Relevant bibliographies by topics / Gāndhārī

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Gāndhārī'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Gāndhārī"

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Schoubben, Niels. "The Iranian Sound Change *w- > *γw- in the Indo-Iranian Borderlands and a New Etymology for Gāndhārī and Sanskrit guśura(ka)-." Iran and the Caucasus 27, no. 3 (August 14, 2023): 285–98. http://dx.doi.org/10.1163/1573384x-02703004.

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Abstract It is generally accepted that the etymology of the Gāndhārī and Sanskrit official title guśura(ka)- has to be sought within the Iranian sphere, but the details remain debatable. In this article, I first give an overview of recently discovered evidence for an early sound change of *w- > *γw- in some Iranian dialects from the Indo-Iranian borderlands. On this basis, I then propose to derive guśura(ka)- from a dialect form such as *γwazurg / *γwuzurg / *γuzurg < *wazr̥ka- ‘strong’. Two by-products of this article are a new Bactrian etymology for the Gāndhārī personal name G̱aṇavhryaka and some notes on the etymology of the Gāndhārī title sturaka-*.
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Salomon, Richard. "The Copper Plates of Helagupta." Indo-Iranian Journal 63, no. 1 (June 4, 2020): 3–69. http://dx.doi.org/10.1163/15728536-06301006.

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Abstract The article presents a new edition, translation, and interpretation of the inscription, which was previously published by H. Falk in 2014, of the otherwise unknown Buddhist patron Helagupta (helaüta). The inscription, datable to the latter half of the first century CE, is recorded on five copper plates and is the second longest one known in Kharoṣṭhī script/Gāndhārī language. This edition proposes several new readings and interpretations as well as discussing its cultural implications for issues such as the performance of ancestral rituals by Buddhists, and Buddhological ramifications such as the concept of “brahma merit” (Gāndhārī bramo puṇyo) and the contemporary understanding of variant forms of titles of the Buddha.
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Del Tomba, Alessandro, and Mauro Maggi. "A Central Asian Buddhist Term." Indo-Iranian Journal 64, no. 3 (October 6, 2021): 199–240. http://dx.doi.org/10.1163/15728536-06402002.

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Abstract The Khotanese masculine substantive saña- ‘artifice, expedient, means, method’ cannot be a loanword from the Gāndhārī feminine saṃña ‘perception, idea’ (< Sanskrit saṃjñā-), as has been recently suggested. Bilingual evidence for its meaning, its metrical use, and the contexts where it occurs show unambiguously that it differs formally and semantically from the Khotanese feminine saṃñā- ‘idea, notion, perception, etc.’, the actual loanword from Gāndhārī saṃña. Since the meaning of Tocharian B sāñ, ṣāñ and A ṣāñ ‘expedient, means’ agrees with that of Khotanese saña- ‘artifice etc.’, the old view should not be abandoned that the latter is a genuine Khotanese word < Iranian *sćandi̯a- (to the root *sćand- ‘to appear, seem (good)’) and is the source of the corresponding loanwords in Tocharian.
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Glass, Andrew. "De nouveaux outils pour l’étude du Gāndhārī." La lettre du Collège de France, no. 31 (June 1, 2011): 39. http://dx.doi.org/10.4000/lettre-cdf.1218.

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Palunčić, Filip, Daniella Palunčić, and B. T. Maharaj. "Revisiting the Bactrian and Gāndhārī Bilingual Inscriptions from Dasht-e Nāwūr." Indo-Iranian Journal 66, no. 4 (October 12, 2023): 333–83. http://dx.doi.org/10.1163/15728536-06604003.

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Abstract The historically important Kushan trilingual inscriptions of Dasht-e Nāwūr are revisited. The readings and interpretations of the bilingual DN I (Bactrian)—DN IV (Gāndhārī) are presented. Through careful analysis of the photos, paper rubbings and latex moulds of DN I published by Gérard Fussman in 1974, a reading of lines 7–13 is proposed which shows further significant parallels with known Kushan-period Bactrian inscriptions, supplementing the decipherment of lines 1–6 by Nicholas Sims-Williams. Furthermore, a comprehensive reading of the Gāndhārī version DN IV in Kharoṣṭhī script is proposed, which presents a true bilingual with DN I and corroborates our reading of DN I. Based on our reading of the bilingual DN I–DN IV, the inscriptions commemorate the arrival of Vema Taktu to Dasht-e Nāwūr, located in the Ghaznī province of Afghanistan, in Vema’s fifteenth regnal year.
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Schoubben, N. "The Son of the King: Iranistic Notes on Gāndhārī kṣabura." Zeitschrift der Deutschen Morgenländischen Gesellschaft 172, no. 1 (2022): 149–53. http://dx.doi.org/10.13173/zdmg/2022/1/9.

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Salomon, Richard. "New Evidence for a Gāndhārī Origin of the Arapacana Syllabary." Journal of the American Oriental Society 110, no. 2 (April 1990): 255. http://dx.doi.org/10.2307/604529.

