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An 8th-century Tang dynasty Chinese clay figurine of a Sogdian man wearing a distinctive cap and face veil, possibly a Zoroastrian priest engaging in a ritual at a fire temple, since face veils were used to avoid contaminating the holy fire with breath or saliva.<br/><br/> Alternatively, from the posture, the figurine may represent a Sogdian camel rider on the Silk Road covering his mouth and nose against the sandstorms of the Taklamakan Desert in Xinjiang.
The Buddhist cloister of Ajina-Tepa is situated 12 km east of the city of Kurgan-Tiube, Tajikistan. According to archeologists, the cloister was built in the 7th - 8th centuries CE. Ajina-Tepa was a name given by the locals to the hill under which the ruins of the cloister lay hidden. The name translates from Tajik as 'Devil's Hill', as it is believed that the place is the abode of evil spirits.<br/><br/> The excavations of the hill were started in 1959 by Soviet archaeologists. The cloister had 2-m thick walls, built out of massive blocks of adobe, and consisted of two rectangular courtyards, surrounded by stupas, corridors and cells. More than 600 works of art, found during the 15 years of excavation, indicate how rich the original decoration of the temple was.
The Sogdians established a trading network across the 2,400 kilometres (1,500 miles) from Sogdiana to China. In fact, the Sogdians turned their energies to trade so thoroughly that the Saka (Scythians) of the Kingdom of Khotan called all merchants <i>suli</i>, 'Sogdian', whatever their culture or ethnicity.<br/><br/> Sogdian contacts with China were initiated by the embassy of the Chinese explorer Zhang Qian during the reign of Wudi in the former Han Dynasty, 141–87 BCE.
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).
The Sogdians established a trading network across the 2400 kilometres (1500 miles) from Sogdiana to China. In fact, the Sogdians turned their energies to trade so thoroughly that the Saka (Scythians) of the Kingdom of Khotan called all merchants suli, 'Sogdian', whatever their culture or ethnicity.<br/><br/> Sogdian contacts with China were initiated by the embassy of the Chinese explorer Zhang Qian during the reign of Wudi in the former Han Dynasty, 141–87 BCE.<br/><br/> Sancai (Chinese: 三彩; pinyin: sāncǎi; literally 'three colours') is a type of ceramics using three intermingled colors for decoration.<br/><br/> The Tang Dynasty (Chinese: 唐朝; pinyin: Táng Cháo; June 18, 618 – June 1, 907) was an imperial dynasty of China preceded by the Sui Dynasty and followed by the Five Dynasties and Ten Kingdoms Period. It was founded by the Li (李) family, who seized power during the decline and collapse of the Sui Empire. The dynasty was interrupted briefly by the Second Zhou Dynasty (October 8, 690 – March 3, 705) when Empress Wu Zetian seized the throne, becoming the first and only Chinese empress regnant, ruling in her own right.<br/><br/> The Tang Dynasty, with its capital at Chang'an (present-day Xi'an), which at the time was the most populous city in the world, is generally regarded as a high point in Chinese civilization—equal to, or surpassing that of, the earlier Han Dynasty—a golden age of cosmopolitan culture. Its territory, acquired through the military campaigns of its early rulers, rivalled that of the Han Dynasty. In two censuses of the 7th and 8th centuries, the Tang records estimated the population by number of registered households at about 50 million people.
Manichaeism was one of the major Iranian Gnostic religions, originating in Sassanid Persia. Although most of the original writings of the founding prophet Mani (c. 216–276 CE) have been lost, numerous translations and fragmentary texts have survived.<br/><br/> Manichaeism taught an elaborate cosmology describing the struggle between a good, spiritual world of light, and an evil, material world of darkness. Through an ongoing process which takes place in human history, light is gradually removed from the world of matter and returned to the world of light from which it came. Its beliefs can be seen as a synthesis of Christianity, Zoroastrianism and Buddhism.<br/><br/> Manichaeism thrived between the third and seventh centuries, and at its height was one of the most widespread religions in the world. Manichaean churches and scriptures existed as far east as China and as far west as the Roman Empire. Manichaeism survived longer in the east, and appears to have finally faded away after the 14th century in southern China.
