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Mani's Pictures
The founder of Manichaeism, Mani (216-274/277 CE), not only wrote down his teachings to prevent their adulteration, but also created a set of paintings—the Book of Pictures—to be used in the context of oral instruction. That pictorial handscroll and its later editions became canonical art for Mani's followers for a millennium afterwards. This richly illustrated study systematically explores the artistic culture of religious instruction of the Manichaeans based on textual and artistic evidence. It discusses the doctrinal themes (soteriology, prophetology, theology, and cosmology) depicted in Mani’s canonical pictures. Moreover, it identifies 10th-century fragments of canonical picture books, as well as select didactic images adapted to other, non-canonical art objects (murals, hanging scrolls, mortuary banners, and illuminated liturgical manuscripts) in Uygur Central Asia and Tang-Ming China.
The Light and the Darkness
This is the second volume of scholarly studies in Manichaeism which were originally presented before the Manichaean Studies Group of the Society of Biblical Literature from 1997 through 1999. Like its predecessor, Emerging from Darkness: Studies in the Recovery of Manichaean Sources (Brill, 1997), this volume presents the latest international scholarship from leading researchers in the growing field of Manichaean studies. Here the researchers move from the continuing foundational work of recovering Manichaean sources to the necessary task of understanding the relationship of Manichaeans to the larger world in which they lived. That relationship took several distinct forms, and the contributions in this book analyze those forms, examining the relationship of Manichaeism with diverse cultural, social and religious traditions.
Mediaeval Manichaean Book Art
Mediaeval Manichaean Book Art focuses on a corpus of 89 fragments of exquisitely illuminated manuscripts that were produced under the patronage of the Turkic-speaking Uygurs in the Turfan region of East Central Asia between the 8th and 11th centuries C.E., and used in service of the local Manichaean church. By applying a codicological approach to the analysis of these sources, this study casts light onto a lost episode of Central Asian art history and religious book culture. Mediaeval Manichaean Book Art represents a pioneer study in its subject, research methodology, and illustrations. It extracts codicological and art historical data from torn remains of lavishly decorated Middle-Persian, Sogdian, and Uygur language manuscripts in codex, scroll, and 'palm-leaf' formats. Through detailed analyses and carefully argued interpretations aided by precise computer drawings, the author introduces an important group of primary sources for future comparative research in Central Asian art, mediaeval book illumination, and Manichaean studies.
A Manichaean Prayer and Confession Book
The Manichaean Prayer and Confession Book was first published by W. B. Henning in 1937 as 'Ein manichaisches Bet- und Beichtbuch' (BBB). It is one of the best-preserved of the Manichaean books found in the Turfan area and the only one which survives in the form of a bound codex. The surviving parts of this beautifully decorated miniature book include Middle Persian and Parthian hymns and readings for the Bema festival, the high-point of the Manichaean liturgical calendar, followed by an elaborate confessional formula for the Elect in the Sogdian language. The manuscript constitutes a precious treasure-trove of information on its three languages, on Manichaean codicology and book-art, and on the Manichaean religion itself. This new edition also includes the supplementary Sogdian texts which Henning added to his 'BBB'. Written by leading experts and incorporating magnificent colour photos never seen before, the volume appropriately inaugurates the Series Iranica of the Corpus Fontium Manichaeorum. With an Introduction by John S. Sheldon, and Codicology by Zsuzsanna Gulacsi.
Buddhism in Central Asia II
The ERC-funded research project BuddhistRoad aims to create a new framework to enable understanding of the complexities in the dynamics of cultural encounter and religious transfer in pre-modern Eastern Central Asia. Buddhism was one major factor in this exchange: for the first time the multi-layered relationships between the trans-regional Buddhist traditions (Chinese, Indian, Tibetan) and those based on local Buddhist cultures (Khotanese, Uyghur, Tangut) will be explored in a systematic way. The second volume Buddhism in Central Asia II—Practice and Rituals, Visual and Materials Transfer based on the mid-project conference held on September 16th–18th, 2019, at CERES, Ruhr-Universität Bochum (Germany) focuses on two of the six thematic topics addressed by the project, namely on "practices and rituals", exploring material culture in religious context such as mandalas and talismans, as well as “visual and material transfer”, including shared iconographies and the spread of ‘Khotanese’ themes.
Mediaeval Manichaean Book Art
This volume is a pioneer study focused on a corpus of 89 fragments of exquisitely illuminated manuscripts that were produced under the patronage of the Turkic-speaking Uygurs in the Turfan region of East Central Asia between the 8th and 11th centuries CE. Through detailed analyses and interpretations aided by precise computer drawings, the author introduces an important group of primary sources for future comparative research in Central Asian art, mediaeval book illumination, and Manichaean studies.
Armenia
At the foot of Mount Ararat on the crossroads of the eastern and western worlds, medieval Armenians dominated international trading routes that reached from Europe to China and India to Russia. As the first people to convert officially to Christianity, they commissioned and produced some of the most extraordinary religious objects of the Middle Ages. These objects—from sumptuous illuminated manuscripts to handsome carvings, liturgical furnishings, gilded reliquaries, exquisite textiles, and printed books—show the strong persistence of their own cultural identity, as well as the multicultural influences of Armenia’s interactions with Romans, Byzantines, Persians, Muslims, Mongol...
Emerging from Darkness
Modern interpretation of the Manichaean religious tradition requires a firm foundation in the sober and meticulous reconstruction of highly fragmentary sources. The studies collected in this volume contribute to such a foundation by bringing new primary texts to the public for the first time, extracting new data from previously known sources, and defining and delimiting important but previously neglected sets of material. The studies are authored by an international group of leading scholars in the fields of ancient Mediterranean and Near Eastern studies, comparative religion, early Christianity, patristics, art history, Turkic studies and Coptology. The textual and art historical materials ...
Mani in Dublin
In 2009 the Seventh International Conference of Manichaean Studies was held at the Chester Beatty Library in Dublin. The 22 selected papers of this volume offer a deep insight into the faith of Manichaean communities ranging from the very beginning of the 3rd century up to the last traces of worship today. Among others the authors deal with sources from Augustin, John the Grammarian, Ephrem the Syrian and further sources written in Coptic, Sogdian, Middle Persian, Parthian and Chinese. Several studies about Manichaean art and iconography offer a visual impression, which gives a new opportunity for understanding the religion of Light.
Uygur Patronage in Dunhuang
This volume is about the long-neglected, but decisive influence of Uygur patrons on Dunhuang art in the tenth and eleventh centuries. Through an insightful introduction to the hitherto little-known early history and art of the Uygurs, the author explains the social and political forces that shaped the taste of Uygur patrons. The cultural and political effects of Sino-Uygur political marriages are examined in the larger context of the role of high-ranking women in medieval art patronage. Careful study of the iconography, technique and style sheds new light on important paintings in the collection of the British Museum in London, and the Musée national des Arts asiatiques-Guimet, in Paris, and through comparative analysis the importance of regional art centres in medieval China and Central Asia is explored. Richly illustrated with line drawings, as well as colour and black-and-white plates.
