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Author: Rafi U. Samad Publisher: Algora Publishing ISBN: 0875868592 Category : History Languages : en Pages : 303
Book Description
The northwestern regions of Pakistan and southeastern regions of Afghanistan were once the heart of a highly developed civilization whose cultural impact was felt from China to Persia. A major center of Buddhism, its cultural attainments were highlights of ancient civilization. The author's research, accompanied by some 60 illustrations, offers Americans an entirely new understanding of the desolate region shown on the nightly news. The Persian, Greek and Central Asian invasions of Gandhara, rather than causing wide scale destruction in the region, promoted the development of a multi-cultural, multi-ethnic society. After a gestation period of about half a millennium, this region blossomed into a unique civilization in the opening years of the Common Era. Detailed archaeological excavations were started at sites in northern Pakistan and Afghanistan in the late-19th century. Through these excavations, eminent archaeologists such as Aurel Stein, Alexander Cunningham, John Marshall, J. Barthoux and Professor A.H. Dani recovered hundreds of thousands of beautiful stone sculptures belonging to the Gandhara Civilization. In the last century or so, much has been written about the artistic quality of these beautiful stone sculptures. But hardly anything has been written about the Civilization itself that gave birth to these extraordinary pieces of art. In this book an effort has been made to present Gandhara in its wider perspective, highlighting the different features of a unique civilization in which many different races contributed and many cultures merged to bring about a major sociological change and establish a distinct cultural identity in this region of the South Asian sub-continent. This book is based on the author's analysis of archaeologists' reports, information gathered through extended visits to numerous archaeological sites associated with the lost Gandhara Civilization including those in the Taxila, Peshawar, Charsadda, Mardan and Swat regions in Pakistan, and study in museums. His research reveals a great deal of continuity in the field of socio-cultural development of the region, which is referred to in this book as Greater Gandhara, from the time it became a part of the Achaemenid Empire in the 6th century BCE till the end of Kidara Kushan's rule in the 5th century CE. Further, it reveals that after the Achaemenids had established the physical and administrative infrastructure in Greater Gandhara, the continuity in socio-cultural development in the region was maintained mainly by the growing Buddhist population. This book illustrates the spirit of independence and features in the character of the ancient people of the Gandhara region which facilitated the sustained progress towards the emergence of the Gandhara Civilization. Following the invasion of Alexander the Great, his successors had no difficulty in colonizing Bactria (Northern Afghanistan) and Sogdia (Uzbekistan), but they could not do the same in Gandhara. Similarly the Scythians, Parthians and the Kushans ruled over the Central Asian region as colonizers, but not so in Gandhara. Here they ruled not over the people, but with the people. Their administration was highly de-centralized, with the locals playing a major role in the regional administration and having a major say in the social and cultural affairs of the entire population. Finally, the book highlights the interactive environment which prevailed in Gandhara throughout the transient and mature phases of the Gandhara Civilization: Alexander's companions hobnobbing with the naked fakirs of Taxila; Menander, the great Indus-Greek ruler, finding time to engage in prolonged question-and-answer sessions with Buddhist scholars at the monastery near Sagala (Sialkot); and the greatest of the Kushan conquerors, Kanishka, finding pleasure in the company of local intellectuals and artists such as Asvaghosha and Vasumitra, and presiding over the official launch of Mahayana Buddhism.
