Essay
Creed
Middle East
Monastic life
Royalty
9 min read

Edward I and the monk from China

A tale of a Chinese priest meeting a medieval monarch sheds a different light on the extent of Christendom. Benjamin Sharkey tells the surprising tale of the historic Asian church.

Benjamin is a DPhil student in the Faculty of History at the University of Oxford. He is researching the experience of Christian communities in medieval Central Asia.

A medieval illustration of two sets of monks seated and facing each other. One gestures towards the sky
A 13th Century depiction of a meeting between Latin and east Syrian clerics.
AtlasAtlas des Croisades, Jonathan Riley-Smith, Public domain, via Wikimedia Commons.

In the summer of 1288, outside the city of Bordeaux in Gascony, a small group of travellers approached the city walls. The inhabitants of the city gathered, curious to meet this collection of strange looking clergymen who were clearly far from home. The strangers told them that they had come from ‘over the eastern sea’ with letters and gifts from the ‘Mongol kings’ and the Patriarch in the east. Such strange reports, from visitors emerging from the unseen world over the horizon, a world known only from fantastical stories, deserved the immediate attention of the king.  

Edward I, the Duke of Gascony and King of England had been resident in Bordeaux for the last two years, overseeing the affairs of his duchy. Assembling his court, he welcomed these visitors from the east. The leader of the travellers was a monk named Rabban Sawma. He was a Uyghur Turk from China. He presented to Edward letters and gifts from the Mongol ruler of Persia, the ilkhan, Arghun, a great-great-grandson of Genghis Khan, and from the patriarch, Mar Yahbalaha, the head of the Church of the East. 

As a young lord, Edward had taken the crusader’s oath to go and fight to attempt to regain Jerusalem for Latin Christendom from the rule of unbelievers. Jerusalem had fallen from crusader control in 1244 after the city had been sacked by a large force of Kipchak warriors, nomads from the Central Asian steppes who had been displaced by the expanding Mongol empire. Arriving in 1271, Lord Edward managed to break the siege of the port-city of Acre, one of the last cities held by the King of Jerusalem. Over the next two years, however, his small force accomplished little, mostly skirmishing with herdsmen and burning houses and crops. His time in Acre came ignominiously to an end when he was stabbed with a poisoned dagger by one of his Muslim courtiers leading to lengthy and painful surgery. He left the dream of reaching Jerusalem behind him. Returning from crusade, Lord Edward was greeted with the news of his father Henry III’s death, heralding the start of his own reign. It wasn’t until 1274 that he finally reached England for his coronation. There in Westminster Abbey, he was invested with the splendour of Christian kingship. He swore on the gospel books to uphold and dispense justice and, having been anointed, he was dressed by the bishops in priestly robes and given a sword for the defence of the weak and ‘constraining those who do wrong to the Church’. Now, here in Bordeaux, these new visitors represented something quite outside his experience.  

When we dig (literally, archaeologically), we consistently find the evidence of Christian communities that no text ever told us about. 

Edward would have been familiar with the stories of Prester John. Reports of a grand and mysterious figure, a Christian ruler somewhere in the east who was both a priest and king, had begun circulating in the mid-twelfth century and were still current in European imaginations, especially as they tried to make sense of the new world that was opening up to them through contact with the Mongols. While there was not really any great Christian king in the Mongol empire, this legend does reflect the (correct) sense of medieval Europeans that a whole world of Christianity was going on beyond their horizon. 

