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"Gandharan Art in its Buddhist Context is the fifth set of papers
from the workshops of the Classical Art Research Centre's Gandhara
Connections project. These selected studies revolve around perhaps
the most fundamental topic of all for understanding Gandharan art:
its religious contexts and meanings within ancient Buddhism.
Addressing the responses of patrons and worshippers at the
monasteries and shrines of Gandhara, these papers seek to
understand more about why Gandharan art was made and what its
iconographical repertoire meant to ancient viewers. The
contributions from an array of international experts consider
dedicatory practices in monasteries, the representation of Buddhas,
and the lessons to be learned from some of the latest excavations
and survey work in the region."
Gandharan art is often regarded as the epitome of cultural exchange
in antiquity. The ancient region of Gandhara, centred on what is
now the northern tip of Pakistan, has been called the 'crossroads
of Asia'. The Buddhist art produced in and around this area in the
first few centuries AD exhibits extraordinary connections with
other traditions across Asia and as far as the Mediterranean. Since
the nineteenth century, the Graeco-Roman associations of Gandharan
art have attracted particular attention. Classically educated
soldiers and administrators of that era were astonished by the
uncanny resemblance of many works of Gandharan sculpture to Greek
and Roman art made thousands of miles to the west. More than a
century later we can recognize that the Gandharan artists'
appropriation of classical iconography and styles was diverse and
extensive, but the explanation of this 'influence' remains puzzling
and elusive. The Gandhara Connections project at the University of
Oxford's Classical Art Research Centre was initiated principally to
cast new light on this old problem. This volume is the third set of
proceedings of the project's annual workshop, and the first to
address directly the question of cross-cultural influence on and by
Gandharan art. The contributors wrestle with old controversies,
particularly the notion that Gandharan art is a legacy of
Hellenistic Greek rule in Central Asia and the growing consensus
around the important role of the Roman Empire in shaping it. But
they also seek to present a more complex and expansive view of the
networks in which Gandhara was embedded. Adopting a global
perspective on the subject, they examine aspects of Gandhara's
connections both within and beyond South Asia and Central Asia,
including the profound influence which Gandharan art itself had on
the development of Buddhist art in China and India.
The ancient Buddhist art of Gandhāra was rediscovered from the
1830s and 1840s onwards in what would become the North-West
Frontier of British India. By the end of the century an abundance
of sculptures had been accumulated by European soldiers and
officials, which constituted the foundations for a new field of
scholarship and internationally celebrated museum collections. Both
then and since, the understanding of Gandhāran art has been
impeded by gaps in documentation, haphazard excavation, forgery,
and smuggling of antiquities. Consequently, the study of Gandhāran
archaeology often involves the evaluation and piecing together of
fragmentary clues. In more subtle ways, however, the modern view of
Gandhāran art has been shaped by the significance accorded to it
by different observers over the past century and a half. Conceived
in the imperial context of the late nineteenth century as
‘Graeco-Buddhist’ art – a hybrid of Asian religion and
Mediterranean artistic form – Gandhāran art has been invested
with various meanings since then, both in and beyond the academic
sphere. Its puzzling links to the classical world of Greece and
Rome have been explained from different perspectives, informed both
by evolving perceptions of the evidence and by modern
circumstances. From the archaeologists and smugglers of the Raj to
the museums of post-partition Pakistan and India, from coin-forgers
and contraband to modern Buddhism and contemporary art, this fourth
volume of the Classical Art Research Centre’s Gandhāra
Connections project presents the most recent research on the
factors that mediate our encounter with Gandhāran art.
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.
Since the beginning of Gandharan studies in the nineteenth century,
chronology has been one of the most significant challenges to the
understanding of Gandharan art. Many other ancient societies,
including those of Greece and Rome, have left a wealth of textual
sources which have put their fundamental chronological frameworks
beyond doubt. In the absence of such sources on a similar scale,
even the historical eras cited on inscribed Gandharan works of art
have been hard to place. Few sculptures have such inscriptions and
the majority lack any record of find-spot or even general
provenance. Those known to have been found at particular sites were
sometimes moved and reused in antiquity. Consequently, the
provisional dates assigned to extant Gandharan sculptures have
sometimes differed by centuries, while the narrative of artistic
development remains doubtful and inconsistent. Building upon the
most recent, cross-disciplinary research, debate and excavation,
this volume reinforces a new consensus about the chronology of
Gandhara, bringing the history of Gandharan art into sharper focus
than ever. By considering this tradition in its wider context,
alongside contemporary Indian art and subsequent developments in
Central Asia, the authors also open up fresh questions and problems
which a new phase of research will need to address. Problems of
Chronology in Gandharan Art is the first publication of the
Gandhara Connections project at the University of Oxford's
Classical Art Research Centre, which has been supported by the
Bagri Foundation and the Neil Kreitman Foundation. It presents the
proceedings of the first of three international workshops on
fundamental questions in the study of Gandharan art, held at Oxford
in March 2017.
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