Relevant bibliographies by topics / Gandharan Sculpture

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Gandharan Sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Gandharan Sculpture"

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Aldrovandi, Cibele, and Elaine Hirata. "Buddhism, Pax Kushana and Greco-Roman motifs: pattern and purpose in Gandharan iconography." Antiquity 79, no. 304 (2005): 306–15. http://dx.doi.org/10.1017/s0003598x00114103.

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The authors show how the Gandharan art of early first millennium Afghanistan used Greek and Roman motifs to give an international context to Buddhist sculpture and reduce tension at home and with the neighbours.
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Lo Muzio, Ciro. "Gandharan Toilet-Trays: Some Reflections on Chronology." Ancient Civilizations from Scythia to Siberia 17, no. 2 (2011): 331–40. http://dx.doi.org/10.1163/157005711x595167.

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Abstract A thorough investigation on Gandharan toilet-trays, taking into consideration archaeological, social and religious data along with iconographic, stylistic and technical issues, is still to be done. The following notes are mainly aimed at suggesting a new perspective in the chronology of these fascinating finds, which, according to an apparently unshakable assumption, have been and are still considered as a bridge linking the Hellenistic (i.e. Greco-Bactrian and Indo-Greek) period and the threshold of the Kushan epoch. Toilet-trays are commonly thought of as a pre-Gandharan (and pre-Bu
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Raheem, Jesmil Abdul, Shakirullah Anon, Owais Khan, Muhammad Zahoor, and Lubna Anon. "Queen Maya & Yasodhara in Gandhara Buddhist Sculptures." European Modern Studies Journal 7, no. 4 (2023): 235–41. http://dx.doi.org/10.59573/emsj.7(4).2023.22.

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The aim of the research was to study at the female representation in Buddhist Gandhara's sculptural history. It is a genuine revelation that the subject matter of Gandhara sculptures is the Buddhah life story, as depicted in the stone panels. We began to collect Queen Maya and Yashodhara images from Peshawar, Texila and Mardan Museum. As a result, the Gandharan perception of the female was complex: female images frequently signified prosperity, fertility, and nurture, but they also embodied seduction, disease, and death at other times. The Gandharan woman is dichotomous and replete with vigour
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Ullah, Irfan, Muhammad Akram Soomro, and Mudassar Zulfiqar. "A Review of Archaeological Reports and Literature on the Gandhara Sculpture Collection of the Royal Ontario Museum." Academic Journal of Social Sciences (AJSS ) 4, no. 3 (2020): 377–403. http://dx.doi.org/10.54692/ajss.2020.04031212.

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This review paper focuses on a forty-three-piece collection of Gandhara sculpture in the Royal Ontario Museum in Toronto, Canada. Although individual pieces of Gandhara sculpture are widely known to scholars, much of the collection of the Gandhara sculpture of the Royal Ontario Museum is unknown to scholars. In this paper, these sculptures have been described and analysed as a collection. The paper is organised on Gandhara ancient history, physical geography, and the history of the Buddha image in ancient subcontinent Pakistan in South Asia. Emphasis is placed on the era of the Kushan Empire f
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Jinsin, Kun. "Chinese Buddhist Sculpture of the Early Period. Iconographic Features." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.

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Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from
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Wenlu, Yang. "The interaction of secular and religious aspects in sculpture of China from the Northern Wei period." Vestnik of Saint Petersburg State University of Culture, no. 2 (63) (2025): 150–54. https://doi.org/10.30725/2619-0303-2025-2-150-154.

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The study of secular sculpture in China during the Northern Wei Dynasty (4th–6th centuries AD) opens new horizons for understanding cultural transformations and synthesis of traditions. The study thoroughly touches upon the significant influence of Buddhism on the formation of Chinese visual arts during that period. The author’s attention is focused on the dynamics of the development of the art of sculpture, reflecting the smooth infusion of Indian and Gandhara styles and culminating in the establishment of a unique Chinese style by the end of the dynastic reign. The article reveals the techni
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He, Wenqi. "Gandhara Art’s Influence on Buddhist Art in Xinjiang, China." BCP Social Sciences & Humanities 14 (December 17, 2021): 172–78. http://dx.doi.org/10.54691/bcpssh.v14i.189.