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Harmatta, János. "A selyemút nyelvei." Antik Tanulmányok 47, no. 1 (December 1, 2003): 81–88. http://dx.doi.org/10.1556/anttan.47.2003.1.5.

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Már a Seleukida uralkodók és a greko-baktriai királyok felismerték az egyrészt a Kína és Közép-Ázsia, másrészt a Közép-Ázsia és Európa közötti kereskedelmi kapcsolatok nagy lehetőségeit. Később a kínai Han Birodalom kiterjesztette hatalmát a Tarim-medencére és megnyitotta mind az északi, mind a déli „selyemutat” a karaván-kereskedelem számára. A nyelvi kommunikáció szükségessége a távolsági kereskedelemben kedvezett bizonyos nyelvek használatának és elterjedésének mind a szárazföldi, mind a tengeri „selyemút” útvonalán. Így váltak először a szogd és a gāndhārī prákrit, később a xvārizmi, a perzsa és a szír, majd a mongol hódítás után a kún, az ujgúr, az örmény és az orosz a „selyemút” nyelveivé.
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Dragoni, Federico, Niels Schoubben, and Michaël Peyrot. "The Formal Kharoṣṭhī script from the Northern Tarim Basin in Northwest China may write an Iranian language." Acta Orientalia Academiae Scientiarum Hungaricae 73, no. 3 (October 31, 2020): 335–73. http://dx.doi.org/10.1556/062.2020.00015.

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ABSTRACTBuilding on collaborative work with Stefan Baums, Ching Chao-jung, Hannes Fellner and Georges-Jean Pinault during a workshop at Leiden University in September 2019, tentative readings are presented from a manuscript folio (T II T 48) from the Northern Tarim Basin in Northwest China written in the thus far undeciphered Formal Kharoṣṭhī script. Unlike earlier scholarly proposals, the language of this folio cannot be Tocharian, nor can it be Sanskrit or Middle Indic (Gāndhārī). Instead, it is proposed that the folio is written in an Iranian language of the Khotanese-Tumšuqese type. Several readings are proposed, but a full transcription, let alone a full translation, is not possible at this point, and the results must consequently remain provisional.
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Boucher, Daniel. "Gāndhārī and the Early Chinese Buddhist Translations Reconsidered: The Case of the Saddharmapuṇḍarīkasūtra." Journal of the American Oriental Society 118, no. 4 (October 1998): 471. http://dx.doi.org/10.2307/604783.

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Dissertations / Theses on the topic "Gāndhārī"

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McCrabb, Ian David. "Buddha Bodies and the Benefits of Relic Establishment: Insights from a Digital Framework for the Analysis of Formulaic Sequences in Gāndhārī Relic Inscriptions." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25771.

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The practice of relic establishment was the most significant element of Buddhist religious culture in Gandhāra from the second century BCE to the second century CE. The ritual architecture encapsulated in relic inscriptions pivots around ontological identifications which instantiate the relics as a body of the Buddha which has beneficial efficacy. The research proposition—that new insights might be accessible through pattern analysis of formulaic sequences—indicated an ambitious infrastructure proposition. The dissertation is a cascading program of projects to develop the foundational models, supporting platforms and enabling methodologies required to implement formulae structures and formula analysis across the corpus. The dissertation arc returns, equipped with that infrastructure, to the characterisation of the ritual architecture of relic inscriptions. The design and development of a platform of the scale of READ—the philological platform developed in consortium—required the deployment of a research consulting framework. The methodologies, toolkits, and defining role of a research consultant, were exercised in a suite of consulting solutions and corpus projects. The inherent constraints of a conventional centralised architecture necessitated the design of a corpus development framework. The encapsulation of the TextBase methodology in READ Workbench—an Open SaaS portal—crystalizes a sustainable solution architecture for collaborative corpus development in the philological domain. The infrastructure suite was deployed in the development of a reconstituted relic inscriptions corpus, and the implementation of a synthesized syntactic and semantic formula ontology. The detailed analysis of formulae type, alignment and inflection produced new translations of critical passages, a ritual architecture hypothesis and a novel view of the ontological status of relics and bodies of the Buddha grounded in Gandhāran Buddhism.
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Vanleene, Alexandra. "Etude archéologique et iconograpique de la représentation des scènes de la vie du Buddha et de l'imagerie bouddhique dans l'art de Haḍḍa (Afghanistan)." Strasbourg, 2011. http://www.theses.fr/2011STRA1055.

