Greek cultural idiom themselves, also functioned as intermediate belts for the transmission of Greek and other influences. Indeed, the Scythians, being in close contact with the Greek element in the Black Sea and elsewhere, [11_49] as well as with the Middle Eastand the Iranian populations, absorbed influences, often Greek, and subsequently transmittedthem.[11_50]

Greeks and Scythians came into close contact mainly in the Black Sea, where they coexisted in the Greek colonies there, maintaining relations which changed from friendly to hostile - warlike. The case of the Scythian Anacharsis is typical, who, Greek from his mother, during the sixth c. e.g. received the rights of an Athenian citizen while he is said to have been ranked among the seven sages. Later, however, while in one case the Scythian king Ateas asked for and received the military aid of the Macedonians of Philip II,[11_51] in another case the relations reached a rupture resulting in the conflict and the death of Ateas! [11_52] In a later time Alexander the Great Darius will also face Sakes' allies, Arr. An. 3.11.4, while then after his domination the Scythians (Avioo, Il. 13.6) will treat him friendly, Arr. An. 4.1.1. Finally, the Macedonians will come into conflict with the Sakas in the area of present-day Afghanistan, competing for control of Jibin![11_53]


Fig. 11_5: Wood-carved beam from Loulan (Tarim basin, 3-4th c.) With Hellenistic decoration

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Tsetskhladze's view is significant in this respect that the royal tombs of the Scythians were the work of Greeks, a position which is based on their close resemblance to the tombs of the rulers and aristocrats of the Bosporus kingdom![11_54] From this point of view, the expression ‘Nomadic Culture - Greek Style’ is indicative, which has been adopted by Feltham in a relevantarticle.[11_55]

The Parthians, on the other hand, establishing their power in the eastern part of ancient Seleucia as early as 246 BC, adopted - accepted the Hellenistic cultural heritage prevailing there, due to their cultural backwardness on the one hand, but also for reasons political interest, that is, to persuade the Greeks at home and abroad but also in order to gain their favor andacceptance.[11_56] Thus the existence of Greek settlements under the hegemony of the Arsakids is not at all reminiscent of that of nationally clean islands in a hostile environment, having – on the contrary - multiple aspects of cooperation and conflicts.[11_57] 

However, inscriptions of the Parthians in the Greek language have been excavated from various places (Bīsotūn, Susa, Nisa,Awraman etc.), Iranica online sv EPIGRAPHY, ii. Greek inscriptions from ancient Iran,Iranica online s.v. AVROMAN DOCUMENTS.

It is worth mentioning here the unconventional view that the contact of the Greeks with China had taken place as early as the seventh century BC, with this version being based on a controversial interpretation of a passage by Herodotus, Hdt.4.13. 1.[11_58] The expansion of the Macedonians in Bactria and Central Asia was generally accompanied by the establishment of a large number of Greek-style cities, which served multiple purposes, namely military, administrative, commercial and communication. Strabo's reference, Strab.15.1.3, to the 'landof a thousand cities' underlines the unprecedented urbanization that took place there in the context of Greek colonization, with the result that the newly established cities became important cultural centers for the spread of Greek traditions. and acceleration of developments.[11_59] It is noted that the Hellenistic cities had walls, gyms, theaters, statues, inscriptions, while in them survived myths such as the Trojan cycle and flourished Greek ideas about philosophy and religion.[11_60]

According to the Shiji archives, dozens of Hellenistic cities are noted in Dayuan(Ferghana) inhabited by several hundred thousand people, the same was not true of Parthia.[11_61]The Hellenistic Common which was used in the administration, among the numerous Greeks but also by the Hellenists, was a means of conveying ideas and influence, its use does not seem to have spread widely, both in space and, above all, in time. Half a millennium later, the Buddhist monk Zhang Qian traveled to Bactria where he found that the use of the Greek alphabet continued,[11_62] the writing had a horizontal direction and even to the right, while he made similar remarks for the region of Anxi (Parthia). In fact, it is estimated that Parthia had probably procured the high quality parchments from Pergamon, Plin. Nat. 13.21, and on some such piece Zhang Qian may have seen Greek written down for the first time![11_63]{11_68}

Greek was also used by the Indian Empire of Maurya, as can be seen from a relevant inscription by Ashoka (c. 250 BC).{11_69} Worthy of note in this regard are two inscriptions - decrees in Greek from Kandahar (Alexandria in Arachosia?) of same period, where Ashoka addresses the Greeks of his territory.{11_70} In fact, in his XIII inscription, Ashoka refers to four Macedonian kings (Antiochus II Theo in Syria, Ptolemy II Philadelphus of Egypt, Antigonus Gonatas of Macedonia and Maga of Cyrene) as diplomatic and politically equal, embracing dharma, the idea of justice - piety - natural law.{11_71} Without the possibility to further analyze the particularly interesting topic, we proceed here to simply point out the contribution of the Greek spirit to the formation of Buddhism and the crystallization of the concept of Maitreyia, a subject for which an extensive bibliography is already available!{11_72} From Alexandria in Arachosia (Kandahar: Alexandria >> Iskanderiya >>Kandahar) comes, moreover, a fragment of a votive inscription of the son of Aristonaktos, dating from the period of Greek rule, ie before Ashoka.[11_68]{11_73} The inscription, in fact, has been

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claimed to be related to the mosque in honor of Alexander the Great,[11_69]{11_74} although objections have been raised.[11_70]{11_75}

In any case, the influence of the Greek element becomes decisive from the Alexandrian period onwards, both through the contacts from Ferghana and Khotan, and indirectly through Indian influences. The introduction of Buddhism in China from India, creates another channel of Greek,[11_71]{11_76} in part, influence in China, given the Greek - Buddhist character of the latter. The (Greek) Roman and Byzantine Empires,[11_72]{11_77} thereafter, will keep in touch with the West alive, and interactions will continue to the benefit of both sides. 

Western influences in China are admittedly numerous and important, but distinguishing Aegean or Greek from them is difficult and in most cases controversial. However, architecture (especially burial and monumental), the use of gold and silver as preferred luxury materials, the various jewelry techniques (granulation, forging, impact technique - repoussé, sculpting, polishing - gold embroidery - fligree),[11_78] the development of painting landscape and the adoption of innovations in painting, the appearance of sculptures of realistic nude figures in real size, the craft of glass and beads, various innovations of war technology,[11_79] wrestling and sports activities in general and so many other characteristics have a more or less intense Greek dimension and owe many in the Aegean factor, other times as a result of direct contact and other - most - from transportation through the nomads .. Besides very successfully Arnold Toynby has historically likened the steppe to the sea,[11_80] while the horse and the camel can be considered as the parallels of naval vessels!

EXCERPT FROM THE BOOK CHINESE CIVILISATION AND ITS AEGEAN AFFINITIES by Dimitrios N. Konidaris, Distributed by Amazon in e-book or printed version 

Western influences in China are generally acknowledged to be many and important, but distinguishing the Aegean or Greek from them is difficult and in most cases controversial. However, the architecture (especially funerary and monumental), the use of gold and silver as preferred luxury materials, the various jewelry making techniques (coking, hammering, repoussé, chiselling, polishing, gold embroidery - filigree),11_78 the development of painting landscape and the adoption of innovations in painting, the appearance of sculptures of life-size realistic nude figures, glass and beadwork, various innovations in war technology,11_79 wrestling and athletic activities in general and so many other features have a more or less strongly Greek dimension and they owe a lot to the Aegean factor, sometimes as a result of direct contact and other times - mostly - from transport through the nomads .. After all, Arnold Toynby has very successfully likened the steppe to the sea from a historical point of view,11_80 while the horse and the camel they can be considered as the parallels of naval vessels!