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The Gandhara region of India was the origin of Buddhist art, and, due to its unique geographical location, it was a place where European and Asian civilizations mingled. The original Gandhara Buddhist art style was largely influenced by the style of Classical Greek sculpture. With the gradual development, its sculpture art and Buddhist stories entered a prosperous period and began to spread eastward, exerting a profound impact on the development of Buddhist art in the early stage of western Regions and later in Xinjiang.
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Azhar, Syeda Tahira, Dr Owais Khan, and Dr Adnan Ahmed Dogar. "Heritage in Stone An Analytical Perspective on Gandharan Art and Archaeo-Tourism Potential at Taxila Museum." ACADEMIA International Journal for Social Sciences 4, no. 2 (2025): 1015–23. https://doi.org/10.63056/acad.004.02.0236.

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This study provides an analytical investigation of Gandharan art, with a particular emphasis on the ornate patterns found in stone sculptures held at the Taxila Museum.The investigation, which draws on archaeological data from key Gandharan sites such as Peshawar, Swat, Mardan, and eastern Afghanistan, investigate show artistic motifs including floral, geometric, and figurative elements reflect a synthesis of Hellenistic and Buddhist cultures. These decorative features, such as lotus, pipal and foliate designs, not only enhance the aesthetic appeal of the sculptures but also convey philosophic
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Kempe, D. R. C. "Gandhara sculptural schist: Proposed source." Journal of Archaeological Science 13, no. 1 (1986): 79–88. http://dx.doi.org/10.1016/0305-4403(86)90028-2.

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Gul, Subhani. "NOTE ON SOME A BUDDHIST NARRATIVE RELIEFS FROM AMLUK-DARA STUPA, SWAT." Pakistan Journal of Social Research 04, no. 04 (2022): 884–90. http://dx.doi.org/10.52567/pjsr.v4i04.899.

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The general theme behind the Gandhara art was the iconography of Budhha i.e. Buddhha life stories, previous life stories, miracles etc. There is some variation in depiction of sculptures sometime due to sectarian and regional variation. The present study is therefore focused on some Buddhist narrative reliefs from Amluk-dara stupa wherein the unique narrative scenes are depicted. Keywords: Gandhara, Amluk-dara, Birth of Siddhārtha, First bath of Siddhārtha.
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Dissertations / Theses on the topic "Gandharan Sculpture"

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Nehru, Lolita. "Origins of the Gandharan style : a study of contributory influences /." Oxford : Oxford university press, 1989. http://catalogue.bnf.fr/ark:/12148/cb355028071.

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Fabregues, Chantal. "The jewellery of the Gandhara sculpture in Schist and its chronological significance." Thesis, SOAS, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262360.

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Rahman, Ghani-Ur <1974&gt. "Iconographic symbolism of a worldly mission: some selected prodigious episodes from the life of Buddha Sakyamuni represented in Gandhara sculpture." Doctoral thesis, Università Ca' Foscari Venezia, 2007. http://hdl.handle.net/10579/331.

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Books on the topic "Gandharan Sculpture"

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Miami University (Oxford, Ohio). Art Museum., ed. Gandharan sculpture. Miami University Art Museum, 1985.

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translator, Tang Qishan, and Zhou Yun 1995 translator, eds. Da mei zhi fo xiang: Qiantuoluo yi shu = Gandharan art. Wen wu chu ban she, 2017.

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Tanabe, Katsumi. Gandāra no kifujin to keshōzara =: Gandharan ladies & toilet-trays from Japanese collections. Kodai Oriento Hakubutsukan, 1985.

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Tanabe, Katsumi. Gandāra no kifujin to keshōzara: Gandharan ladies & toilet-trays from Japanese collections. Kodai Oriento Hakubutsukan, 1985.

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Robert, Nalin David, ed. Displaying many faces: Art and Gandharan identity : selections from the David R. Nalin collection. Nalini International Publications, 2004.

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author, Filigenzi Anna, Vignato Giuseppe 1962 translator, Wang Shujing translator, and Wang Qian (Translator) translator, eds. Jiantuoluo shi ke shu yu fen lei hui bian: Yi Yidali Ya Fei yan jiu yuan Bajisitan Wate kao gu xiang mu suo chu zi liao wei ji chu = Repertory of terms for cataloguing Gandharan sculptures : based on materials from the IsIAO Italian Archaeological Mission in Swat, Pakistan. Shanghai gu ji chu ban she, 2014.