Author: Rafi U. Samad Publisher: Algora Publishing ISBN: 0875868592 Category : History Languages : en Pages : 303
Book Description
The northwestern regions of Pakistan and southeastern regions of Afghanistan were once the heart of a highly developed civilization whose cultural impact was felt from China to Persia. A major center of Buddhism, its cultural attainments were highlights of ancient civilization. The author's research, accompanied by some 60 illustrations, offers Americans an entirely new understanding of the desolate region shown on the nightly news. The Persian, Greek and Central Asian invasions of Gandhara, rather than causing wide scale destruction in the region, promoted the development of a multi-cultural, multi-ethnic society. After a gestation period of about half a millennium, this region blossomed into a unique civilization in the opening years of the Common Era. Detailed archaeological excavations were started at sites in northern Pakistan and Afghanistan in the late-19th century. Through these excavations, eminent archaeologists such as Aurel Stein, Alexander Cunningham, John Marshall, J. Barthoux and Professor A.H. Dani recovered hundreds of thousands of beautiful stone sculptures belonging to the Gandhara Civilization. In the last century or so, much has been written about the artistic quality of these beautiful stone sculptures. But hardly anything has been written about the Civilization itself that gave birth to these extraordinary pieces of art. In this book an effort has been made to present Gandhara in its wider perspective, highlighting the different features of a unique civilization in which many different races contributed and many cultures merged to bring about a major sociological change and establish a distinct cultural identity in this region of the South Asian sub-continent. This book is based on the author's analysis of archaeologists' reports, information gathered through extended visits to numerous archaeological sites associated with the lost Gandhara Civilization including those in the Taxila, Peshawar, Charsadda, Mardan and Swat regions in Pakistan, and study in museums. His research reveals a great deal of continuity in the field of socio-cultural development of the region, which is referred to in this book as Greater Gandhara, from the time it became a part of the Achaemenid Empire in the 6th century BCE till the end of Kidara Kushan's rule in the 5th century CE. Further, it reveals that after the Achaemenids had established the physical and administrative infrastructure in Greater Gandhara, the continuity in socio-cultural development in the region was maintained mainly by the growing Buddhist population. This book illustrates the spirit of independence and features in the character of the ancient people of the Gandhara region which facilitated the sustained progress towards the emergence of the Gandhara Civilization. Following the invasion of Alexander the Great, his successors had no difficulty in colonizing Bactria (Northern Afghanistan) and Sogdia (Uzbekistan), but they could not do the same in Gandhara. Similarly the Scythians, Parthians and the Kushans ruled over the Central Asian region as colonizers, but not so in Gandhara. Here they ruled not over the people, but with the people. Their administration was highly de-centralized, with the locals playing a major role in the regional administration and having a major say in the social and cultural affairs of the entire population. Finally, the book highlights the interactive environment which prevailed in Gandhara throughout the transient and mature phases of the Gandhara Civilization: Alexander's companions hobnobbing with the naked fakirs of Taxila; Menander, the great Indus-Greek ruler, finding time to engage in prolonged question-and-answer sessions with Buddhist scholars at the monastery near Sagala (Sialkot); and the greatest of the Kushan conquerors, Kanishka, finding pleasure in the company of local intellectuals and artists such as Asvaghosha and Vasumitra, and presiding over the official launch of Mahayana Buddhism.
Author: Wannaporn Rienjang Publisher: Archaeopress ISBN: 1789691877 Category : Art Languages : en Pages : 202
Book Description
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 Gandhara 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.
Author: Anthony Grafton Publisher: Harvard University Press ISBN: 9780674035720 Category : History Languages : en Pages : 1188
Book Description
The legacy of ancient Greece and Rome has been imitated, resisted, misunderstood, and reworked by every culture that followed. In this volume, some five hundred articles by a wide range of scholars investigate the afterlife of this rich heritage in the fields of literature, philosophy, art, architecture, history, politics, religion, and science.
Author: Chetan Karnani Publisher: ISBN: Category : Music Languages : en Pages : 264
Book Description
"This book is a comprehensive account of the various forms in Indian music. The Gharanas of Indian music have been discussed elaborately in this book. In vocal music, the author has discussed Dhrupad, Khayal and Thumri. In instrumental music, Gharanas of Sitar, Sarod and Tabla have been discussed. Besides this, five leading forms of Karnatak music have been covered in this book alongwith reviews of some of the most recent books on music."
Author: Jaś Elsner Publisher: Cambridge University Press ISBN: 1108473075 Category : Art Languages : en Pages : 533
Book Description
Explores the problems for studying art and religion in Eurasia arising from ancestral, colonial and post-colonial biases in historiography.