(2) (PDF) Concluding remarks (excerpt in English from CHINESE CIVILISATION AND ITS AEGEAN AFFINITIES. Available from: https://www.researchgate.net/publication/344606343_Concluding_remarks_excerpt_in_English_from_CHINESE_CIVILISATION_AND_ITS_AEGEAN_AFFINITIES [accessed Oct 20 2023].


Παρασκευή 13 Οκτωβρίου 2023

Silk Road: The Study of Drama Culture

Li Qiang. 2019. Silk Road: The Study of Drama Culture (Series on China’s Belt and Road Initiative III), trans. Gao Fen, New Jersey. (αποσπάσματα με εμβόλιμες παρατηρήσεις)

Contents

About the Author

About the Translator

Acknowledgments

Preface One

Preface Two

Epilogue

Chapter 1Origin of the Silk Road Drama Culture1

1.1Natural Geography and Primitive Drama Culture

1.2Exchanges Between Yanshi Play and Western Regions Drama

1.3Nuo Play and Nuo Culture of the Western Regions

1.4Northern Drum and Wind Music and Beidi Music-dance Play

1.5Western Hu Music and Drama Art of the Western Regions

Chapter 2Grand Music of the Tang and Song Dynasties and Zhezhi Group Plays

2.1Exploration of Grand Music of the Tang and Song Dynasties

2.2Origin of Zhezhi Dance

2.3Formation of Zhezhi Group Dance

2.4Development of Zhezhi Group Play

Chapter 3Mount Wutai and Buddhist Opera in the Western Regions

3.1Origins of Buddhism in Mount Wutai and Music–dance Play

3.2Buddhist Music in the Tang and Song Dynasties and Temple Music of Tibetan Buddhism and Han Buddhism

3.3Journal of Mount Qingliang and the Paintings of Mount Wutai at Dunhuang

3.4Drama Performance Sites of Buddhist Temple and Its Opera

3.5Buddhist Opera in Han and Tibetan Buddhist Temples and Sai Opera


Chapter 4Dunhuang Secular Music–dance and Buddhist Opera

4.1Silk Road: Meeting Place of Religious Cultures

4.2Dunhuang Literature and Buddhist Secular Arts

4.3Ancient Dunhuang Music Scores and Dance Scores

4.4Buddhist Opera in Dunhuang Manuscripts and Murals

Chapter 5Maudgalyayana Culture in Dunhuang Studies

5.1Maudgalyayana and Maudgalyayana Sutras

5.2Maudgalyayana’s Original Stories and Maudgalyayana Bianwen

5.3Maudgalyayana Bianxiang Treasure Scrolls and Maudgalyayana Opera

5.4Dunhuang Zen and Buddhist Poems, Lyrics and Operas

5.5Five Fold Melody, Siddhirastu and Zhugongdiao

Chapter 6Religious Culture in Tibet and Tibetan Play

6.1Origin of Tibetan People and Bon

6.2Tang Princesses’ Marriages into Tibet and Hindu-Tibetan Cultural Encounters

6.3Tang Emissaries to Tibet and the Tang-Tibetan Alliance Tablet

6.4Influence of The Sutra of the Wise and Foolish on Variations of Buddhist Dramatic Performances

6.5Buddhist Classics in Tibetan and Tibetan Play

Chapter 7Expedition to the Western Regions and Buddhist Music–dance Plays

7.1Zhang Qian’s Expedition to the Western Regions and Mahadur

7.2Records about Buddhist Countries and Buddhist Music–dance Plays

7.3Music–dance of the Western Regions in Records About the Western Regions in Great Tang

7.4Buddhist Classics and Poetic Texts of Music–dance Plays

7.5Adaptation of Pathaka to the Theatrical Plays


Chapter 8Exploring Rare Manuscripts of Buddhist Dramatic Pieces in the Western Regions

8.1Discovery of Three Sanskrit Dramatic Pieces

8.2Discovery of Maitrisimitnombitig

8.3Close Reading of Maitrisimitnombitig Manuscripts in Qarasahr

8.4Academic Value of Dramatic Manuscripts from the Western Regions

Chapter 9Exchange of Music–dance Plays Between Central Asia and Western Asia

9.1Grassland Silk Road and Central Asian Cultures

9.2Music–dance Plays and Variety Plays in the Liao, Jin and Yuan Dynasties

9.3Music–dance Plays and Zhugongdiao in Western Xia

9.4Mesopotamia and Babylonian Drama

9.5Koran and Arabic Music–dance Plays

Chapter 10Study of Drama Between the East and West

10.1Primitive Totem Arts and Wrestling Plays

10.2Introduction of Drama from India and the Western Regions

10.3Horse Plays and Monkey Plays

10.4Formation and Development of the Song–dance Plays in the Western Regions

Chapter 11Indian Religious Culture and Sanskrit Drama Arts

11.1Shiva Vedic Deities and Sodicva

11.2Rise of Indian Buddhism and Sanskrit Drama

11.3Eastward Spread of Sanskrit Drama

11.4Puppet Plays and Shadow Plays of Ancient China and India

Chapter 12Persian Religious Culture and Eastern Drama

12.1Ancient Persian Manichaeism, Persian Music–dance Variety Plays

12.2Manichaean Culture, Persian Music–dance Variety Plays

12.3Ancient Persian Drama Culture

12.4Ferdowsi’s Shah Nameh and Eastern Opera

12.5Introduction of Persian Music–dance Plays to Central China

Chapter 13Eastward Spread of Ancient Greek and Roman Drama Culture

13.1Dionysus and Ancient Greek Tragicomedy

13.2Alexander’s Eastward Conquests and the Grand Hellenistic Arts

13.3Gandhāra Arts and Eastern Drama

13.4Eastward Spread of Roman Drama and Its Variations

Chapter 14Exchanges and Enhancements of Eastern and Western Drama Culture

14.1Eastern Peoples’ Migration and The Orphan of Zhao

14.2Western Messengers and the Eastward Introduction of Western Asian Religious Culture

14.3Westward Introduction of the Music–dance Plays of Central China

References

Index

Preface Two (p. xxv-xxix)

New Developments in the Drama Culture Along the Silk Road

Qu Liuyi


In 2003, Professor Li Qiang wrote The Ethnic Plays, which laid an academic foundation for the new discipline of studying ethnic plays. Six years later, Professor Li compiled the new monograph Silk Road: The Study of Drama Culture. Although many other monographs had been published in the six years (including those published in cooperation with others), Silk Road: The Study of Drama Culture is of great academic value, and has opened the way for the establishment of the new discipline of studying the drama culture along the Silk Road. I have written a commentary entitled Spring Wind Arrives Suddenly Overnight for Ethnic Plays, and will also write a commentary entitled Silk Road Flowers in Full Bloom for Drama Culture Along the Silk Road, metaphorically hinting that readers will have a panoramic view of the drama along the Silk Road. The Ethnic Plays and Silk Road: The Study of Drama Culture are brand new companion pieces for the academic studies.

Up to the present and throughout the world, the Silk Road has surpassed all other routes in areas of coverage, historical duration, and cultural significance. From Xi’an, the Silk Road meandered westward through the Qinling Mountains, Hexi Corridor, Gobi Desert of the Western Regions, Pamir Mountains, Tigris and Euphrates basins, Asia Minor, and the Mediterranean, before reaching the international passage of Venice, Italy. This not only served as a medium for economic, religious, and ethnic cultural exchanges between the Asian, European and African continents, but also witnessed the music, dance, acrobatics, magic, Quyi, literature, fine arts, and other historical culture of various countries along the Silk Road. More interestingly, the beautiful culture of drama has also been preserved along the cross-linked Silk Road.