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Museum, Indian. Gandhara sculpture. Indian Museum, 1987.

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Olivieri, Luca M. Stoneyards and Artists in Gandhara The Buddhist Stupa of Saidu Sharif I, Swat (c. 50 CE). Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-578-0.

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The book advances a hypothetical reconstruction of the planning and programming of the building site, the executive process, the construction and decoration, and ultimately the deconsecration and abandonment of an ancient Buddhist stupa in Gandhara. The chronological context is the mid-first to the early fourth century CE. The stupa is located near the town of Saidu Sharif in the fertile and rich Swat valley, a northern region of ancient Gandhara (today in Pakistan). The study is based on archaeological excavation data conducted at the site over several seasons. The narrative frieze of the stu
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(Firm), Sotheby's, ed. The Heeramaneck collection of Indian sculpture, paintings and textiles, including a Gandharan gray schist head of Buddha ...: Auction Wednesday, November 2, 1988. Sotheby's, 1988.

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Khan, Aftab Ahmad. Gandhara classics. Ahsanullah & Samiullah Khan, 2009.

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Book chapters on the topic "Gandharan Sculpture"

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Stoneman, Richard. "Greeks and the Art of India." In The Greek Experience of India. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691154039.003.0016.

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This chapter considers the influence of Greek techniques on Indian art. When European scholarship moved beyond seeing Indian sculptures as “monsters” and began to discern the historical trajectory of Indian art, many were convinced that Greek art was the mainspring that got Indian sculpture going. The chronological coincidence of Alexander's arrival in the north-west appeared to explain the sudden emergence of sculpture in the Maurya lands. James Fergusson asserted that Bactria was the origin of all Indian art. Inevitably the sculpture of Gandhara, with its pronounced Hellenistic features, was
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Amstutz, Andrew. "From colonial Greece to postcolonial Rome? Re-orienting ancient Pakistan in museum guides in the 1950s and 1960s." In The Rediscovery and Reception of Gandhāran Art. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-7.

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In 1956, the National Museum of Pakistan, a recently established institution in Karachi, launched a new exhibit on Buddhist sculpture from Gandhāra to mark ‘the 2500th anniversary of the birth of the Buddha’ (Gandhara Sculpture in the National Museum of Pakistan 1956: 3). To celebrate this new exhibit, Pakistan’s Department of Archaeology published Gandhara Sculpture in the National Museum of Pakistan to go along with the new exhibit. The anonymous exhibit organizers flagged two important elements of this ancient Buddhist sculpture for the newly created Muslim-majority nation-state of Pakistan
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Moscatelli, Cristiano, and Anna Filigenzi. "Beyond the Form Some Observations on Wine-Symbolism and Related Figurative Themes in Gandharan Art." In Wine Cultures Gandhāra and Beyond. Fondazione Università Ca’ Foscari, 2024. http://dx.doi.org/10.30687/978-88-6969-816-3/009.

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Wine and related motifs hold a special place in Gandharan sculptural production as they constitute a common thread among several visual themes, including the so-called ‘Dionysiac scenes’. Despite their different nature, these themes bear indirect – yet significant – witness to a coherent pattern of shared semantic values, the core meaning of which can be considered in light of recent discoveries, data reassessment, and contextual interpretative approaches.
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Orr, Leslie C. "Introduction." In Donors, Devotes, and Daughters of God. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195099621.003.0001.

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Abstract Every well-appointed Hindu temple aims at being an earthly reproduction of the paradise of the god in whose honour it was built… The Gandharvas are represented by the Temple-band, the Apsarases by the courtesans who sing and dance in the service. These are dedicated to the service of the god; but they give their favours to his worshippers. They are usually called Devadiisfs, handmaidens of the god… They dance and sing in the temple services and also when the images are carried out through the town in procession. Hence the common name for them everywhere is Nautch-girls, Dancing-girls…
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Conference papers on the topic "Gandharan Sculpture"

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Stewart, Peter. "Roman sarcophagi and Gandhāran sculpture." In Third International Workshop of the Gandhāra Connections Project. Archaeopress Archaeology, 2020. http://dx.doi.org/10.32028/9781789696950-4.

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