'On a pond crowded with aquatic creatures, musicians and singers sit in a boat with a prow shaped like a bird’s head. A lady, larger than her attendants, is feeding the fish, while a composite winged monster is recognizable beneath the boat. One man is leading two horses to water, and another man, half-naked and carrying a stick, is wading into it.<br/><br/> It has been suggested that this scene is a reference to the negotiation of a marriage alliance. The local king or his overlord is trying to marry a Chinese princess, and the larger lady in the boat is on her way to Samarqand, even though Chinese ladies customarily traveled in carts'.
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).<br/><br/> The topic on the main wall, the western wall facing the entrance is debated between specialists. Turkish soldiers are escorting ambassadors coming from various countries of the world (Korea, China, Iranian principalities, etc). There are three main hypotheses. The leading expert on Sogdian painting, the excavator of Panjikent, B. Marshak points out that Sogdian painting, gods are always depicted on the top of the main wall. However, as the Turks are guiding the embassies but are not themselves ambassadors, it has been suggested also that the Turkish Qaghan, then lord of inner and central Asia, might be depicted there.<br/><br/> A Chinese text states that the 'Four Lords of the World', here China, India, Iran and Turan, are depicted on the walls of palaces near Samarkand precisely during this period, and this would perfectly fit the four walls of this room. The last hypothesis makes use of an inscription mentioning the king of Samarkand to propose the idea that the ambassadors are presenting their gifts to him.
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).<br/><br/> The topic on the main wall, the western wall facing the entrance is debated between specialists. Turkish soldiers are escorting ambassadors coming from various countries of the world (Korea, China, Iranian principalities, etc). There are three main hypotheses. The leading expert on Sogdian painting, the excavator of Panjikent, B. Marshak points out that Sogdian painting, gods are always depicted on the top of the main wall. However, as the Turks are guiding the embassies but are not themselves ambassadors, it has been suggested also that the Turkish Qaghan, then lord of inner and central Asia, might be depicted there.<br/><br/> A Chinese text states that the 'Four Lords of the World', here China, India, Iran and Turan, are depicted on the walls of palaces near Samarkand precisely during this period, and this would perfectly fit the four walls of this room. The last hypothesis makes use of an inscription mentioning the king of Samarkand to propose the idea that the ambassadors are presenting their gifts to him.
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).<br/><br/> The topic on the main wall, the western wall facing the entrance is debated between specialists. Turkish soldiers are escorting ambassadors coming from various countries of the world (Korea, China, Iranian principalities, etc). There are three main hypotheses. The leading expert on Sogdian painting, the excavator of Panjikent, B. Marshak points out that Sogdian painting, gods are always depicted on the top of the main wall. However, as the Turks are guiding the embassies but are not themselves ambassadors, it has been suggested also that the Turkish Qaghan, then lord of inner and central Asia, might be depicted there.<br/><br/> A Chinese text states that the 'Four Lords of the World', here China, India, Iran and Turan, are depicted on the walls of palaces near Samarkand precisely during this period, and this would perfectly fit the four walls of this room. The last hypothesis makes use of an inscription mentioning the king of Samarkand to propose the idea that the ambassadors are presenting their gifts to him.
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).<br/><br/> The topic on the main wall, the western wall facing the entrance is debated between specialists. Turkish soldiers are escorting ambassadors coming from various countries of the world (Korea, China, Iranian principalities, etc). There are three main hypotheses. The leading expert on Sogdian painting, the excavator of Panjikent, B. Marshak points out that Sogdian painting, gods are always depicted on the top of the main wall. However, as the Turks are guiding the embassies but are not themselves ambassadors, it has been suggested also that the Turkish Qaghan, then lord of inner and central Asia, might be depicted there.<br/><br/> A Chinese text states that the 'Four Lords of the World', here China, India, Iran and Turan, are depicted on the walls of palaces near Samarkand precisely during this period, and this would perfectly fit the four walls of this room. The last hypothesis makes use of an inscription mentioning the king of Samarkand to propose the idea that the ambassadors are presenting their gifts to him.