In line with the current prevalent concept of historical geography and studies of cultural regions, Professor Li explored a new road, delving deeper into and reviewing the history of communication between Chinese and foreign drama cultures which have reaped fruitful outcomes that readers will have a panoramic view of the drama along the Silk Road. The Ethnic Plays and Silk Road: The Study of Drama Culture are brand new companion pieces for the academic studies.

In line with the current prevalent concept of historical geography and studies of cultural regions, Professor Li explored a new road, delving deeper into and reviewing the history of communication between Chinese and foreign drama cultures which have reaped fruitful outcomes. Readers were surprised to discover that the traditional literary arts of China were all related to the Silk Road, where Yanshi’s puppet plays, masked Nuo plays, Buddhism music–dance plays, and religious ritual plays associated with Chinese traditional operas were bred; Sanskrit plays, highly praised in Kushan in the Western Regions, and Zhezhi plays, prevalent in the Tigris and Euphrates basins of Central Asia, shaped the patterns of exchanges between Chinese and foreign drama cultures after being introduced into the Central Plains.

A past theory, since shown to be invalid, propounded that the traditional Chinese drama developed independently as an art form, not as a result of or scarcely related to foreign factors. However, the enormous amount of historical evidence about foreign music–dance plays in Silk Road: The Study of Drama Culture revealed that the primary musical instruments used in accompaniment, such as pipa, konghou, suona, bili, cymbals and various drums originated in India and Persia at the middle and lower segments of the Silk Road and were brought into the Chinese field of music–dance plays. Seven out of the nine Sui and Tang dynasty ensembles arose from those of ancient minority ethnicities, such as Samarkand music, Qiuci music, Shule music, Chotscho music, and Xiliang music. The role appellations of Mo (middle-aged male character), Dan (female character), Jing (painted-face character), Zhuanghu (official character), Banglao (character of thief and villains) and Base (character of Jiyue musicians) in traditional Chinese operas as well as performance forms of music-dance plays such as Botou, Sumozhe, Daibian (mask dance), Lion Dance, Zhugongdiao, Huxuan, and Huteng were all influenced by the drama culture along the Silk Road.

This academic monograph, published by Xinjiang People’s Publishing House, is composed of 14 chapters, with over 500,000 words and 62 exquisite illustrations. Its contents cover studies about domestic operas and foreign plays, as well as the comparative studies of drama in China and other countries. In the book, there are seven chapters about drama culture in China, including grand music of the Tang and Song dynasties and Zhezhi dance, Buddhist operas of Mount Wutai and the Western Regions, Dunhuang secular music-dance, Buddhist operas of Dunhuang, Maudgalyayana culture in Dunhuang studies, Turpan religious culture and Tibetan plays, and some rare editions of Buddhist operas in the Western Regions. Besides, there are five chapters about drama culture in other countries, including the exchange of music-dance plays between Central Asia and Western culture, Indian religious culture and Sanskrit drama arts, Persian religious culture and eastern drama, plus the eastward spread of ancient Greek and Roman drama culture. Also, there are two chapters comparing domestic and foreign drama, such as the study of drama between the East and West, and the exchanges and enhancements of Eastern and Western drama culture. All the chapters, well-organized and illustrated, complement each other and result in a masterpiece of organic cultural unity. It must be noted that this monograph gives prominence to the key points in a fluent style, which makes it highly readable and informative to the readers.

Perhaps the most compelling feature of this book lies in its introduction of the ethnic plays of various countries from northwest and west, and from China and abroad along the Silk Road that have been long overlooked by Chinese opera and drama scholars, particularly the lack of profound and comprehensive investigations of the ancient and abundant religious and secular arts cultures. Therefore, the author expounds convincingly on the objective rules of the origin, formation, and development of Chinese music–dance plays based on the abundance of historical facts and materials about exchanges of dance cultures between China and neighboring regions, states, and ethnicities. As the relationship of Chinese traditional operas and international culture is also explored, this book boasts a broad academic vision. Meanwhile, the book employs scientific and original research methods, which on the basis of the traditional Chinese textology and philology, include relatively advanced research methods, such as ethnology, science of religion, archeology, and culturology, and adopts the scientific approach to maintain consistency while analyzing written materials and unearthed relics to verify the ethnic and state drama cultures along the Silk Road. This has achieved abundant academic results.

From a historical and realistic perspective, the academic studies about the Silk Road manifest enormous potential. The ancient Silk Road was an international passage of worldwide significance spanning Asia and Europe that communicated the politics, economy, military, and culture of various countries through the media of silk thread and silk fabrics. In human history, the Silk Road has been a bond connecting the ancient civilizations of China, India, Egypt, Babylon, Greece, and Rome. It was also the only route across the Asian, African, and European empires of Macedonia, Persia, Mongolia, and Ottoman, as well as the birthplace of Buddhism, Hinduism, and Islam, the world’s three major religions, as well as Shamanism, Zoroastrianism, Nestorianism, Manichaeism, Arkaim, and other religious cultures.

Upon further research, it has been noticed that the Silk Road refers not only to the overland Silk Road (i.e. the dessert, oasis, and prairie Silk Roads) but also to the maritime Silk Road and southern plateau Silk Road. The five branches of the Silk Road radiated from the birthplace of Chinese civilization and arched over the oriental and occidental areas of the world like five resplendent bridges which enabled the ancient theatrical arts of various countries and ethnicities to be standardized and exchanged with each other, thus spawning relatively independent and stable theatrical cultures with unique artistic styles and characteristics. Represented by the three major classical dramatic systems of Greek and Roman plays, Indian Sanskrit plays, and Chinese opera, supplemented by the plays of Egypt, Babylon, Hebrew, Persia, Arabia, Japan, North Korea, Southeast Asia, as well as the Western Regions, a grand system of drama cultures along the Silk Road were constructed for the oriental hemisphere.

Silk Road: The Study of Drama Culture encapsulates directly the research findings and academic heritage of numerous Chinese dramatic historians and critics in the 20th century. It draws on and compiles valuable historical materials utilizing the massive volumes of Chinese and foreign historical classics and academic materials, and by virtue of its broad cultural vision and innovative concept, opens up a new field for academic studies about the drama culture along the Silk Road.

The Silk Road undoubtedly deserves its recognition as a world cultural heritage which will increasingly draw the attention of people around the world, including special attention from the academia of various countries. This emerging cross-disciplinary field integrating the Silk Road and drama culture, named Study of Exchanges of the Silk Road Drama Cultures will have worldwide appeal due to its vigorous vitality and new cultural orientation.

The author is a researcher of China Theatre Association, a renowned theatrical artist, a member of the Intangible Cultural Heritage Preservation Committee of the Ministry of Culture, and honorary president of the Minority Theatre Society of China as well as China Nuo Play Research Institute.


...


The play Botou, derived from the Western Regions, maintained its original features of wearing masks even after being circulated eastward to Japan via the Silk Road. In the well-preserved Japanese ancient book, Ancient Music of Shinzei, Botou dancers wore malicious masks with one hand touching the ground and the other holding a short stick, disheveled hair covering their faces, and making offerings and worshipping the god and ghost, so as to increase the fearful and tragic sensation of the original drama. In the drama Damian, or Prince of Lanling, influenced by the dramatic culture of the Silk Road, the scene of the protagonist dancing with a mask and the representation of war scenes could more vividly reflect the characteristics of Nuo play, including worshiping ancestors, divinities, and the deceased.

