Mediaeval Manichaean Book Art focuses on a corpus of 89 fragments of exquisitely illuminated manuscripts that were produced under the patronage of the Turkic-speaking Uygurs in the Turfan region of East Central Asia between the 8th and 11th centuries C.E., and used in service of the local Manichaean church. By applying a codicological approach to the analysis of these sources, this study casts light onto a lost episode of Central Asian art history and religious book culture. Mediaeval Manichaean Book Art represents a pioneer study in its subject, research methodology, and illustrations. It extracts codicological and art historical data from torn remains of lavishly decorated Middle-Persian, Sogdian, and Uygur language manuscripts in codex, scroll, and 'palm-leaf' formats. Through detailed analyses and carefully argued interpretations aided by precise computer drawings, the author introduces an important group of primary sources for future comparative research in Central Asian art, mediaeval book illumination, and Manichaean studies.

"This book is about the artistic culture of religious instruction of a missionary world religion, which is now extinct - Manicheism. More specifically, this study explores the available textual and visual sources in search of historical evidence about how the Manicheans used works for teaching."--Introduction, p. [1].

This volume in honour of Prof. Dr. Johannes van Oort offers a rich variety of in-depth studies on Augustine, Manichaeism, and other Gnostic currents, thus reflecting the rich variety of the honorand’s research interests.

New Light on Manichaeism provides the latest discoveries and insights into the Manichaean religion throughout its more than one thousand year history, ranging from glimpses into the life and thought of Mani himself, to developments in doctrine and practice in the religion's North African, Iranian, Central Asian, and Chinese settings. The volume includes contributions from the leading scholars in the field, offering new reconstructions of Manichaean literary and artistic productions, and innovative analyses of the religious, social, and political dynamics that shaped the rise and fall of this world religion.

This volume is about the long-neglected, but decisive influence of Uygur patrons on Dunhuang art in the tenth and eleventh centuries. Through an insightful introduction to the hitherto little-known early history and art of the Uygurs, the author explains the social and political forces that shaped the taste of Uygur patrons. The cultural and political effects of Sino-Uygur political marriages are examined in the larger context of the role of high-ranking women in medieval art patronage. Careful study of the iconography, technique and style sheds new light on important paintings in the collection of the British Museum in London, and the Musée national des Arts asiatiques-Guimet, in Paris, and through comparative analysis the importance of regional art centres in medieval China and Central Asia is explored. Richly illustrated with line drawings, as well as colour and black-and-white plates.