Culture, arts and technology on the Silk Road

Cultural Exchanges on the Silk Road

Notably, the Buddhist faith and the Greco-Buddhist culture started to travel eastward along the Silk Road, penetrating in China from around the 1st century BC.

The Silk Road transmission of Buddhism to China started in the 1st century CE with a semi-legendary account of an embassy sent to the West by the Chinese Emperor Ming (58 ¨C 75 CE). Extensive contacts however started in the 2nd century CE, probably as a consequence of the expansion of the Kushan empire into the Chinese territory of the Tarim Basin, with the missionnary efforts of a great number of Central Asian Buddhist monks to Chinese lands. The first missionaries and translators of Buddhists scriptures into Chinese were either Parthian, Kushan, Sogdian or Kuchean.

From the 4th century onward, Chinese pilgrims also started to travel to India, the origin of Buddhism, by themselves in order to get improved access to the original scriptures, with Fa-hsien's pilgrimage to India (395-414), and later Xuan Zang (629-644). The Silk Road transmission of Buddhism essentially ended around the 7th century with the rise of Islam in Central Asia.

Artistic transmission on the Silk Road

Many artistic influences transited along the Silk Road, especially through the Central Asia, where Hellenistic, Iranian, Indian and Chinese influence were able to intermix. In particular Greco-Buddhist art represent one of the most vivid examples of this interaction.

Buddhist deities

The image of the Buddha, originating during the 1st century in northern India (areas of Gandhara and Mathura) was transmitted progressively through Central Asia and China until it reached Korea in the 4th century and Japan in the 6th century. However the transmission of many iconographical details are clear, such as the Hercules inspiration behind the Nio guardian deities in front of Japanese Buddhist temples, and also representations of the Buddha reminiscent of Greek art such as the Buddha in Kamakura.

Another Buddhist deity, Shukongoshin, is also an interesting case of transmission of the image of the famous Greek god Herakles to the Far-East along the Silk Road. Herakles was used in Greco-Buddhist art to represent Vajrapani, the protector of the Buddha, and his representation was then used in China, Korea, and Japan to depict the protector gods of Buddhist temples.

Wind god

The name of the west wind in Latin is Zephyr. Various other artistic influences from the Silk Road can be found in Asia, one of the most striking being that of the Greek Wind God Boreas, transiting through Central Asia and China to become the Japanese Shinto wind god Fujin.

Floral scroll pattern

Finally the Greek artistic motif of the floral scroll was transmitted from the Hellenistic world to the area of the Tarim Basin around the 2nd century, as seen in Serindian art and wooden architectural remains. It then was adopted by China between the 4th and 6th century and displayed on tiles and ceramics; then it transmitted to Japan in the form of roof tile decorations of Japanese Buddhist temples circa 7th century, particularly in Nara temple building tiles, some of them exactly depicting vines and grapes .

Technological transfer to the West

Many technological innovations from the East seem to have filtered into Europe around that time. The period of the High Middle Ages in Europe saw major technological advances, including the adoption through the Silk Road of printing, gunpowder, the astrolabe, and the compass.

Korean maps such as the Kangnido and Islamic mapmaking seem to have influenced the emergence of the first practical world maps, such as those of De Virga or Fra Mauro. Ramusio, a contemporary, states that Fra Mauro's map is "an improved copy of the one brought from Cathay by Marco Polo".

Large Chinese junks were also observed by these travelers and may have provided impetus to develop larger ships in Europe.

¡°The ships, called junks, that navigate these seas carry four masts or more, some of which can be raised or lowered, and have 40 to 60 cabins for the merchants and only one tiller.¡± (Text from the Fra Mauro map, 09-P25)

¡°A ship carries a complement of a thousand men, six hundred of whom are sailors and four hundred men-at-arms, including archers, men with shields and crossbows, who throw naphtha¡­ These vessels are built in the towns of Zaytun (a.k.a Zaitun, today's Quanzhou; ´ÌÍ©) and Sin-Kalan. The vessel has four decks and contains rooms, cabins, and saloons for merchants; a cabin has chambers and a lavatory, and can be locked by its occupants.¡± (Ibn Battuta).

 

Cities along Chinese Silk Road No.5

Cities along the Chinese Silk Road No.4

Cities along the Chinese Silk Road No.3

Cities along the Chinese Silk Road No.2

Cities along the Chinese Silk Road No.1

Map of Silk Road

History of Silk Road

General Introduction of Silk Road