Θέατρο Gigaku https://www.miho.jp/booth/html/artcon/00000440.htm


Sumozhe, also called Pohuqihan play, was popular in the ancient Western Regions. According to the records in The Miscellaneous Morsels from Youyang, and The Sounds and Meaning of Tripitaka in the Tang Dynasty, the play was performed with animal masks and singing and dancing both day and night. It was also described that the performers’ appearances resembled beast faces or ghosts or deities, contrived with various masks. The local customs alleged that the play was often used to drive devils away to keep them from eating people. According to the unearthed ancient documents and relics, this form was a truly typical western exorcism opera. {spp 326, p. 6: The Sumozhe is described here as “originated from the Hu barbarians from the Western Seas” (benchu Haixihu 本出海西胡), or the “countries of the Western Seas” (Haixiguo 海西國), indicating that the ritual came from the Western (Hellenistic/Roman) world, as located there by the Chinese sources from the Han to the Tang dynasties.}

At the beginning of the 20th century, the expedition team, led by Japanese Otani Kozui, unearthed a Sarira box of colored patterns in the old Soubachi temple of Kuqa, namely Zhaoguli Temple in Records of the Western Regions in the Great Tang. Later, Japanese scholar Kumagaya confirmed that it was Sarira container of a Qiuci Buddhist monk from the 7th century. On the Sarira box was painted the Nuo sacrificial music-dance, composed of 21 figures, with six performers hand-in-hand and two dancers holding sticks. Led by one male and one female priest, holding dancing Mao (ancient flags with yak tails), they were all clad in colorful armor wearing various batou masks, dancing to the music and praying to the deities, which was extremely lifelike and vividly portrayed. {https://www.facebook.com/permalink.php?story_fbid=pfbid02Hi1bGvPC3ycXErnxLBvcW1TRJnjEFn47BwdANEETJjuqQgvjriHAUG383244ALfjl&id=100052896971032&__cft__[0]=AZXh8zeniiYKeVv7CJEoiYfBPjWYjo3FOFtRZou8qxoqVkV5WPhWIxt1mmbcmrA8PgKuyciZM4ZZLTYCNrSFZB71my4aJJIx-xUAWwRxCpqyjKkESTwoUO4LopHrwcCwzdo&__tn__=%2CO%2CP-R}

Various figures were clearly seen in the Sarira box, including handsome warriors with square capes, mighty bearded generals wearing helmets, and many exorcism dance performers wearing ear-pricked rabbit heads, hook-nosed eagle heads, hairy monkey faces and pocket-shaped pointed caps, and all kinds of masks. In the long sacrificial patrol queue, all the Qiuci artists wearing animal tails were singing, dancing and looking around, either holding objects or bare-handed. There were eight persons in the band accompanying the exorcism sacrifice playing hammer drum, harp, pipe, or a blowing horn of copper, and also five nomadic children carrying drums and clapping, which formed a rather splendid performing team of divinity and Buddhist worship.

The famous German female scholar Feng Jiaban verified the figures on the Sarira box as an acrobatic drama performing a mask play:

The Sarira box was painted with a parade procession, with all acrobats wearing animal masks and in bizarre costumes followed by musicians playing konghou (an ancient plucked stringed instrument) and beating drums.27

From an appended drawing, which was stolen by the archeologist Grunwedel of the German expedition and published in the book Ancient Buddhist Relic Sites in Xinjiang of China, we detected a wooden mask which came from the ancient Buddhist site in Kuqa. We have also discovered more historical evidence from the Kuqa sites: Douldour–Aqour and Soubachi, described in the third volume of The Pelliot Archeological Periodicals, stating that the French Pelliot archeological team dug out a wooden Sarira box related to the ancient exorcism plays in Kuqa, Xinjiang in 1906. The outer wall of the Sarira box was painted with four Hu comedians with animal masks, two of whom were playing pipa (a four-stringed Chinese musical instrument) and Ruanxian (a plucked Chinese stringed instrument), and the other two were dancers sometimes looking up or bending down to sing and dance, whose zoomorphic masks were dog-headed and monkey-headed batou, made of cloth. On the basis of the costumes, masks, and musical instruments of the musicians, the Sarira box is considered as the same cultural relic that was stolen by the Japanese Otani Kozui expedition. The cultural relics share the same subject content, which is Sumozhe, the exorcism play to drive devils away to keep them from eating people.

Aristophanes' 'The Birds' in Beijing: Blending Greek drama with Chinese culture


p. 5:
Kophen {Το Βασίλειο του Κωφήνος – Jibin και οι ανταγωνισμοί Σακών, Yuezhi, Ελλήνων και Han}, directly related to the countries in the Western Regions, called Kashmir or Kasperia in the Tang dynasty, was the birthplace of Mahāyāna school of Indian Buddhism and also the cradle of Indian classical Sanskrit drama. Alexandria Prophthasia {Αλεξάνδρεια η Προφθασία ή εν Δραγγιανή) … founded by Alexander the Great during an intermediate stop between Herat, the location of another of Alexander's fortresses, and Kandahar… is mentioned by Strabo 11.8, 15.2}and Great Yuezhi were the sites of Greek and Roman drama culture, which were important conduits of the Silk Road cultural exchanges in history.


p. 26:
Kophen and Sindhu, contiguous σε επαφή με to the Western Regions, were governed by ancient India and had frequent cultural communications with the oriental countries, particularly Kophen, at the downstream section of the Kabul River and Kashmir region, which was the only route connecting the Western Regions, Middle Asia, Western Asia and the Indian subcontinent to the Western countries. Due to its proximity to the Bactrian empire, governed by the Greeks, this ancient country was deeply influenced by the western culture, which organically


p. 188:
During the period of the Tang and Song dynasties, the monks in Mount Wutai created Sumozhe, on the basis of Buddhist music-dance and acrobatics. Sumozhe is the typical form of Buddhist song-dance play of opera


Chapter 13, p. 717

p. 723: 
Pan etc {https://artsandculture.google.com/asset/fragment-of-wall-painting-female-with-a-mouth-cover-padam/mQFKJx9AfkgaMg} mouth-cover padams)

1,800-Year-Old Ritual Mask Discovered During Monorail Construction In Japan
By Kaleena Fraga | Edited By John Kuroski
Published April 26, 2023 
https://allthatsinteresting.com/ancient-japanese-ritual-mask


p. 742:
Han dynasty with the sound of camels."34 ‘Hera’ mentioned above was the wife of Zeus, and Ixion was unfortunately punished by being changed into a ‘half-man, half-horse creature’ because he molested lien in the forest. A comparative study of Ixion's image, disposition and experience, compared to those of Dionysus, reveals that the introduction of ‘Dionysus, God of Wine’ into eastern drama culture is to some degree actually an integration of these two Greek gods.
We can still see presently in Shosoin and Horyuji Temples in Todaiji, Nara of Japan, more than 300 pieces of ancient Greco - Roman style masks for drama characters introduced from the West. Masks like "Drunk Hu," "King of Drunk Hu" and "Attendants of Drunk Hu" are obviously affected by Gandhara art. Dung Xijiu analyzed in his article, The Eastward Spread of Mask Dance along the Silk Road that:

1895 illustration of gigaku masks belonging to Horyu-ji temple in Nara. PUBLIC DOMAIN


The masks of "King of Drunk Hu' and "Attendants of Drunk Hu” clearly bear the facial characteristics of people from Xinjiang of Central Asia, such as high noses, deeply set eyes and red faces (which might be a result of their drinking). Xinjiang is abundant in grapes and people there are good at making wine with it. Whenever there are banquets and gatherings, people get drunk and dance joyfully .. Japanese gagaku (ancient imperial court music/ Gigaku, Buddhist Mask Theatre https://disco.teak.fi/asia/gigaku-buddhist-mask-theatre/) still preserves the program of Hu Drinking Wine, in which the masks used are similar to those of "King Tao of Drunk Hu" and “Attendants of Drunk Hu" because they are both from the Silk Road.

