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Books > Arts & Architecture > History of art / art & design styles > BC to 500 CE, Ancient & classical world
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The Geography of Gandhāran Art - Proceedings of the Second International Workshop of the Gandhāra Connections Project, University of Oxford, 22nd-23rd March, 2018 (Paperback)
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Discovery Miles 11 210
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The Geography of Gandhāran Art - Proceedings of the Second International Workshop of the Gandhāra Connections Project, University of Oxford, 22nd-23rd March, 2018 (Paperback)
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Gandhāran art is usually regarded as a single phenomenon – a
unified regional artistic tradition or ‘school’. Indeed it has
distinctive visual characteristics, materials, and functions, and
is characterized by its extensive borrowings from the Graeco-Roman
world. Yet this tradition is also highly varied. Even the
superficial homogeneity of Gandhāran sculpture, which constitutes
the bulk of documented artistic material from this region in the
early centuries AD, belies a considerable range of styles,
technical approaches, iconographic choices, and levels of artistic
skill. The geographical variations in Gandhāran art have received
less attention than they deserve. Many surviving Gandhāran
artefacts are unprovenanced and the difficulty of tracing
substantial assemblages of sculpture to particular sites has
obscured the fine-grained picture of its artistic geography. Well
documented modern excavations at particular sites and areas, such
as the projects of the Italian Archaeological Mission in the Swat
Valley, have demonstrated the value of looking at sculptures in
context and considering distinctive aspects of their production,
use, and reuse within a specific locality. However, insights of
this kind have been harder to gain for other areas, including the
Gandhāran heartland of the Peshawar basin. Even where large
collections of artworks can be related to individual sites, the
exercise of comparing material within and between these places is
still at an early stage. The relationship between the Gandhāran
artists or ‘workshops’, particular stone sources, and specific
sites is still unclear. Addressing these and other questions, this
second volume of the Gandhāra Connections project at Oxford
University’s Classical Art Research Centre presents the
proceedings of a workshop held in March 2018. Its aim is to pick
apart the regional geography of Gandhāran art, presenting new
discoveries at particular sites, textual evidence, and the
challenges and opportunities of exploring Gandhāra’s artistic
geography.
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