This paper provides a concise overview of the current state of research on Khotanese painting. Early documentation from the first archaeological expeditions in the early twentieth century, together with Joanna Williams’ seminal study of 1973, laid the foundations for the discipline. In recent decades, however, both renewed scholarly attention and archaeological investigations conducted in China have substantially expanded our knowledge of Khotanese pictorial traditions. These studies have refined our understanding of iconography, stylistic development, and thematic repertoire, while also offering new perspectives on the sources and dissemination of local artistic forms. This contribution will also consider the persistent uncertainties surrounding the chronological framework—a common challenge in the study of the region’s artistic production, particularly evident in the case of Khotan. Such problems arise from the uneven and often unsystematic nature of the documentation produced since the late nineteenth century, compounded by the fragmentary state of preservation of the material and its dispersal across multiple museum collections worldwide. These circumstances continue to pose significant challenges to the reconstruction and interpretation of Khotanese painting within its broader historical and cultural context.
Ciro Lo Muzio (Sat,) studied this question.