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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 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.