Many historians today believe that until perhaps as late as the fourteenth century there were more Christians outside than inside Europe. Yet, in our books of global church history these believers rarely get more than a slim chapter, unrepresentative of their large share of the historical Christian demographic and experience. Throughout Late Antiquity and the Middle Ages there were significant numbers of Christians across Asia and Africa, in Ethiopia, Sudan and Egypt; Syria, Mesopotamia and Persia; India, Central Asia and China. Christians had been present in China as early as the sixth century, with significant numbers elsewhere much earlier. Meanwhile Egypt and many other areas of the Middle East had predominantly Christian populations until at least the twelfth to fourteenth centuries, which continued to makeup significant minorities into the twentieth century. In the Middle Ages these areas were global centres of population and development. Bordeaux was one of the largest cities in Europe at the time with a population of nearly 30,000 but cities like Alexandria, Baghdad, Merv (in present-day Turkmenistan) and Samarqand (in present-day Uzbekistan) were among the biggest in the world with populations in the hundreds of thousands, far larger than any in Europe. Present in the historical record of all these urban centres were Christian communities. We find them scattered across the textual record, although for many of these regions this record is far patchier than for medieval Europe, but when we dig (literally, archaeologically), we consistently find the evidence of Christian communities that no text ever told us about.  

Most Christians throughout history have lived outside Europe and North America, in pluralistic societies, ruled over by and living alongside non-Christians. 

By far the largest group of Christians outside Europe was the Church of the East. This church, once termed, inaccurately, Nestorian, was entirely distinct from the Eastern Orthodox churches but had rather grown out of those early churches that had been founded to the east of Judea, outside of the Roman empire in Persian ruled Mesopotamia. They soon rapidly grew to include communities across Asia, from Syria to China, and India to Mongolia. Syriac, a dialect of Aramaic, was the primary language of worship, prayer, and literature in these communities but the gospels, psalms and hymns were often translated into local vernaculars. Growing up outside the Constantinian revolution, which had seen the ushering in of the conception of Christian kingship with the Roman Emperor Constantine’s conversion to Christianity, and never succeeding in converting the Persian Shah or any other significant rulers, these eastern Christians had no experience of existing in a Christian state. Throughout the Church of the East, Christians always lived in pluralistic societies. The patriarch, the head of the church, was indeed for most of the Middle Ages based in Baghdad, also the seat of the Muslim Caliph, from where he oversaw the affairs of more communities than the Pope in Rome. 

By the time that Rabban Sawma made his journey to Europe, there were Christians throughout the Mongol empire (the largest empire until then ever seen). These included many Mongol queens, Khatuns, such as Sorqaqtani Beki, the mother of Kublai Khan, as well as many ordinary Mongols. Christianity had been present in Mongolia for at least a century by the rise of Genghis Khan in the early-thirteenth century and was very popular among many of the tribes he subordinated.  

Christianity for well over the first two thirds of its existence then was not a majority European faith and today it is again not majority western. Most Christians throughout history have lived outside Europe and North America, in pluralistic societies, ruled over by and living alongside non-Christians. The western experience is not just unrepresentative of Christianity today but unrepresentative of Christianity in the past. Christendom has been only a small part of the Christian experience. 

There in Bordeaux, near where the Garonne flows into the Atlantic, the king of England knelt as the monk who had grown up not far from the banks of the Yellow River began singing in Syriac. 

This was the experience of the monk who stood before Edward I. Rabban Sawma had grown up near Khanbaliq, ‘the city of the khan’ (present day Beijing). When still in his early twenties, out of ‘the love of his Lord’ he had become a hermit, living in a cave near a mountain spring, in the manner of many Chinese Taoist, Buddhist, poet and artist ascetics. People would regularly make the day’s journey from the city to come to hear him preach. He was later joined in his secluded life by another young man with a desire to lead a life for Christ named Mark. The two had lived together for some time when one day Mark shared with the older hermit his desire to visit Jerusalem. Together they set out on the long and perilous journey to see Jerusalem and all the sites of the life of Jesus. Like a reverse Marco Polo they travelled west across the Mongol Empire, sometime in the early 1270s, perhaps indeed at the same time as Marco Polo, taking the opportunity for long distance travel which the continent-spanning Mongol empire had made possible. 

