On the Occasion of a Centennial Exhibition at the British Museum.
From a young age, I was fascinated by distant countries, with Asia capturing my imagination the most. This passion led me to study Sinology, and my first academic work focused on the Silk Road, particularly the Chinese starting point in Gansu province and the city of Dunhuang (敦煌市).
With the British Museum in London currently hosting a centennial exhibition on the Silk Road, I am inspired to reflect on my personal connection to this topic.
Introduction to the Silk Road
My interest in the Silk Road began in my childhood, influenced by the books of Karl May, a German author known for his adventure novels. [1] Despite recent controversies and censorship attempts, May’s stories about distant lands and the deep friendships between characters of different cultures left a lasting impression on me.
One of May’s settings was the Arabian desert, where a Christian protagonist (Kara Ben Nemsi) and his Muslim friend, Hadschi Halef Omar Ben Hadschi Abul Abbas Ibn Hadschi Dawud al Gossarah, faced numerous adventures together. These stories emphasized the possibility of deep friendship and mutual respect between different religions and cultures – yet some of his books are banned.
This spring, I fulfilled a childhood dream by visiting Petra in Jordan (my WP article with photos). During the visit, my tour guide pointed out a significant hub of cultural and economic exchange over a thousand years ago: an intersection of trade routes, including the Silk Road.
The map below illustrates the main route of the Silk Road, highlighting its significance in history.
Dun Huang as the starting point of the silk road caravans
During my 5 years in Beijing, I had the opportunity to experience something extraordinary several times. One of these was a trip to Dunhuang and it’s famous Mogao Grottoes. [2] At a time when it was hardly visited even in China itself, because it was a restricted area and could only be visited with special permission. My art history professor, Jin Weinuo (Chinese dunhuangologist – yes, this term really exists), had experts from the West visiting, including the famous American art historian Professor James Cahill [3] and a Japanese professor. A visit to Dunhuang had been planned well in advance. In addition to the three professors, a few Chinese postgraduate students from the academy and three long-nosed people, including myself, were allowed to take part in this study trip.
A special experience in Dunhuang
One incident in particular has stuck in my memory. Having just arrived in Dunhuang, I was sitting with Gerald, a New Zealand colleague and friend, in the late afternoon not far from our modest accommodation in the sand of a dry riverbed, on the edge of which there were caves with Buddhist paintings. I suggested that we should look around on our own the next day. “Why not right away?” said Gerald and so we walked along a rock face that had less significant grottos. Suddenly I saw a trimmed tree trunk leaning against a rock and right next to it, on a higher level, a low entrance to a cave.
Our interest was aroused. We decided to carry the trunk a little way and were able to climb up to the entrance of the cave. We had discovered one of the most important caves by chance, which we did not see in the group, the Mi Gu (Forbidden Cave). Forbidden because all the walls were painted with Tantric images, which were very sexually explicit and therefore not acceptable to the common people.
Dunhuang: A Central Hub on the Silk Roads During the Tang Dynasty and Beyond
Dunhuang, an oasis town located in the Gansu province of China, played a pivotal role as a central hub on the Silk Roads during the Tang Dynasty (618–907 AD) and in subsequent periods. This strategic location made it a melting pot of cultures, religions, and commerce, significantly influencing the development of the Silk Roads.
Its position at the crossroads of the northern and southern Silk Roads routes made it an essential point for traders, pilgrims, and envoys. The town’s prosperity was basically a result of the flourishing trade of silk, spices, precious stones, and other luxury goods.
As this also includes wine from Persia, which found its way to China this way I would also like to make a brief comment on this. This fact appears in poems by the famous Tang poet Li Bai. I could only vaguely remember the poem until recently. My friend Prof. Wolfgang Kubin has just published a new book with translations of Li Bai’s poems. Again BACOPA Publishing House invited me to illustrate it, but I left it to design the cover.
