From the tenth century to the end of the Manchu Ch'ing dynasty early in this century, the dominant concern of the Chinese painter has been the natural world of landscape, trees and rocks, birds and animals, flowers and bamboo— "the myriad phenomena occasioned by consciousness," in the words of the eleventh-century art historian Kuo Jo-hsü. The older figure and narrative traditions remain vital for a time, during the period of the Sung (960–1279) and Yüan (1279–1368) dynasties, then rapidly declined, becoming the concern only of journeymen artisans and court chroniclers. …

One of the great rewards of a visit to the Museum fur Indischc Kunst in Dahlcm, West Berlin, is the opportunity to see its extraordinary holdings in the art of Central Asia. With only a handful of important collections of Central Asian art in die world, Berlin’s remains unrivaled, particularly in the magnificent assemblage of wall paintings. Acquired in the first quarter of this century as the result of four pioneering expeditions to the remote and inhospitable region of Chinese Turkestan, die Berlin collection has led the way to a greater understanding and appreciation of the ancient cultures of Central Asia.

In 711 an army of Arabs and Berbers from North Africa, united by their faith in Islam, crossed the Strait of Gibraltar and arrived on the Iberian Peninsula. In less than a decade the Muslims brought most of the peninsula under their domination; they called the Iberian lands they controlled al-Andalus. Although the borders of al-Andalus shifted over the centuries, the Muslims remained a powerful force on the peninsula for almost eight hundred years, until 1492, when they were expelled by Ferdinand and Isabella. …