When the two monks eventually reached Iraq they were told that fighting between the Mongols and the Mamluk Sultan of Egypt, who then controlled Jerusalem, had made travelling the final part of the journey impossible. So they settled down in Iraq until the time might come when it would be safe to make the journey. Such a time never came but while they were in Iraq they became involved in the life of the church and when in 1281 the patriarch died it was with some surprise that Sawma’s young companion Mark found himself chosen by the bishops to be the new patriarch. He chose the new name Yahbalaha.[3] He was the first believer from the more eastern regions of the church to be chosen as patriarch, reflecting the greater involvement such believers were able to have in the life of the whole church under the Mongols. In 1287 the Mongol ilkhan Arghun, seeking to use the European desire to regain Jerusalem to coordinate attacks against his enemy in Egypt, asked Yahbalaha to provide a Christian messenger to go to Europe with gifts and letters for its Christian kings. Yahbalaha recommended his mentor Sawma, also providing him with his own letters of friendship for the Europeans. 

A year later, having visited the cardinals in Rome, who had quizzed him on his beliefs and been left perfectly satisfied that he shared the same beliefs as them, and in Paris the King of France, who had shown him around the rapidly expanding city with its sprawling universities, Sawma met the king of ‘Inglatar’. In their audience Edward’s attention was particularly caught by the reference in the ilkhan’s letter to Jerusalem, having again taken the crusading oath only the spring before. But Sawma was far more interested in using his trip to see artefacts associated with characters from the gospels, to hear stories of heroes of humility and of the miracles God had worked in the lives of saints, and to observe the novelty of life in a predominantly Christian society. 

In the evening Sawma was invited to lead the king in worship. There in Bordeaux, near where the Garonne flows into the Atlantic, the king of England knelt as the monk who had grown up not far from the banks of the Yellow River began singing in Syriac:

‘Teshbuhta l-alaha ba-mrawme’ ‘Glory to God in the highest…’

On the altar Sawma broke the bread and made the sign of the cross over the chalice of wine. As he broke up the bread he sang: ‘Abun d-ba-shmaya’ ‘Our father in heaven…’ Edward and some of his courtiers and clerics might have recognised the prayer and tried to repeat the strange words or to follow along reciting in Latin. The king and his courtiers approached and Sawma served them. The king of England and the Chinese monk together participating in the divine mystery of Christ’s incarnation and sacrifice. 

  

Further reading and notes 

For the text of Rabban Sawma’s journey to Europe:  

Borbone, Pier Giorgio. History of Mar Yahballaha and Rabban Sauma (Hamburg: tredition, 2021). 
 

Rabban means ‘our master or teacher’, a term related to Rabbi which was an honorific used for monks. Ṣāwmā means ‘fast’ and is a shortened version of the name Bar Ṣāwmā, meaning ‘son of the fast’, often given to a greatly longed for child, as was the case with Rabban Sawma. 

Mar meaning ‘Lord’ was a term of respect applied in the Church of the East to senior clerics and saints. 

Yahbalaha means ‘God has given’, with ‘alaha’ being the word always used in Syriac for God. As with Sawma it is a name given by parents in thankfulness for the child. Mark chose it as a name borne by two previous patriarchs, perhaps recognising his appointment as a gift from God. 

 

Review
Art
Character
Creed
Easter
Suffering
5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A man looks up a shaft of light that illuminates him and a crucifix higher up a wall.
I Accepted, 2025.
Richard Foster.

The seeds of faith were sown in the life of Nic Fiddian Green by his father. As he has explained recently, he “was shown a way and a faith, and an understanding around the faith of Christianity, in the way my father lived”. 

Later, his wife-to-be, Henrietta Hutley, asked him to help create Stations of the Cross for the Wintershall Estate in Surrey where, today, The Nativity and the Life of Christ are regularly performed. Henrietta’s father, Peter, wrote and brought The Passion of Jesus to Trafalgar Square, while her mother, Anne, had the vision for the Stations of the Cross project after a life-changing visit to Medjugorje. 