An in-depth study may further uncover the following conclusion that such masks prevailing in the East actually originated from Gandhara art and Dionysus of ancient Greece.
Khotan in Xinjiang of China was adjacent to the mountains and rivers of Kushan and Gandhara, and they once shared a common destiny. Therefore, it is quite reasonable that there was a significant Hellenistic influence on performing arts and drama in Khotan.{NEXT PAGE IS 743}
p. 743:
According to Professor Abdushukur Muhammatimin who has studied the cultural relics of Hu play in Japan: 
We have discovered some pottery painted with lines in relief depicting drama characters in Khotan, the history of which can be traced back to the early centuries. There are images of people holding pipa and bili, images of people disguising themselves as monkeys and other various comedians and images.... That I saw in Tokyo was usually the images of people with full beards, funny mouths and eyes. 
He then integrated it with the cultural relics of drama unearthed in Central Asian countries and said: 
In the ruins of Haer Chaxiang Castle, which belonged to the Kushan dynasty historically, the ruins of Badakhshan near Bukhara, and the ruins of Afrasiyab Palace near Samarkand, masks worn by the actors, and figures in masks have been unearthed, many of which were like ancient Cypriots, with their thick hair and beards, similar to the characters from comedy. In the ruins of Afrasiyab Castle, the standing relief of actors with masks in hand and peaked caps, as well as the reliefs of young actors with no headdress who looked like Greeks, have also been excavated. All these reliefs may possibly have been built in the Hellenistic era.35 {Qu Liuyi and Li Xiaohi ng (eds.), Drama and Its Occurrence in the Western Regions (Urumqi: Xinjiang People's Publishing House, 1992), 2-5}

According to the large number of historical documents and cultural and artistic relics, we can prove that in the Qin dynasty and at the beginning of the Han dynasty, various ancient Greek drama and formative arts, in their maturity, were indirectly introduced to some Asian countries along the Silk Road in Europe, Asia and Africa. However, an in-depth review of the history reveals that the ones that had significant cultural exchanges with Chinese classical drama art are the ancient Greek tragedy and comedy, as well as the Roman arts. 

34 Chen Pengiu, History Collection (Shanghai: Shanghai Bookstore, 1998), 179.
35 Qu Liuyi and Li Xiaohing (eds.), Drama and Its Occurrence in the Western Regions (Urumqi: Xinjiang People's Publishing House, 1992), 2-5.

p. 749: Li Xuan  Harpalus Άρπαλος, γιος του Μαχάτα, θησαυροφύλαξ, Πυθιονίκη & Γλυκέρα

Pyrrhic play – Breaking up the Enemy’s Front  - pozhen - Music of Prince of Qin Breaking up the Enemy's Front
p. 753: 
Dionysus!!! .. Suzhonglang {song – dance playlet μουσικο – χορευτικό παιχνίδι} .. Butoh (舞踏 Butō) is a form of Japanese dance theatre 753 AD

p. 753: 
The author summarized this phenomenon in Dionysus Cult, Song of Goats and Western Drama: After the long and dark Middle Ages, and with the prevalence of Christianity across Europe, the ceremony play developed from the alternation of ...

p. 753: 
The most notable feature is that stories of Dionysus were transferred from the realm of gods and kings to the realm of ordinary people. Later on these Dionysus stories filled with joy and grief were introduced to the Eastern countries, yet modified with some subtle changes according to their unique national psyche and customs. 
Academic circles have not discovered the origin of Botu, which was considered as one type of song—dance plays in the Western Regions. According to the Old Books of Tang: Records of Music: "Botou originated from the Western Regions. The story tells one of the Hu men was killed by a tiger; his son hunted the tiger down and killed it. The dance is a simulation of the scene." Yuefu Miscellany: Dreams states chat "according to Botou, a man was killed by a tiger and his son went up to the mountain for his father's corpse. The mountain has eight zigzags, so the play has eight levels. The performers wear plain clothes crying and pretending to suffer from the loss." According to the remaining Botou Dance found in Japan, which was introduced in the 5th year of Tenpyo-shoho (753 BC) along the Silk Road, together with the play of Xinxi Music, the performers with their high noses and deep eyes, wearing long hair covering their faces, were obviously influenced by the image of ancient Greek Dionysus. Also, the masks of the performers in Damian (or Painted Face), Sumozhe and Magic White Horse, popular in Hu-oriented states of Northern Asia, were totally different from those worn by the ancient Chinese people. The image of a drunk male character in Suzhonglang, popular in the Yellow River Basin from the Southern and Northern dynasties to the early Tang dynasty, probably had somewhat imitated the performance form and makeup artistry of the western Dionysus rites.
In the 6th year of the Taiping Heavenly Kingdom (981 AD) in the Northern Song dynasty, Zhao Jonk, Emperor Taimng sent Wang Yande as an envoy to the Western Regions. According to the History of the Song dynasty: Biography of Chotscho (Gaochang), "residents are of the Song Dynasty: Biography of Chotscho (Gazichang), "residents are seen enjoying the happy gathering." The King of Beiting welcomed him with "music, banquets and plays, till dawn." The Journey to Xizhou records that "Qihan Hu plays,” performed by actors with masks, were prevalent there, "As for the musical instruments, there are "pipa and..
p. 754:
.. Women wear a kind of oil cap, worn in the performance of Sumozhe. All of these were clearly affected by the western Dionysus. Later, Sun Zhongrui, the Ceremonial Master of the Jin dynasty personally visited Chotscho and witnessed that..

ΠΡΟΣΑΡΤΗΜΑ

    Παρενθετικά σημειώνουμε ότι το θέμα των δρώμενων - παραστάσεων  που δεν εμπίπτουν στα άκαμπτα όρια της δραματικής δραστηριότητος έχει απασχολήσει από μακρού την επιστημονική κοινότητα, με την μάλλον επικρατούσα μέχρι πρόσφατα άποψη να τείνει να αποδώσει την προέλευσή τους στην Άπω Ανατολή. Όμως ο Todisco θεωρεί ότι οι υπάρχουσες μαρτυρίες μάλλον υποδηλώνουν μιάν αντίστροφη πορεία της πρακτικής στο τσίρκο κ.λπ., από την Δύση στην Ανατολή.4_51a1 Από τα ταυροκαθάψια της Μινωικής Κρήτης, στους κυβιστητῆρες του Ομήρου (Il. 18.605, Od.4.18) που χορεύουν ή κινούνται ανάποδα, στηριζόμενοι στα χέρια τους, τους κωλοβαθριστές, που βαδίζουν σε ξύλινα ξυλοπόδαρα, τους σκανδαλιστές, που δρούν επί τραπέζης η ελλαδική παράδοση περιλαμβάνει πολλούς τύπους παρα-δραματικής τέχνης, για να μην αναφερθούμε στα νευρόσπαστα, Plat. Laws 1.644d (μαριονέτες)!4_51a2 Η προαναφερθείσα εισαγωγή διασκεδαστών και εν γένει καλλιτεχνών της παρα-δραματικής τέχνης από την Σελεύκεια επί τον Τίγρη, τον Μιθριδάτη και την εξελληνισμένη Βακτρία μέσω της Οδού του Μεταξιού και των ‘βαρβάρων’ Hu επιβεβαιώνει το γεγονός της από τα δυτικά μεταλαμπαδεύσεως αυτής της τέχνης στην Κίνα! 
  Άλλωστε και οι ίδιοι οι Κινέζοι ερευνητές φαίνεται να προσχωρούν σε τέτοιες θέσεις, εγκαταλείποντας τις παλαιότερες που θεωρούσαν την ανάπτυξη του δράματος και των παρα-δραματικών τεχνών στην χώρα ενδογενή και άμοιρη ξένων επιδράσεων. Έτσι οι αναγνώστες έμειναν έκπληκτοι όταν ανακάλυψαν ότι, κατά την άποψη του καθηγητού Li, οι παραδοσιακές λογοτεχνικές τέχνες της Κίνας σχετίζονταν με τον Δρόμο του Μεταξιού, όπου αναπαράγονταν τα κουκλοθέατρα του Yanshi, τα θεατρικά έργα Nuo με μάσκα, τα μουσικοχορευτικά έργα του Βουδισμού και τα θρησκευτικά τελετουργικά έργα που σχετίζονται με κινεζικές παραδοσιακές όπερες. Τα σανσκριτικά θεατρικά έργα, που εγκωμιάστηκαν ιδιαίτερα από τους Kushan στις Δυτικές Περιφέρειες, και τα έργα Zhezhi, που κυριαρχούσαν στις λεκάνες του Τίγρη και του Ευφράτη της Κεντρικής Ασίας, διαμόρφωσαν τα πρότυπα των ανταλλαγών μεταξύ των κινεζικών και ξένων δραματικών πολιτισμών μετά την εισαγωγή τους στις Κεντρικές Πεδιάδες.4_51a3

