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theme is the celebration of the dynasty in power, are differently perceived.

      An example is the plaster fragment of a great king’s head crowned by a conical royal toque. The face marked by years with eyes wide open and knitted brows is a bit stylised and conventional.

      In spite of the diversity of their aspects, the figures of military chiefs, sovereigns, and gods were distinguished by the absolute impassibility of their faces and their distant giving them a certain transcendency.

      Sogdian sculptures

      Sogdian sculptures in Central Asia were already noted in the 3^rd century and early 4^th century because of their styles. In the sanctuary of the old town of Erkurgan, near Karachi, fragments of clay statues have been discovered dating from this time. The fragment of a head, summarily sculpted and enhanced by painting posseses something archaic that reflects the style of the ancient east. Two men’s heads found at the same place on a great flagstone of clay show the Sogdian ethnic type: the face has wide eyebrows and almond eyes, a flat nose, long twisted moustache, and pointed beard.

      They probably represent noblemen, as is testified by their crowns bordered with a strand of pearls. The plasticity of the faces is expressive.

      Bactrian sculptures

      Plastic art in Central Asia presents notable changes in the 3^rd and early 4^th centuries. Even though the acquired knowledge of the preceding epochs are preserved, new artistic norms appear. This can be seen distinctly in the sculptures discovered in the sun-driedbrick houses large enough to include several reception rooms which contain many luxurious decorative objects. The clay statues are painted. The heads are in rounde-bosse and high relief. The compositions include the royal couple, and a group of women (with two dancers and two servants). Compared with Bactrian statues of high dignitaries of the preceding epochs, those of Kuev-Kurgan present another ethnic type.

      Furthermore, these people wear different garments, in particular the headgear of the king, with two wings, as in Central Asia during the 4^th century. The heavy eyelids half hide the almond eyes, letting out a piercing gaze which gave the face a particular expression.

      The early Middle Ages

      The period of the early Middle Ages introduces a great number of new social ideas in the East to which the masters of the artistic culture reacted with great attention.

      From the 6^th through the 8^th centuries, painting and the decorative arts blended with architecture and entered into decoration, not only in cultural edifices but also in civil construction: palaces, castles, and private houses of rich people, as well as bazaars and caravanserai.

      Ossuary in the form of a seated person, 1^st-2^nd century. Museum of the History of the Peoples of Uzbekistan, Tashkent, Uzbekistan.

      Head of a lion, 7^th century. Fine Arts Institute, Tashkent, Uzbekistan.

      Buddhist art

      Monumental art always maintains its place in Buddhist communities. The Buddhist constructions at Ak-Beshim, the Shakhristan Citadel at Kuva, Ajina Tepe, and Kalai-Karfirnigan are decorated with painted clay sculptures. These decorations portray the traditional iconography of the Buddhas, the Bodhisattvas, monks, orants, and other deities.

      The Buddha’s statues, representations particularly revered, had considerable dimensions. In this way the zealous defenders of Buddhism wanted to increase the authority of their religion that was losing its prestige in Central Asia and among its adepts. The representation of Buddha followed the canon, elaborated and fixed during the first centuries of our era according to three conceptions: sitting Buddha in a meditative attitude, having acquired Truth; Standing Buddha, bearer and preacher of this Truth; Buddha lying on his right side in a position of supreme serenity whist waiting for nirvana.

      Buddha is shown with a serene inward-looking expression, slightly smiling, hair arranged in a series of artistically-placed spiral curls, contrasting with the smooth face and the ancient expression of profound meditation and great wisdom that were given to him in the previous epochs.

      The same contrasts can be seen in the Bodhisattva’s faces. Their silhouettes remain lithe and well built but the shape of the body is only outlined, whilst necklaces and pleats of garments tightened with a belt are elaborated in detail. Secular faces are presented in a different manner. They are more realistic in spite of their idealised lines, probably executed from nature such as, for instance, women’s heads from Ajina Tepe: round, naive faces with a little smile and a tender gaze. The faces of Kashyapa, a fire worshipping monk and a Bodhisattva, are marked by age and meditation.

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