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Journal articles on the topic 'Gandharan Sculpture'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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3

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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4

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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6

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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7

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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8

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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9

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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10

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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11

Shu, Xindi. "A Study on the Multicultural Presentation in the Yungang Grottoes Sculptures." Communications in Humanities Research 53, no. 1 (2025): 81–87. https://doi.org/10.54254/2753-7064/2025.21768.

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This paper explores the themes, forms, and content of Buddhist sculptures in the Yungang Grottoes from a multicultural perspective, revealing the cultural intersections and integrations reflected in the dissemination and localization of Buddhist art. Situated in the Northern Wei Dynasty, the Yungang Grottoes serve as a significant testament to the collision of Eastern and Western cultures. With the opening of the Silk Road, Buddhism was introduced to China and gradually integrated with indigenous Chinese culture, resulting in the remarkable artistic achievements exemplified by the sculptures i

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12

Lluveras-Tenorio, Anna, Alessia Andreotti, Fabio Talarico, et al. "An Insight into Gandharan Art: Materials and Techniques of Polychrome Decoration." Heritage 5, no. 1 (2022): 488–508. http://dx.doi.org/10.3390/heritage5010028.

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Gandharan art developed in the Himalayan area in the early centuries CE. It has been investigated mostly from an iconographic point of view, missing, until very recently, a systematic technical investigation of materials and techniques. Recently our team began performing chemical analyses of the traces of the polychromy originally covering statues, reliefs and architectural decorations, to discover the ancient painting techniques and artistic technologies. This paper presents the results of the analytical investigation (optical microscopy, Raman spectroscopy and gas chromatography coupled with

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13

Proudfoot, Trevor, Kathleen Garland, and John Larson. "The examination and conservation of a collection of Gandharan sculptures from Antony House, Cornwall." Studies in Conservation 33, no. 1 (1988): 113–19. http://dx.doi.org/10.1179/sic.1988.33.1.113.

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Proudfoot, Trevor, Kathleen Garland, and John Larson. "THE EXAMINATION AND CONSERVATION OF A COLLECTION OF GANDHARAN SCULPTURES FROM ANTONY HOUSE, CORNWALL." Studies in Conservation 33, sup1 (1988): 113–19. http://dx.doi.org/10.1179/sic.1988.33.s1.027.

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15

Salemi, G., E. Faresin, and L. M. Olivieri. "LANDSCAPE ANALYSIS TECHNIQUES APPLIED TO A BUDDHIST CARVED ROCK SCULPTURE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2021 (June 28, 2021): 863–67. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2021-863-2021.

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Abstract. The Swat valley (Pakistan) has always been considered an important center of Gandhara art. Due to the unfavourable conditions, this artistic phenomenon has long been almost ignored or underestimated, but its documentation is essential for study the symbolism of the figures, their spatial organization, their stylistic variation and their conservative state. The methodology proposed in this project starts form the 3D acquisition with a structured light system in order to obtain a 3D high resolution model of Buddhist carved rock sculpture. From the 3D geometry, The Digital Elevation Mod

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16

Doraiswamy, Rashmi. "The After Life of the Buddha: Parinirvana Images in Eurasia." Ideas and Ideals 13, no. 4-2 (2021): 458–75. http://dx.doi.org/10.17212/2075-0862-2021-13.4.2-458-475.

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This article examines religions in which the life of the spiritual leader is as important as the death, and where the narratives of death (and not just of life) enter the image cycles in art. The Buddha willed himself to die when he was eighty at Kushinagara. Buddhism is one of the rare world religions where there is a huge repertoire of mahaparinairvana images. Buddhism values the release from the cycle of rebirths and deaths. The sets and cycles of images that make up the representation of the death of the Buddha in sculpture and paintings in caves spread across Eurasia are described in deta

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17

Ghosh, Suchandra. "State, power and religion in the Indo-Iranian borderlands and North-west India, c. 200 bc–ad 200." Studies in People's History 4, no. 1 (2017): 1–14. http://dx.doi.org/10.1177/2348448917693722.