Αναφορικά με το δράμα στην Κίνα ο Li Qiang αποδίδει ισχυρές συσχετίσεις του με τους λεγομένους βαρβάρους Hu, οι οποίοι απεδέχθησαν, απερρόφησαν και διέδωσαν στην Κινεζική ενδοχώρα Ελληνικές κ.ά. επιδράσεις από τις Δυτικές Περιοχές, ήτοι - κατά τον Christopoulo - από τις χώρες των δυτικών θαλασσών ή τον Ελληνιστικό/Ρωμαϊκό κόσμο, όπως εντοπίζεται εκεί από τις κινεζικές πηγές από την περίοδο των Han έως αυτήν των Τανγκ.4_51a4 Επί παραδείγματι στο τελετουργικό Sumozhe αναγνωρίζεται 'ειδωλολατρική' πτυχή που καταδεικνύει ότι αυτό απετέλη ένα διονυσιακό είδος τελετουργίας που προερχόταν από την εξελληνισμένη Κεντρική Ασία και αναμείχθηκε με Βουδιστικά στοιχεία.4_51a5 

THEATER MASK inspired a fountain spout; this representation shows the traditional mask
of the cook-slave character in Greek comedies that may have been performed at Ai Khanum.


Ο καθηγητής Li περαιτέρω πιθανολογεί ότι οι μάσκες που υιοθετεί και σήμερα το Ιαπωνικό θέατρο και διασώζονται στα ιερά Shosoin and Horyuji στην Nara έλκουν την καταγωγή τους από την Γανδαρινή τέχνη και τον Διόνυσο, θεωρεί δε ότι:
υπήρξε σημαντική ελληνιστική επιρροή στις παραστατικές τέχνες και το δράμα στο Khotan.4_51a6
Ομοίως ο Abdushukur Muhammatimin, μελετητής των πολιτιστικών επιδράσεων των έργων των Hu στην Ιαπωνία θεωρεί ότι η αρχαία ελληνική τραγωδία και κωμωδία, καθώς και οι ρωμαϊκές τέχνες ήταν αυτές που κυρίως επηρέασαν την κινεζική κλασική δραματική τέχνη!4_51a7 

Κεραμεικές επικολλητές μάσκες απο την Khotan (IDP MAS.14)
https://idp.bl.uk/collection/96F7D60A915A40E29A226274E32C0D93/?return=%2Fcollection%2F%3Fmedia%3Dyes%26classification%255B%255D%3DArtefact%26form%255B%255D%3Dplaque
Συλλογή Stein, V&A Museum
https://collections.vam.ac.uk/item/O136180/the-stein-collection-head-fragment-unknown/#object-details

Σύμφωνα με την ανάλυση για το θέατρο gigaku του γνωστού θεατρολόγου Benito Ortolani η προέλευση των μασκών και των παραστάσεών του φαίνεται να υποδεικνύει ότι προέρχονται από μακρυά, με τις υιοθετούμενες εκεί μάσκες να εκτιμώνται ως ανάλογες με κωμικές του ελληνικού θεματολογίου,4_51a8 και τους μύθους να βασίζονται συχνά σε ελληνικά υποδείγματα. Έτσι το επεισόδιο του βαρβάρου Konron, των γυναικών του βασιλείου Wu και του Rikishi έχει θεωρηθεί ελληνικής καταγωγής.4_51a9 Άλλωστε οι χαρακτήρες της Ήρας και Ίριδος θα μπορούσαν, κατά τον ίδιο, να απετέλεσαν τα πρότυπα για το δράμα το σχετικό με τις γυναίκες του βασιλείου Wu, οι σάτυροι για τον Konron, ο Ηρακλής για τον Rikishi.4_51a10 Η πιθανότητα υπάρξεως μιας μακράς γραμμής επιρροών που εκτείνεται από την Εγγύς Ανατολή έως την Ιαπωνία μέσω Κίνας — όπου ταξίδεψαν νομαδικοί πληθυσμοί που συνεδύαζαν την δυτική τέχνη της ξυλογλυπτικής προσωπείων με την ινδική μυθολογία και την βουδιστική πίστη — παραμένει τόσο συναρπαστική και όσο η εκπληκτική παρουσία ενός ελληνικής εμπνεύσεως κίονα στον ναό Hōryū-ji της Nara, ή η ανακάλυψη στην Ιαπωνία του φτερωτού αλόγου, παραβαλλόμενου με τον Πήγασο, σε διακοσμητικά σχέδια σύγχρονα του gigaku.4_51a11

Dancers from the Villa of Cicero, Pompeii, 1st century CE
National Archaeological Museum of Naples
https://www.facebook.com/LynG08/posts/pfbid0qX499mVbxUPJnYBpPCvXskwwxS46BjezjiB2EjJuqqFpBBUozYc4djVxpPA8fgK4l?__cft__[0]=AZUMq4XQqo_l8SssAt8zAHXPfdYNBG_VxGsefhmT96GJDTx1NfZ-Mrm70ELObsPN_i_qqUBMB554iZMzCuEqiaTDmqJz3VR-fCtzA8HIB3COA2fVaAJ_z2d3BF1D7JCmDTV5w1SSPhfoap9lIZaOE_7Y2-ASmeK3OFHJzmVQY5VmpC4AvNxuait86UC6xr0HSidlmHaiJfkAHn0rdz2996R077BbcSA5eAeSF7Y74PtwHWGc-QFkhyQN6g_UpjFOU50&__tn__=%2CO%2CP-R