Author: Tapati Guha-Thakurta Publisher: Columbia University Press ISBN: 0231503512 Category : Art Languages : en Pages : 431
Book Description
Art history as it is largely practiced in Asia as well as in the West is a western invention. In India, works of art-sculptures, monuments, paintings-were first viewed under colonial rule as archaeological antiquities, later as architectural relics, and by the mid-20th century as works of art within an elaborate art-historical classification. Tied to these views were narratives in which the works figured, respectively, as sources from which to recover India's history, markers of a lost, antique civilization, and symbols of a nation's unique aesthetic, reflecting the progression from colonialism to nationalism. The nationalist canon continues to dominate the image of Indian art in India and abroad, and yet its uncritical acceptance of the discipline's western orthodoxies remains unquestioned, the original motives and means of creation unexplored. The book examines the role of art and art history from both an insider and outsider point of view, always revealing how the demands of nationalism have shaped the concept and meaning of art in India. The author shows how western custodianship of Indian "antiquities" structured a historical interpretation of art; how indigenous Bengali scholarship in the late 19th and early 20th centuries attempted to bring Indian art into the nationalist sphere; how the importance of art as a representation of national culture crystallized in the period after Independence; and how cultural and religious clashes in modern India have resulted in conflicting "histories" and interpretations of Indian art. In particular, the author uses the depiction of Hindu goddesses to elicit conflicting scenarios of condemnation and celebration, both of which have at their core the threat and lure of the female form, which has been constructed and narrativized in art history. Monuments, Objects, Histories is a critical survey of the practices of archaeology, art history, and museums in nineteenth- and twentieth-century India. The essays gathered here look at the processes of the production of lost pasts in modern India: pasts that come to be imagined around a growing corpus of monuments, archaeological relics, and art objects. They map the scholarly and institutional authority that emerged around such structures and artifacts, making of them not only the chosen objects of art and archaeology but also the prime signifiers of the nation's civilization and antiquity. The close imbrication of the "colonial" and the "national" in the making of India's archaeological and art historical pasts and their combined legacy for the postcolonial present form one of the key themes of the book. Monuments, Objects, Histories offers both an insider's and an outsider's perspective on the growth of these scholarly fields and their institutional apparatus, analyzing the ways they have constituted and recast their objects of study. The book moves from a period that saw the consolidation of western expertise and custodianship of India's "antiquities," to the projection over the twentieth century of varying regional, nativist, and national claims around the country's architectural and artistic inheritance, into a current period that has pitched these objects and fields within a highly contentious politics of nationhood. Monuments, Objects, Histories traces the framing of an official national canon of Indian art through these different periods, showing how the workings of disciplines and institutions have been tied to the pervasive authority of the nation. At the same time, it addresses the radical reconfiguration in recent times of the meaning and scope of the "national," leading to the kinds of exclusions and chauvinisms that lie at the root of the current endangerment of these disciplines and the monuments and art objects they encompass.
Author: Justin Thomas McDaniel Publisher: University of Hawaii Press ISBN: 0824874404 Category : Architecture Languages : en Pages : 241
Book Description
Buddhism, often described as an austere religion that condemns desire, promotes denial, and idealizes the contemplative life, actually has a thriving leisure culture in Asia. Creative religious improvisations designed by Buddhists have been produced both within and outside of monasteries across the region—in Nepal, Japan, Korea, Macau, Hong Kong, Singapore, Laos, Thailand, and Vietnam. Justin McDaniel looks at the growth of Asia’s culture of Buddhist leisure—what he calls “socially disengaged Buddhism”—through a study of architects responsible for monuments, museums, amusement parks, and other sites. In conversation with noted theorists of material and visual culture and anthropologists of art, McDaniel argues that such sites highlight the importance of public, leisure, and spectacle culture from a Buddhist perspective and illustrate how “secular” and “religious,” “public” and “private,” are in many ways false binaries. Moreover, places like Lek Wiriyaphan’s Sanctuary of Truth in Thailand, Suối Tiên Amusement Park in Saigon, and Shi Fa Zhao’s multilevel museum/ritual space/tea house in Singapore reflect a growing Buddhist ecumenism built through repetitive affective encounters instead of didactic sermons and sectarian developments. They present different Buddhist traditions, images, and aesthetic expressions as united but not uniform, collected but not concise: Together they form a gathering, not a movement. Despite the ingenuity of lay and ordained visionaries like Wiriyaphan and Zhao and their colleagues Kenzo Tange, Chan-soo Park, Tadao Ando, and others discussed in this book, creators of Buddhist leisure sites often face problems along the way. Parks and museums are complex adaptive systems that are changed and influenced by budgets, available materials, local and global economic conditions, and visitors. Architects must often compromise and settle at local optima, and no matter what they intend, their buildings will develop lives of their own. Provocative and theoretically innovative, Architects of Buddhist Leisure asks readers to question the very category of “religious” architecture. It challenges current methodological approaches in religious studies and speaks to a broad audience interested in modern art, architecture, religion, anthropology, and material culture. An electronic version of this book is freely available thanks to the support of libraries working with Knowledge Unlatched, a collaborative initiative designed to make high-quality books open access for the public good. The open-access version of this book is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0), which means that the work may be freely downloaded and shared for non-commercial purposes, provided credit is given to the author. Derivative works and commercial uses require permission from the publisher.
Author: Rafi U. Samad
Author: Rafi U. Samad
Author: Wannaporn Rienjang
Author: Anthony Grafton
Author: ABDUL. SAMAD
Author: Chetan Karnani
Author: Jaś Elsner
Author: Ackland Art Museum
Author: Tapati Guha-Thakurta
Author: Justin Thomas McDaniel
Author: Sister Nivedita