Study On Zoroastrian Elements In Chinese Fine Art

Religion holds a vital role in the cultural exchange between China and Persia. Zoroastrianism became the state religion in the Achaemenid Empire (560B.C. - 330 B.C.) at the latest. It played a major role in Persian culture. Buddhism, influencing China for more than 2000 years, although originated in India, at first spread to China mainly through the Central Asia region, in those days under the rule of Persia, so as Zoroastrianism, Manichaeism and Nestorianism, which were known as the "three foreign religions". The art styles of these religions brought an innovative impetus to the Chinese traditional art. Zoroastrianism, which had a longer history than Buddhism, left traces in the Pre-Qin Dynasty's history resources.Some Sakā people were followers of Zoroastrianism and had close commercial relations with China. After Zhang Qin's diplomatic mission, the relations between China and regions of Persia(Pathian) became even closer. Between fourth and sixth centuries A.D., Northern China was ruled by the semi-nomadic tribe "Hu". At the end of fifth century A:D., the Xianbei people founded Northern Wei Dynasty, Northern Qi Dynasty and Northern Zhou Dynasty and brought political stability to that area. The ruling class and the Persians both followed Zoroastrianism. On the other hand, the establishment and collapse of the Sassanid Empire occurred between the first year of Tai He of Northern Wei and the beginning of the Tang Dynasty. The Sassanid Empire maintained good land and sea trading with the Chinese Empire. A lot of Persian people, including the Sogdians, lived in Western and Central China, which resulted in the stable development of Persian art in China. This explained why the Chinese art embodies Zoroastrian elements.This study begins with the introduction to Zoroastrianism in Persia and Central Asia, using some art works most representative of these areas, in order to outline the characteristics of Persian and Sogdian art and specially identifying the Zoroastrian elements. Based on that information, an in depth study is carried on the iconography of Kazil Grotto Dunhuang Grotto and sarcophaguses located in Shanxi, Xanxi and Shandong provinces; a study on textile motifs of Northern Wei to Tang dynasty follows in order to identify the Zoroastrian elements. The author considers the Zoroastrian elements found in the Chinese Buddhist Grotto were actually an extension of the Central Asia style. At the same time, this style continued and merged with the local artistic tradition and aesthetic of Han dynasty. The study also indicates the "Fortune Bird" or the ribbon of "Hvrenah", identified by the senior scholars on Zoroastrian art in China, must have an original name in the linguistic context and meaning of Zoroastrianism. The study also puts forward some new observations about sarcophaguses, peral roundel textile motif which achieving widespread popularity before middle of Tang dynasties, research on sketches of Dunhuang and silk motifs found in Turfan, confirmed that the elements found in the fine art of Northern Wei to Tang dynasties lost their original religious meaning. Instead, they are closer to a kind of momumental art or to folk handicraft, an artistic expression popular on those days resulting from the Chinese and foreign cultural exchange.