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).<br/><br/> The topic on the main wall, the western wall facing the entrance is debated between specialists. Turkish soldiers are escorting ambassadors coming from various countries of the world (Korea, China, Iranian principalities, etc). There are three main hypotheses. The leading expert on Sogdian painting, the excavator of Panjikent, B. Marshak points out that Sogdian painting, gods are always depicted on the top of the main wall. However, as the Turks are guiding the embassies but are not themselves ambassadors, it has been suggested also that the Turkish Qaghan, then lord of inner and central Asia, might be depicted there.<br/><br/> A Chinese text states that the 'Four Lords of the World', here China, India, Iran and Turan, are depicted on the walls of palaces near Samarkand precisely during this period, and this would perfectly fit the four walls of this room. The last hypothesis makes use of an inscription mentioning the king of Samarkand to propose the idea that the ambassadors are presenting their gifts to him.
Sogdiana or Sogdia (Old Persian: Suguda-; Ancient Greek: Σογδιανή; New Persian: سغد – Sōġd; Tajik: Суғд – Sughd; Turkish: Soğut; Chinese:粟特人) was the ancient civilization of an Iranian people and a province of the Achaemenid Persian Empire, eighteenth in the list on the Behistun Inscription of Darius the Great.<br/><br/> Sogdiana, at different times, included territories around Samarkand, Bukhara, Khujand and Kesh in modern Uzbekistan. The inhabitants of Sogdiana were the Sogdians, an Eastern Iranian people, who are among the ancestors of modern-day Tajiks and Yagnobis.
An Lushan (ca. 703–29 January 757), born Aluoshan or Galuoshan, posthumously named Prince La of Yan, was a military leader of Sogdian and Tujue origin during the Tang Dynasty in China. He rose to prominence by defending the northeastern border from the Khitan and other northern threats, while systematically bribing Imperial messengers and envoys to depict him in good terms in their reports. He was summoned to Chang'an, the Tang Dynasty's capital, several times and managed to get the favor of Chancellor Li Linfu and Emperor Xuanzong, who took An Lushan as his son. This allowed An Lushan to get astonishing military power in northeast China. After the death of Li Linfu, his opposition to Yang Guozhong created military tension within the Empire. The promotion of Yang Guozhong to Chancellor precipitated the catastrophic An Shi Rebellion, which lasted from 755 to 763. Viewed as paranoid and dangerous, An Lushan was assassinated by his own son, An Qingxu, in 757, starting political turmoil for the Yan Kingdom which eventually led to its final collapse in 763.
Manichaeism was one of the major Iranian Gnostic religions, originating in Sassanid Persia. Although most of the original writings of the founding prophet Mani (c. 216–276 CE) have been lost, numerous translations and fragmentary texts have survived.<br/><br/> Manichaeism taught an elaborate cosmology describing the struggle between a good, spiritual world of light, and an evil, material world of darkness. Through an ongoing process which takes place in human history, light is gradually removed from the world of matter and returned to the world of light from which it came. Its beliefs can be seen as a synthesis of Christianity, Zoroastrianism and Buddhism.<br/><br/> Manichaeism thrived between the third and seventh centuries, and at its height was one of the most widespread religions in the world. Manichaean churches and scriptures existed as far east as China and as far west as the Roman Empire. Manichaeism survived longer in the east, and appears to have finally faded away after the 14th century in southern China.
The motif on this fragment of textile, which may be from Iran or Uzbekistan, featuring two bulls in a beaded medallion, is clearly indebted to Sasanian and Sogdian design traditions of the early Silk Road. The bulls stand on a winged palmette, now almost worn away, with a stylized plant between them. The group to which this woven textile belongs has been ascribed on the basis of an inscription on a similar textile to the Central Asian city of Bukhara in present day Uzbekistan. The city was incorporated into the Umayyad caliphate at the beginning of the 8th century.
