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The seal of Mani, the oldest known Manichaean art. Manichaeism has a rich tradition of visual art, starting with Mani himself writing the Book of Pictures. [1]One of Mani's primary beliefs was that the arts (namely painting, calligraphy, and music) were of the same esteem as the divine spirit (Middle Persian: Mihryazd), believing that the creation of art was comparable to god's creation of ...
Thus, this painting is best classified as a late medieval and uniquely Chinese development of Manichaean didactic art. Its thirteenth/fourteenth-century iconography greatly expands upon a core set of Manichaean motifs, while conveying Manichaean doctrine in a distinctly Chinese visual language of its time. [6]
Fragment of Manichaean Wall Painting "MIK Ⅲ 6918" is a fragment of a Manichaean mural collected in Germany Berlin Asian Art Museum, painted around the 10th century AD, and was found by the German Turpan expedition team in the ruins of Gaochang, in Xinjiang. The fragment is 88 centimeters long and 168.5 centimeters wide.
Chinese Manichaean art (9 P) E. Manichaean art of East Central Asia (10 P) Pages in category "Manichaean art" The following 3 pages are in this category, out of 3 total.
Eight silk hanging scrolls with Manichaean didactic images from southern China from between the 12th and the 15th centuries, which can be divided into four categories: Two single portraits (depicting Mani and Jesus) Icon of Mani; Manichaean Painting of the Buddha Jesus; One scroll depicting Salvation Theory (Soteriology)
Manichaean manuscript fragment number "MIK Ⅲ 4979" is a collection Fragments of Manichaean illuminated manuscript in Germany Berlin Asian Art Museum, painted during the 8th–9th centuries, and were found in the early 20th century. German Turpan expedition team found in Xinjiang Gaochang site.
Mani's Community Established (Japanese: 圣者伝図2) is a Manichaen silk color painting drawn in the coastal area of southern China during the yuan to ming period, [1] depicts the missionary history of Manichaeism and the establishment of its churches in three scenes.
Morita's research results were published in "Piecing a Picture Together: A New Manichaean Perspective on a Chinese Religious Painting in the Asian Art Museum of San Francisco", [2] a view which was also adopted by the religious art historian Zsuzsanna Gulácsi in her work "Mani's Pictures". [3]