ΣΗΜΕΙΩΣΕΙΣ

4_51a1. Todisco 2013; Lambrugo 2016; Κονιδάρης 2022.
4_51a2. Lambrugo 2016, pp. 729-730; Τσιτσιρίδης 2004. Ο τελευταίος μεταξύ των διασκεδαστών περιλαμβάνει επίσης στους μίμους, κιναίδους, κιναιδολόγους, γρύλλους κ.α.
4_51a3. Li Qiang. 2019, pp. xxv-xxix.
4_51a4. Christopoulos 2022, p. 6.  
4_51a5. Christopoulos 2022, p. 6, n. 4.  Άλλωστε, σύμφωνα με τον Christopoulos, ο Pelliot θεωρεί ότι ο όρος sumozhe προφερόταν όπως ο samaca (ή somaca) στην Τοχαρική και πιθανώς προήρχετο από την Σανσκριτική λέξη για το θέατρο (Christopoulos 2022, p. 8, n. 8).
4_51a6. Li Qiang 2019, p. 742. Την ισχυρή Ελληνική επίδραση στην Khotan βεβαιώνει και η Valenstein (Valenstein 2007, pp. 65-66, fig. 85, n. 47).
4_51a7. Li Qiang 2019, p. 743.
4_51a8. Ortolani 1985, p. 326; Tsaras,  Chrysafidis and Giouzepas 2016, p. 51, n. 12. Από την άλλη ο Mathew (Mathew 2015, p. 12) ανακαλύπτει αναλογίες τριών μασκών του θεάτρου nō με ισάριθμες εικονιζόμενες στον γνωστό ελικωτό κρατήρα του Προνόμου (!), βλ. <https://www.carc.ox.ac.uk/carc/resources/Introduction-to-Greek-Pottery/Keypieces/redfigure/pronomos?fbclid=IwZXh0bgNhZW0CMTAAAR1bdsP0tLO4OijfTiGNrAwnGacWfs8w935hVjdAySIO1B1rko4YhIpXhnk_aem_AchRxgu9MBjYbLUmtW64GmkwA-BbC7Gp1C2w9edSI4_Z_hI8T7ePtkmeJwAJpYUd-Q83SJ4rtaGMSqgP38F6NLuJ>.
type to the first three masks shown on the Pronomos vase:
4_51a9. Η μάσκα (BM 1957,1120.1) είναι αυτή του βαρβάρου Konron, ο οποίος στο δράμα προσπαθεί αδέξια να ερωτοτροπήσει με την υπέροχη Go-Jo, πριγκίπισσα του Κινέζικου βασιλείου του Wu. https://www.britishmuseum.org/collection/object/A_1957-1120-1  & https://en.wikipedia.org/wiki/Gigaku} 
4_51a10. Ortolani 1990, p. 36. Ακόμη η μάσκα του πτηνού Karura στo ιερό Horyuji παραβάλλεται με τον Garuda κι αυτός με την σειρά του με τον Δία - αετό (επί παραδείγματι αρπάζοντα τον Γανυμήδη). Το γενικώτερο θέμα περιστρέφεται γύρω από χαρακτήρα με απειλητική πτηνόμορφη κεφαλή, ο οποίος συνήθως απειλεί με βίαιη αρπαγή. Η απεικόνιση ανευρίσκεται παλαιότερα στην Ινδική όπου έλαβε χώραν ο εικονογραφικός δανεισμός ή απομίμηση στοιχείων του Μύθου της Αρπαγής του Γανυμήδη από τον Δία - Αετό.
4_51a11. Ortolani 1990, p. 36, n. 6. Σημειώνεται επίσης ότι έμπροσθεν του ναού Tachibana-dera (Tachibana Temple) υπάρχει ένα χάλκινο άγαλμα αλόγου που ονομάζεται Kurokoma (Μαύρος Πήγασος) που ήταν το αγαπημένο άλογο που ο Shōtōku Taishi χρησιμοποιούσε για να ιππεύσει σε διάφορες τοποθεσίες για να διαδώσει τον Βουδισμό. Λέγεται επίσης ότι ο Πρίγκιπας πήγαινε συχνά με αυτό το άλογο στην Ikaruga (ναός Hōryū-ji) και ότι το άλογο είχε θαυματουργές δυνάμεις, συμπεριλαμβανομένης της ικανότητας να πετάει. Με τον Shōtoku Taishi στην πλάτη του, ο Kurokoma πέταξε για τρεις ημέρες και σε όλη τη χώρα, χωρίς να κουραστεί. Ο Shōtoku Taishi ανήγειρε ένα πέτρινο μνημείο γιά το άλογο, το οποίο σχολίασε αργότερα ο μεγάλος βουδιστής μοναχός Kōbō Daishi (774-835) κατά τη διάρκεια του ταξιδιού του στον ναό Tachibana. Βλ. <https://en.japantravel.com/nara/asuka-03-tachibana-temple/2186>.

ΒΙΒΛΙΟΓΡΑΦΙΑ

https://www.amazon.in/Silk-Road-Culture-Chinas-Initiative/dp/9813202955?asin=B07RT4Y8KV&revisionId=f465afab&format=1&depth=1
https://www.kobo.com/ww/en/ebook/silk-road-the-study-of-drama-culture
https://books.google.gr/books?id=eeaWDwAAQBAJ&pg=PA751&lpg=PA751&dq=Li+Qiang,+1999,+Dionysus+Cult,+Song+of+Goats+and+Western+Drama,+Xinjiang+Arts+5&source=bl&ots=HN13efvbdK&sig=ACfU3U3OVFUD8JdqFssKatgwsLJcvNew1g&hl=el&sa=X&ved=2ahUKEwiIw8HeoKztAhUmsKQKHf75BR8Q6AEwAHoECAEQAg#v=snippet&q=Ixion&f=false
Li Qiang. 2019. Silk Road: The Study of Drama Culture (Series on China’s Belt and Road Initiative III), trans. Gao Fen, New Jersey.

Li Qiang, 1999. “Dionysus Cult, Song of Goats and Western Drama,” Xinjiang Arts 5, 1999 {Journal of Xinjiang Arts Institute ?}

China: The Early History of Chinese Theatre, <https://disco.teak.fi/asia/the-early-history-of-chinese-theatre/>

https://altaica.ru/LIBRARY/Pelliot/Pelliot_Tokharien%20et%20Koutcheen_Journal%20Asiatique_224%201934.pdf
Pelliot, P. 1934. "Tokharien et Koutchéen," Journal Asiatique 224 (1934), pp. 23-106.

https://www.jstor.org/stable/25791051
Shoichi Inoue. 2000. "Interpretation of Ancient Japanese Architecture: Focusing on Links with World History," Japan Review 12, International Conference: The Global Meaning of Japan: European and Asian Perspetives, pp. 129-143.

https://sino-platonic.org/complete/spp326_dionysian_rituals_china.pdf
Christopoulos, L. 2022. "Dionysian Rituals and the Golden Zeus of China," Sino-Platonic Papers 326, pp. 1-123.


https://himalaya-arch.com/images/lettre-du-toit-du-monde/Lettre-TDM-ENGLISH-29.pdf?fbclid=IwAR0LUUcpf-OJHBIDoG2DR7efKr8GzHEYWfmwbnmpLBj0Kg-dc6QXovhetPM
Pannier, F. 2019, "Study on the Diffusion of a Type of Mask through Greece, India and Japan," Lettre dy Toit du Monde 29, pp. 1-15.

https://www.byzantinemuseum.gr/en/temporary_exhibitions/older/?nid=2371
ΒΥΖΑΝΤΙΝΟ & ΧΡΙΣΤΙΑΝΙΚΟ ΜΟΥΣΕΙΟ The globally touring photo exhibition & short-film series, "Road of Light and Hope" presents "visions towards unity" through select artwork as evidence of the interconnectedness of East and West, throughout which "The Eurasian Trail of Wisdom" stands out in bold relief.
While Nara was the ancient capital of Japan, it was de facto the easternmost terminal of the Silk Road.
If we were to seek a cultural link connecting its westernmost terminus, Rome, with Nara, it might be found in the sculptural art works from the eighth century, embodying the ideals of the human spirit as well as the free and vivid movements influenced by the classical style of ancient GREECE.
Some examples would be: Buddhist statues influenced by HELLENISTIC culture; the Vairocana Buddha whose origins can be traced along the Silk Road to the ancient GRECO-Bactrian Kingdom; Fukūkensaku Kannon which some believe may have a Greek origin via Shiva, one of the principal Indian deities, who is possibly connected to HERCULES in Greek mythology; Gigaku masks whose origins go back to the comic mask theatre of ancient GREECE, brought all the way to Japan via the "Oasis Silk Road", while becoming intermingled with the folklore and dance of Sogdians (middlemen along the trade routes) and various mask theatres along the Silk Routes both by land and sea.