Ancient Panjekent was a small but flourishing town of the Soghdians in pre-Islamic Central Asia. It was known as Panchekanth, meaning 'five towns'.<br/><br/> The ethnic and territorial name Soghd/Soghdian or Sughd/Sughdian is mentioned in history as early as the Iranian Achaemenid Dynasty (6th century BCE). The Achaemenids founded several city-states, as well as cities along the ancient Silk Road and in the Zarafshan valley.<br/><br/> The town grew in the 5th century CE and many professionals such as established businessmen and landowners made their livelihoods in Panjakent. In 722 CE, Arabian forces besieged and annexed the town. The last ruler of the town, Divashtich, fled into upper Zarafshan but he was captured and sentenced to death.<br/><br/> For around 50 years, ancient Panjakent was ruled by new administrators but towards the end of the 8th century the town on the upper terraces was depopulated and relocated. Many ancient ruins of the old city, particularly the city architecture and works of art remain today.
The Sogdian alphabet was originally used for the Sogdian language, a language in the Iranian family used by the people of Sogdiana.<br/><br/> The alphabet is derived from Syriac, the descendant script of the Aramaic alphabet. The Sogdian alphabet is one of three scripts used to write the Sogdian language, the others being the Manichaean alphabet and the Syriac alphabet.<br/><br/> It was used throughout Central Asia, from the edge of Iran in the west, to China in the east, from approximately 100-1200 CE
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).<br/><br/> The topic on the main wall, the western wall facing the entrance is debated between specialists. Turkish soldiers are escorting ambassadors coming from various countries of the world (Korea, China, Iranian principalities, etc). There are three main hypotheses. The leading expert on Sogdian painting, the excavator of Panjikent, B. Marshak points out that Sogdian painting, gods are always depicted on the top of the main wall. However, as the Turks are guiding the embassies but are not themselves ambassadors, it has been suggested also that the Turkish Qaghan, then lord of inner and central Asia, might be depicted there.<br/><br/> A Chinese text states that the 'Four Lords of the World', here China, India, Iran and Turan, are depicted on the walls of palaces near Samarkand precisely during this period, and this would perfectly fit the four walls of this room. The last hypothesis makes use of an inscription mentioning the king of Samarkand to propose the idea that the ambassadors are presenting their gifts to him.
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).<br/><br/> The topic on the main wall, the western wall facing the entrance is debated between specialists. Turkish soldiers are escorting ambassadors coming from various countries of the world (Korea, China, Iranian principalities, etc). There are three main hypotheses. The leading expert on Sogdian painting, the excavator of Panjikent, B. Marshak points out that Sogdian painting, gods are always depicted on the top of the main wall. However, as the Turks are guiding the embassies but are not themselves ambassadors, it has been suggested also that the Turkish Qaghan, then lord of inner and central Asia, might be depicted there.<br/><br/> A Chinese text states that the 'Four Lords of the World', here China, India, Iran and Turan, are depicted on the walls of palaces near Samarkand precisely during this period, and this would perfectly fit the four walls of this room. The last hypothesis makes use of an inscription mentioning the king of Samarkand to propose the idea that the ambassadors are presenting their gifts to him.
The Sogdian alphabet was originally used for the Sogdian language, a language in the Iranian family used by the people of Sogdiana.<br/><br/> The alphabet is derived from Syriac, the descendant script of the Aramaic alphabet. The Sogdian alphabet is one of three scripts used to write the Sogdian language, the others being the Manichaean alphabet and the Syriac alphabet.<br/><br/> It was used throughout Central Asia, from the edge of Iran in the west, to China in the east, from approximately 100-1200 CE
Located on the Silk Road, Bukhara has for three millennia been a center of trade, scholarship, culture and religion. During the golden age of the Samanids, Bukhara became the intellectual center of the Islamic world. Part of the Persian Empire for several centuries, it is today mostly populated by Tajik-speakers. The historic center of Bukhara, which contains numerous mosques and madrassas, has been listed by UNESCO as a World Heritage Site.