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The Greek tradition of coinage was maintained by the Bactrians, Indo-Greeks, Śakas and Kushanas, ruling successively in the North-west from the second century bc to second century ad. On their coins, apart from the rulers themselves, appear the figures and names of several deities. These were Greek deities in the beginning, to whom Iranian and Indian deities went on being added. The paper traces this process in detail and examines how the rulers first seem to address, through their coins, only an elite Greek or Hellenised aristocracy and then the wider Iranic and Indian populations, through th

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18

Wei, Lian. "Buddhist Architecture Exchanges between China and Pakistan." Pacific International Journal 6, no. 3 (2023): 43–49. http://dx.doi.org/10.55014/pij.v6i3.397.

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This study explores the friendly exchanges in Buddhist architecture between China and Pakistan from a geographical perspective. It probes mainly into the exchanges occurring from the 1st to the 10th century AD between ancient China and ancient Pakistan (the region where Pakistan is presently located). With the channels for exchanges between China and South Asia opening up and the Silk Road being established, the large-scale eastward spread of Buddhism became possible, creating opportunities for Buddhism communication between people of the two nations. The design and construction of Chinese Bud

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19

Akhmedov, Ilia. "Some Remarks on the Genesis of One of the Images of Early Medieval Art." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (February 2019): 25–46. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.2.

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The article focuses on the origin of the image of a dragon with a serpentine body known in the early medieval antiquities of Eastern European nomads. Researchers have long been discussing such images found on the sites of the Volga region and the Urals. According to the most recent hypothesis proposed by N.A. Lifanov, these dragon figures generally match the image of ancient κyτος which was adopted as a result of the acquaintance of the steppe inhabitants with works of late antique or early Byzantine art. The present study addresses a wide range of sources allowing us to construct an alternati

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20

Batchuluun, Sergelen, and Orgilbold Narandorj. "East & West: Searching out for the Beauty Ideal." KnE Social Sciences, August 25, 2020. http://dx.doi.org/10.18502/kss.v4i11.7521.

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This article describes the results of a comparative analysis of the ancient Greek sculpture Doryphoros in the western and eastern art canons, as well as the selected sculptures of the Bodhisattva Bodhisattva Maitreya from Gandharan, Indian, Nepalese, and Mongolian art. The authors also explore and integrate the aspects of the artistic notion of an ideal beauty, including aspects of oriental philosophy, aesthetics, human body’s proportion and compilation theory. This comparative analysis is based on G. Zanabazar’s sculpturing features and his skills through theoretical aspects. Studies have sho

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21

Elahi, Moizza S. "Presence, Power, and Agency: Donor Portraits in Early Gandharan Art." 59 | 2023, no. 1 (August 29, 2023). http://dx.doi.org/10.30687/annor/2385-3042/2023/01/010.

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The aim of this paper is to shed light on locally constructed sculptural representations of donors and devotees from Butkara I in Swat valley – one of the earliest Buddhist sites in the Greater Gandhara region. The discovery of several sculptures and architectural elements depicting elaborately adorned male and female figures with distinctly individualizing facial features, and bearing varied Buddhist offerings, not only throws into relief the artistic phenomenon of portraiture in early Gandharan Buddhist art but also exemplifies the visual and material enactment of donative ritual and practic

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22

-, Sunita. "Gandhara style of Art." International Journal For Multidisciplinary Research 5, no. 6 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i06.8596.

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The new style of art that emerged in the north-western regions of the country due to the influence of Greek art is called 'Gandhara style'. Gandhara is the ancient name of a region in present-day northwest Pakistan. Which is surrounded by the Hindu Kush mountain range and the Himalayan foothills to the north. Statues of Buddha and Bodhisattva were mainly made in Gandhara style. Gandhara art is male dominated and realistic art. In this, the physical physique of Buddha has been shown in relief. Buddha's hair is curly, he has a moustache, he has slippers on his feet, he is wearing transparent clo

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23

Malik, Shabnam Bahar. "Sang-tarash: the Legendry Master Sculptors of the Ancient Buddhist Sculptural Art of Gandhara in Taxila." Asian Social Science 7, no. 10 (2011). http://dx.doi.org/10.5539/ass.v7n10p195.

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