https://www.byzantinemuseum.gr/en/museum_news/press_releases/?nid=2374
The lecture will be supported by a theatrical performance with masks Gigaku by the dancer Shunso, former soloist dancer of the National Ballet of Cuba and of the Czech Republic. The photographs of Gigaku theatrical masks from the Buddhist temple of Todaiji in Nara, Japan, are displayed in the current exhibition. These masks are thought to have originated from the ancient comic Greek theatre and bear witness to the cultural interactions and influences brought into contacts along the ancient trading route of the Silk Road connecting China and Greece.


https://books.google.gr/books?id=ge8cWl8OT3gC&printsec=frontcover&hl=el#v=onepage&q=Greek&f=false
Ortolani, B. 1990. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Princeton University Press.
Από τον/την 
p. 36
Whichever might be the immediate origin of gigaku masks and performances, several questions about their remote origin remain open. A study of the characteristics of the gigaku masks reveals that they represent myths and types which are certainly not Chinese. The face masks seem to be connected with the carving art of the Scythians. The head masks have occasioned many attempts to prove the existence of a bridge between the theatre of China and Japan, and the theatre of Greece and Rome, across the Near East and India. As a matter of fact, a close comparison or some gigiaku masks with late Roman comic masks presents some striking similarities. One hypothesis sees in the episode of Konron, the women of Wu and Rikishi a transformation of a Greek myth.{The mask is that of the barbarian Konron, who in the drama clumsily attempts to court the lovely Go-Jo, princess of the Chinese kingdom of Wu. https://www.britishmuseum.org/collection/object/A_1957-1120-1 https://en.wikipedia.org/wiki/Gigaku} {There are two wrestler archetype characters, the Kongō (金剛) or "Vajra-yakṣa" who is open-mouthed,[10] and the Rikishi (力士) who is closed mouthed.[10][11] These two are said to be analogous to the two Niō or guardian gate statues, who respectively form the open and closed A-un shapes in their mouths.} Hera and Iris would be the models for the women of Wu, satyrs for Konron, Heracles for Rikishi. The possibility of a long arch stretching from the Near East to Japan — traveled by nomadic populations who combined the western art of carving masks with Indian mythology and Buddhist faith— remains as intriguing and fascinating as the surprising presence of a Greek modeling of a pillar in the Horyuji temple of Nara, or the discovery in Japan of the winged horse, possibly a Pegasus-motif, in decorative patterns contemporary to gigaku.6


https://www.mukogawa-u.ac.jp/~iasu2016/pdf/iaSU2016_Proceedings.pdf
Tsaras,  G., E. Chrysafidis, D. Giouzepas. 2016. "Traditional Noh Theatre and Ancient Greek  Tragedy:  Comparative  Study towards a common Performance," Archi-Cultural Interactions through the Silk Road. 4th International Conference, Mukogawa Women’s University, pp. 49-52. 

https://www.academia.edu/1503231/An_account_of_the_Dionysiac_presence_in_Indian_art_and_culture 
Peterson, S. 2011-2012. “An account of the Dionysiac presence in Indian art and culture,” < https://www.academia.edu/1503231/An_account_of_the_Dionysiac_presence_in_Indian_art_and_culture> (17 March 2019).

https://www.jstor.org/stable/3047209?read-now=1&seq=10#page_scan_tab_contents
Rowland Jr., B. 1949. "The Hellenistic Tradition in Northwestern India," The Art Bulletin 31 (1), pp. 1-10. 

p. 6
These sculptures, the earliest examples of classical art from India, revealing the survival of Hellenic and Hellenistic types in Augustan art, bring to mind a statement of Professor Rostovtzeff’s: "In their new homeland, influenced strongly by Greek art and less significantly by Indian, they [the Sakas] created a peculiar Graeco-Iranian art. This art may have influenced to a certain extent the development of that peculiar hybrid art which we call, after Toucher, the Graeco-Buddhic) art of the Gandhara region.38 I would even amplify Professor Rostovtzeff's theory to say that, before the comparatively settled conditions that succeeded the advent of the Parthians, Greek art could scarcely have existed in these regions. The finding of the many scattered pieces of Hellenistic sculpture throughout Iran and in the Parthians' Indian domains seems to indicate that the Philhellenism of the Parthians was of a thicker fabric than is indicated by their use of Greek inscriptions and cultivation of the Greek drama, and strengthens the theory that Parthia, more than the semi-mythical Bactria, kept alive the tradition of classic art in the Middle East and was responsible for its transmission to India. Under the Parthians, Iran, politically as well as artistically, still hung in the balance between Europe and Asia: its fate as an oriental power was not really sealed until the Sasanian period. As we have seen, Sir John Marshall's later excavations in the cities of Sirkap and Taxila have led him to the conclusion that Parthian rule and semi-Greek culture continued in the Punjab until about A.D. 65, the earliest possible date for the advent of the Kushans.39 "There is," says Sir John Marshall, "abundant evidence to show that much of this [Greek] influence was directly due to the Parthians.40 And again, "Whatever the Kushans had of Graeco-Roman ideas or Graeco-Roman culture must have come to them by way of Parthia.41 I would add that probably they found this culture largely ready-made. It may have excited their interest and respect for the west and led to the establishment of even closer artistic relations with Rome under Wima Kadphises and his successors, a conclusion favored, of course, by the trade route between India and the Graeco-Roman orient. It is interesting to note in this connection Foucher's remarks on the three or four generations necessary for the mingling of Hellenism and Buddhism to produce the earliest works of the Gandhara school.42 These generations would seems to fall naturally 

https://archive.org/details/internationalbib0000beni_o2o1/page/n5/mode/2up?view=theater
Ortolani. B. 1999. International Bibliography of Theatre 1997, New York. 

https://www.didaskalia.net/issues/12/3/?fbclid=IwZXh0bgNhZW0CMTAAAR0wmqwp2rSpZqSKLk2F4JZIUvLML8I7qP1ew8dlClVeu3-x3eccdtCZwHE_aem_Acguc_3K4lnFrY2rJ3OJ8ZeVxjRCzWcrXK-lnB8XE0k5qv8hfJrOZPF26AN2e_hyBEeNLAQAW1_t2IxujnQSwq-9
https://www.didaskalia.net/issues/12/3/DidaskaliaVol12.03.pdf
Mathews, G. 2015. "ADIP - The Masks of Nō and Tragedy: Their Expressivity and Theatrical and Social Functions," Didaskalia 12 (3), pp. 12-29.

https://idp.bl.uk/collection/96F7D60A915A40E29A226274E32C0D93/?return=%2Fcollection%2F%3Fmedia%3Dyes%26classification%255B%255D%3DArtefact%26form%255B%255D%3Dplaque

https://himalaya-arch.com/images/lettre-du-toit-du-monde/Lettre-TDM-ENGLISH-29.pdf?fbclid=IwZXh0bgNhZW0CMTAAAR1fJNL_isnlHoBavhzneMNivchMxV7rPaDdSpgJNymmpuLpu8rCqUWhDvE_aem_Acj1IbvJmnDFoqc9U4xWPDdnZsUYNV6g2xxIYgtWreyYeCDKjr7PtyfwGuWQJ4204sCWBeee2Y9TT-4-BF7fODZm
Pannier, F. 2019. "Study on the diffusion of a type of mask through Greece, India and Japan," Letter Du Toit Du Monde 19, pp. 1-15.

https://www.academia.edu/68580198/An_Ancient_Greek_City_in_Central_Asia?uc-g-sw=11370862
Paul Bernard, P. 1982. "An Ancient Greek City in Central Asia," Scientific American, pp. 148-159.


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