Zoroaster (Old Persian: Zarathustra, in modern Persian Zardosht) is generally thought to have lived about the 11th or 10th century BCE. Zoroastrianism is a religion and philosophy based on the teachings of Zoroaster as prophet. The term Zoroastrianism is, in general usage, essentially synonymous with Mazdaism (the worship of Ahura Mazda, exalted by Zoroaster as the supreme divine authority).<br/><br/> In Zoroastrianism, the Creator Ahura Mazda is all good, and no evil originates from Him. Thus, in Zoroastrianism good and evil have distinct sources, with evil (druj) trying to destroy the creation of Mazda (asha), and good trying to sustain it. In some form, it served as the national- or state religion of a significant portion of the Iranian people for many centuries.
Dating from the late Khwārazm-Shāh Dynasty (1077–1231), the centre of the tray depicts a Persian - presumably Khwarezmid - ruler with two female attendants.<br/><br/> Around the rim a Silk Road caravan marches, comprising two-humped Bactrian camels and Persian merchants in pointed, Sogdian-style hats. Rey, Ray or sometimes Rayy was an important town on the Persian section of the Silk Road.
The Sogdians established a trading network across the 2400 kilometres (1500 miles) from Sogdiana to China. In fact, the Sogdians turned their energies to trade so thoroughly that the Saka (Scythians) of the Kingdom of Khotan called all merchants suli, 'Sogdian', whatever their culture or ethnicity.<br/><br/> An ossuary is a chest, box, building, well, or site made to serve as the final resting place of human skeletal remains. They are frequently used where burial space is scarce. A body is first buried in a temporary grave, then after some years the skeletal remains are removed and placed in an ossuary. The greatly reduced space taken up by an ossuary means that it is possible to store the remains of many more people in a single tomb than if the original coffins were left as is.
The Sogdians established a trading network across the 2400 kilometres (1500 miles) from Sogdiana to China. In fact, the Sogdians turned their energies to trade so thoroughly that the Saka (Scythians) of the Kingdom of Khotan called all merchants suli, 'Sogdian', whatever their culture or ethnicity.<br/><br/> An ossuary is a chest, box, building, well, or site made to serve as the final resting place of human skeletal remains. They are frequently used where burial space is scarce. A body is first buried in a temporary grave, then after some years the skeletal remains are removed and placed in an ossuary. The greatly reduced space taken up by an ossuary means that it is possible to store the remains of many more people in a single tomb than if the original coffins were left as is.
The Afrasiab painting is a rare example of Sogdian art. It was discovered in 1965 when the local authorities decided on the construction of a road through the middle of Afrāsiāb mound, the old site of pre-Mongol Samarkand. It is now preserved in a special museum on the Afrāsiāb mound. It is the main painting we have of ancient Sogdian art.<br/><br/> The painting dates back to the middle of the 7th century CE. On the four walls of the room of a private house, three or four different countries neighbouring Central Asia are depicted. On the northern wall China (a Chinese festival, with the Empress on a boat, and the Emperor hunting), on the Southern Wall Samarkand (the Iranian world: a religious funerary procession in honor of the ancestors during the Nowruz festival), on the eastern wall India (as the land of the astrologers and of the pygmies, but the painting is much destroyed there).<br/><br/> The topic on the main wall, the western wall facing the entrance is debated between specialists. Turkish soldiers are escorting ambassadors coming from various countries of the world (Korea, China, Iranian principalities, etc). There are three main hypotheses. The leading expert on Sogdian painting, the excavator of Panjikent, B. Marshak points out that Sogdian painting, gods are always depicted on the top of the main wall. However, as the Turks are guiding the embassies but are not themselves ambassadors, it has been suggested also that the Turkish Qaghan, then lord of inner and central Asia, might be depicted there.<br/><br/> A Chinese text states that the 'Four Lords of the World', here China, India, Iran and Turan, are depicted on the walls of palaces near Samarkand precisely during this period, and this would perfectly fit the four walls of this room. The last hypothesis makes use of an inscription mentioning the king of Samarkand to propose the idea that the ambassadors are presenting their gifts to him.