Fiddian Green says that “The Face of Christ has been with me for over 40 years” and that he has “searched for His face through my art as part of my spiritual journey, and also in the work of many others – especially Renaissance artists like Giotto, Piero della Francesca and Michelangelo”. 

Fiddian Green, who is internationally celebrated for his monumental equine sculptures, has created a deeply personal and spiritually resonant exhibition entitled The Face of Christ. The exhibition features 20 new sculptures including works in bronze, copper, lead, marble, plaster, and silver, together with a series of drawings. The exhibition ranges from the Nativity to the Resurrection but focuses primarily on the crucifixion.  

The exhibition is deeply personal for Fiddian Green because it is informed by the harrowing encounters he had with an array of life-threatening illnesses a few years ago. These caused an obvious and honest creative re-assessment and it is from these experiences that a stronger, deeper and more contemplative vision has emerged. One that permeates the new work via modes of stillness and reflection.  

The Face of Christ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone. In these works, he shows us how his spirit and his faith help him triumph over the physical as he explores the enduring power of faith, suffering and redemption. In the eyes of his work, we feel pain, strength, fear, wisdom and more as he asks questions of the viewer that leave a powerful and spiritual resonance. 

Fiddian Green says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?” 

While the exhibition focuses on the crucifixion and the face of the crucified Christ, the expression on Christ’s face is generally one of peace, rather than pain. In part, this is because many of the heads of Christ included are images of Christ resting in death prior to the resurrection. The brokenness that the crucifixion brought is shown in these images through damage to the body of Christ, as opposed to the expressions on his face. This is most powerfully the case with ‘Broken for You’, a bronze crucifixion sculpture where Christ’s torso, as well as being scarred by a long spear-like fissure, has also been fractured with the two parts fused together using brace brackets. Similar fissures appear on other of the crucifixion sculptures but ‘Broken for You’ goes furthest in graphically showing the pain Christ endured on our behalf. 

It seems to me that Fiddian Green could go further in revealing the horrors that Christ endured and that his love of Renaissance art with its focus on beauty and balance might hold him back in this regard. Another artist to have regularly depicted the Crucifixion in images shown in mainstream galleries in recent years is Peter Howson, whose images of the crucifixion are much more expressionist graphically capturing the depth of pain that Christ endured. Fiddian Green’s drawings, more than his sculptures, tap into the sense of pain endured, particularly ‘This Storm will Pass’, a partial image of the face of the crucified Christ which in its frenetic pencil-marks and incomplete state speaks particularly powerfully. 

Fiddian Green, by contrast, primarily gives us a sense of the peace that he receives from Christ on the face of Christ. ‘I Forgive’, a bronze head of the crucified Christ depicts the love with which Christ looks on us as he endures the cross. ‘Christ is Laid to Rest’ is a huge head encircled by a crown of massive spikey thorns with green verdigris overtones suggesting the sweat and blood of anguish which has led to the completion of purpose that Christ finds in death. ‘Peace’, a plaster sculpture of Christ’s head, is also redolent of the supreme achievement of the cross; ‘It is finished’, meaning that all his work is complete and done, enabling him to rest and enabling us to enter rest.  

In these images, Fiddian Green is reading back into the events of the crucifixion the outcomes that it gains for us and showing, in his Christ figures, the peace that he personally finds in the love and forgiveness which overflows from the crucified Christ to each and every human being throughout time and history.  

Fiddian Green writes of having “been given materials to use by the God of heaven and earth” – those materials of the earth that he uses in his sculptures – and says that “it is my hope that some of these pieces may rest and resonate with those who see it; that they may find a deep connection by gazing on the works which takes the eye, the heart and the soul to the One who helped me create them”.  

While Lent, Holy Week and Easter are often times when art is offered to enable us to walk in the footsteps of Christ it is not common for commercial galleries to specifically invite meditation on these events, so don’t miss the opportunity for contemplation that the Sladmore Gallery is providing through this exhibition. 

 

The Face of Christ, 10th April – 2nd May 2025, Sladmore Gallery, London.