The Hagiography 聖者伝図 or Manichaean Prophetology Painting (3): The Manichaean Church history in the most Newly-found Chinese Manichaean Painting from the heritage of the Manichaeans in Southeast China

Since 2007, two notable textual and pictorial groups of the Manichaeans’ heritage of China have been found, which have displayed some new characteristics of Manichaeism and have increased the scope of Manichaean studies. Representing the second, viz. the southern, phase of Manichaeism in China, these new findings are replete with features of Chinese folk religion, particularly signs of Buddhism and Daoism. To maintain unity and survival, the Manichaeans absorbed local aspects and combined the fundamental principles of religion with Chinese concepts. To convey the concepts and teachings of the religion, they followed Mānī’s missionary scheme, that is, endeavoring the promotion of Manichaeism by utilizing various tools. This attitude triggered a significant expansion in the Manichaean church history. Centering on Mānī, three paintings target the importance of missionary work among the new findings. The first two silk paintings were introduced in 2009, however, recently a painting has been found that has attracted attention, the Hagiography painting (3), which deals with the Manichaean church history and includes parables and references to rebirth. To do a textual-pictorial analysis and introduce this new painting in Persian for the first time, this article intends to briefly deal with the Manichaean missionary work, identify the components of the painting, and show the manner of representation of the Manichaean church history. A preliminary examination of this painting has shown that the Manichaeans in China, who were trying to spread the teachings, tied their church history to the innermost cultural layers of China and different social classes.