When I read the manuscript, I came across the poem again in which Li Bai mentioned Persian girls and Wolfgang Kubin finally provided the explanation. The caravans from China brought silk, porcelain, tea, etc. to Persia, and on the return journey goods from Persia reached China. The enterprising Persians not only sent their wines, but also Persian girls. They then served wine in bars in Chang An (now Xi An) [4], the easternmost point of the Silk Road. There, with their grace and dance, they encouraged people to drink. This is how wine came to China.
The Li Bai Poem
With a fitting poem by Li Bai, which connects the two ends of the Silk Road, Chang’an, and Persia, we shall conclude our reflections on our topic. [5]
Green bell tree on Qinglong Mountain.
The second Ode (二首之一)
A zither made from the wood of the bluebell from the Dragon Mountain,
I urge the strings and brush the pillars to drink with you,
and watch your face turn red and green.
The Persian maiden makes herself look like a flower.
At the bar, she smiles at the spring wind.
She smiles at it,
and she dances in a silk dress.
If not drunk today, where will you go home to?
琴奏龙门之绿桐，玉壶美酒清若空。
催弦拂柱与君饮，看朱成碧颜始红。
胡姬貌如花，当垆笑春风。
笑春风，舞罗衣，君今不醉将安归？
The exhibition “Silk Road”:
This immersive experience delves into the vast network of trade routes that connected Asia, Africa, and Europe for centuries. The exhibition emphasizes the interconnectedness of civilizations along the Silk Roads. From China to Scandinavia, Africa, and Persia these routes facilitated the spread of religious beliefs, artistic styles, and technological advancements.
Beyond Silk and Spices:
https://www.theguardian.com/culture/2024/sep/24/silk-roads-review-british-museum-london The Guardian’s review highlights that the exhibition goes beyond the traditional image of the Silk Road as a single route for silk and spices. It paints a picture of a complex network with overlapping paths, fostering cultural and intellectual exchange alongside trade.
A Journey Through Time:
Focusing on a specific period between 500 and 1000 AD, the exhibition showcases over 300 objects from various regions and cultures. Visitors can expect to see Chinese ceramics, Byzantine jewelry, and even the earliest known group of chess pieces!
A Visual Feast:
The review mentions the use of multimedia elements that enhance the experience of being transported back in time with cinematic depictions of breathtaking mountain ranges and the sounds of trade bustling on these ancient pathways.
A Glimpse into the Unknown:
The Guardian notes that the exhibition concludes with a nod to the modern world. It prompts us to reflect on how the Silk Roads serve as an inspiration for understanding today’s globalized world, with its own interconnected networks and cultural exchanges.
footnotes:
[1] Karl May’s Winnetou series, while popular and beloved by many, has also faced significant criticism. They state that May is perpetuating romanticized and inaccurate stereotypes about Native Americans. For some critics he was portraying them as noble savages or one-dimensional figures.
[2] The Mogao Grottoes are a UNESCO World Heritage Site located in Dunhuang, China. They are a collection of over 492 Buddhist cave temples, dating back over 1,000 years. The caves contain thousands of colorful sculptures and murals, depicting various aspects of Buddhist art, culture, and history. They are one of the most significant repositories of Buddhist art in the world. They offer invaluable insights into the cultural and religious exchanges along the Silk Road.
[3] During his time at Berkeley, James Cahill was instrumental in establishing the university’s Center for Asian Art. There he taught numerous courses on Chinese art history and culture. His expertise and passion for Chinese art greatly influenced the field and inspired generations of students. I had the chance to benefit from his knowledge when he taught in Beijing.
[4] Discovered in 1974, the Chang’an Terracotta Army is a vast collection of life-sized terracotta sculptures depicting the armies of Qin Shi Huang, the first emperor of China. These figures had to protect the emperor in his afterlife and are a testament to the power and wealth of the Qin Dynasty.
[5] My modest translation is also based on translations by others, most notably Prof. Kubin himself, whose book is in German.
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