Abstract
In the past decade, numerous studies have been conducted to investigate the Sogdian origin of stone funerary couches from the late Northern Dynasties period. This paper looks instead at the elements these couches share with their Northern Wei predecessors. I begin with the reconstruction of a Northern Wei stone funerary couch, which then serves as a basis for comparison with later examples of funerary couches from the Northern Qi and Northern Zhou dynasties. I argue that the shape and structure of couches from the two periods, as well as shared Buddhist decoration motifs serve to closely connect the different couch groups. Furthermore, during the Northern Wei period, a unique composition was developed to accommodate décor on stone plaques surrounding funerary couches, namely the division of each plaque into three columns (or panels) displaying scenes that may or may not form a coherent sequence. This compositional structure was later employed in Northern Qi and Northern Zhou tombs, but was re-interpreted as a surface containing three consecutive scenes forming narrative depictions. In the paper, I continue on to examine the style of carvings found on stone funerary couches in Anyang, Henan. Evidence shows that these carvings are likely the product of collaboration between Sogdian and Chinese artisans─that is, while Sogdian craftsmen produced relief carving on panels surrounding the couches, the Chinese were responsible for carving the lower portions of couches. Finally, in the conclusion of the article, I propose that the Sogdians’ adoption of Northern Wei funerary practices during the late Northern Dynasties period was an attempt to build a collective memory in which Sogdians strove to reconnect with their foreign roots.
Keywords
Sogdian, Northern Wei dynasty, stone funerary couches, screens, images
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