Voices from the West: Persians, Sogdians, and the Poetry and Music of Tang China

The Tang dynasty (618–907) stands as an unparalleled epoch of cosmopolitanism and cross-cultural fusion in Chinese history, with Chang’an, its imperial capital, emerging as the eastern nexus of the Silk Road—a sprawling network of trade and cultural exchange linking China to Central Asia, Persia, the Middle East, and beyond. Along these arteries of commerce traveled not only silk, spices, and precious goods but also peoples, religions, artistic traditions, and intellectual currents. Among the most transformative cultural agents were the Persians of the Sassanian Empire and the Sogdians of Central Asia, whose musical innovations, poetic sensibilities, and commercial networks reshaped the artistic and literary landscape of Tang China. This study interrogates the profound and multifaceted impact of Persian and Sogdian cultures on Tang poetry and music, challenging the traditional framing of “foreign” elements as mere exotic embellishments. Instead, it posits that these “voices from the west” were integral to the evolution of Tang artistic expression: Persian musicians introduced iconic instruments such as the pipa (pear-shaped lute) and suona (double-reed wind instrument), while Sogdian merchants—clustered under the collective moniker of the “Nine Surnames of Zhaowu” (昭武九姓)—established diasporic communities in Chang’an and other major cities, acting as translators, performers, and cultural intermediaries. Tang poets, including Cen Shen, Wang Changling, Li Bai, and Bai Juyi, absorbed these Western influences, weaving depictions of foreign music, Sogdian dancers, Persian wine, and Silk Road encounters into their verse, forging a poetic tradition that was inherently transnational. Structured in six comprehensive sections, this study begins with an analysis of the Tang’s cosmopolitan context and the Silk Road’s role as a cultural conduit. It then examines Persian cultural and musical influence, followed by an in-depth exploration of the Sogdians and the Nine Surnames of Zhaowu. A dedicated section traces the transmission and Sinicization of Western instruments, while another analyzes poetic representations of Persian and Sogdian figures and themes. The conclusion reflects on the enduring legacy of these cross-cultural exchanges, framing Tang poetry and music as foundational expressions of early globalized art. By centering intercultural dialogue, this study redefines Tang literature not as a monolithic Chinese tradition, but as a dynamic product of Eurasian interconnectedness. Keywords: ; ;; ; ; ; ;;