Motov, 1999: Ju. A. Motov, “Izobrazhenie misterii prazdnika Michragan v nastennych rospisjach Afrasiabskogo dvorca”, in: Istorija i archeologija Semirech’ja, Almaty, 1999: 57–81.

Riboud, 2003: P. Riboud, “Le cheval sans cavalier dans l’art funéraire sogdien en Chine: à la recherche des sources d’un thème composite”, Arts Asiatiques, 58, 2003: 148–161.

Shishkin, 1963: V. A. Shishkin, Varakhsha, Moskva, 1963.

Silvi Antonini, 1989: C. Silvi Antonini, “The Paintings in the Palace of Afrasiab (Samarkand), Rivista degli Studi Orientali, LXIII, 1989: 109–144.

Yang, 2004: Yang Junkai, “Newly Discovered Burials of Sogdian Community Leaders in China: a Preliminary Decoding of the Illustrations on the Stone Sarcophagus of the Sabao Shi of Liangzhou Dating from the Northern Zhou Period”, in: ed. Rong Xinjiang, Zhang Zhiqing, From Samarkand to Chang’an: Cultural Traces of the Sogdians in China, Beijing, 2004: 17–26.

[1] According to Marshak, in the upper part of the painting of the southern wall now lost, there should have been the representation of the goddess Nana: Marshak, 1994: 6. For other scholars there should have been a king: Silvi Antonini, 1989: 116–117; Mode, 1993: 48–75; Grenet, forthcoming. For a third possibility, see: Motov, 1999.

[2] Some reproductions are available both in internet and in form of a small brochure published by the Museum of Afrasyab: http://www.orientarch.uni-halle.de/ca/afras/; www.afrasiab.org; Grenet, Samibaev, 2002: 6–7.

[3] On the horse sacrifice among the Sogdians: Grenet, 1993: 61 n. 44; Compareti, 2003. See also: Riboud, 2003: 158–159. Also the Persians had similar habits: Cristoforetti, 2003: 267–273.

[4] This problem was the subject of the unpublished PhD dissertation of the present writer: M. Compareti, Gli apporti

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