Another scholar of Central Asian art, Ju. Motov, proposed a similar system based on the textile decorations in order to recognize the Sogdian gods at Afrasyab (Motov, 1999). On the contrary, as already observed above, Boris Marshak does not see in the four figures just mentioned the representation of Sogdian gods. Also Frantz Grenet does not agree with such identification. The latter, in fact, argues that the textile decorations on these four people recur on the clothes of other figures who are clearly not divinities in the same paintings at Afrasyab and, then, they could be considered gods only if their dimensions were bigger in size, for example like those of Varghuman. Although the four figures around the temple could be considered as reproduced of normal size because they are supposed to represent statues or paintings, other objections could be advanced against the hipothesis under consideration. For example, the birds on the garment on the supposed Zurvan seem peacokcs and not swans; then, in the procession, among the sacrificial animals there should be at least one bull destined to Weshparkar. There is the possibility that the white elephant represented the sacrificial animal for Adbagh but this interpretation would completely contrast with the one commonly accepted that considers the elephant as a transportation for a Sogdian queen.

   All the ideas just exposed do not want to be a definitive answer to the identification of this part of the painting of the southern wall at Afrasyab, on the contrary, they constitute a series of hipotheses which need more exhaustive study even if scholars such as Marshak and Grenet have already expressed themselves against them. In this brief article it was thought to attract the attention on a detail that,

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