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Hadda est le nom d’un village moderne de l’Afghanistan, situé à douze kilomètres au sud de Jellalabad, construit sur les ruines d’une petite ville préislamique dont dépendait un grand ensemble monastique bouddhique. Les vestiges les plus anciens sont datés du IIe siècle de notre ère et l’incendie généralisé qui ruine les sites est à placer au moment de la montée musulmane, vers le IXe siècle de notre ère. Plusieurs dizaines de monastères ont été retrouvés, comptant des centaines de stupa, des dizaines de niches, caitya (chapelles) et banquettes ornés d’œuvres de facture hellénistico-bouddhique : des modelages en stuc et en argile surtout, mais aussi des sculptures en pierre, notamment en schiste et en calcaire, ainsi que des peintures. La motivation scientifique de cette étude est multiple, car tout en replaçant l’art monastique de Hadda au sein de l’art du Gandhara, elle permet de mettre en lumière plusieurs originalités de cette école : l’usage massif du modelage donne naissance à un mode nouveau de composition tridimensionnel, ainsi qu’à l’apparition de scènes ne représentant pas un épisode particulier de la légende canonique du Buddha mais complétant la décoration du monastère en créant une ambiance particulière ou en évoquant symboliquement un épisode. La réunion du talent et de la créativité de l’école de modelage de Hadda, alliant un art à la fois traditionnel et canonique mais aussi audacieux et original, explique son influence que l’on suit à travers le Kapiça et la Bactriane, passant par Bamiyan et aboutissant à l’Asie Centrale chinoise
Hadda is the name of a modern village of Afghanistan, located twelve miles south of Jellalabad and built on the ruins of a pre-Islamic city, on which depended a great Buddhist monastery. The earliest remains are dated from the second century AD and a generalized fire destroyed the site around the ninth century AD, during the Muslim rise. Dozens of monasteries were found, with hundreds of stupa and a huge amount of niches and caitya (chapels) carved in Greco-Buddhist style : mostly clay and stucco modelings, as well as limestone and schist sculptures, and a few paintings. The scientific purpose of this study is multiple, for while setting Hadda monastic art within Gandhara art, it helps to highlighting several features of this school: the massive use of modeling generates a new method of three-dimensional composition, and the appearance of scenes not representing specific episode of Buddha’s canonical legend, thus completing the decoration of the monastery by creating a particular atmosphere or evoking an episode in a symbolic way. The combination of the talent and creativity of the modeling school of Hadda resulting in an art both traditional and canonical, but also daring and original, explains an influence that can be followed across Kapisa and Bactria, through Bamiyan and to Chinese Central Asia
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Juhel, Katia. "Histoire écrite, Histoire sculptée : essai d'analyse «philologique» de trois épisodes de la vie du Buddha dans les reliefs gandhariens au regard des sources narratives." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE5010.

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Entre le milieu du Ier siècle de notre ère et le Ve siècle de n. è. , la région du Gāndhāra (vallée de l'actuelle Peshāwar) a été l'un des principaux centres d'une production artistique tout à fait particulière, qui est l'un des témoins majeurs de la diffusion locale du bouddhisme. La caractéristique de cet art est la représentation de différents événements de la vie du Buddha, d'importance variable, et leur agencement en séquences chronologiques diverses. Or, pendant la période considérée, deux textes à caractère biographique circulaient vraisemblablement dans la même aire géographique : le Buddhacarita et le Mahāvastu. L'un et l'autre ont été employés pour identifier les personnages ou les circonstances d'une scène, mais de façon très ponctuelle, ce qui n'est pas sans poser des problèmes sur le plan méthodologique : l'élément étudié intervient en effet dans un contexte très différent selon qu'il apparaît sur un bas-relief ou dans un récit narratif. L'objet du présent travail est justement de montrer l'importance d'une analyse d'ensemble qui prenne en compte la spécificité des sources avant de les confronter les unes aux autres. Nous avons pour ce faire mis en regard 364 scènes, réparties en dix-sept épisodes, avec les passages correspondants des textes, tout en cherchant à dégager les principes qui présidaient à leur ordonnancement dans l'un ou l'autre support. L'ensemble s'avère bien sûr disparate au premier abord, mais ne tarde pas à laisser apparaître une logique sous-jacente commune, qui atteste de la vivacité et de la cohérence des productions bouddhiques de l'époque
Between the middle of the Ist century A. D. And the Vth century A. D. , the region of Gāndhāra (nowadays the Peshāwar valley) has been one of the main centers of a very peculiar artistic production, that strongly testify to the local diffusion of Buddhism. The specificity of this artistic school is to represent events, sometimes secondary, of the life of the Buddha, and to set them in varyious chronological sequences. During the same period, two texts narrating the Buddha's life were possibly known, if not circulating in this very area : the Buddhacarita and the Mahāvastu. Both texts have been used in order to identify a given personage or a particular aspect of a figurative scene, proceeding thus by some sort of admitted correspondence or analogy whereas this approach reveals to be problematic. As a matter of fact indeed, the element under investigation, and even if apparently it denotes a similar meaning, intervenes differently and plays a different role in both media. The present essay aims at demonstrating the importance of an in-depth analysis and identification of the elements and variants specific to each source, as a propedeutic to their confrontation. Having this hypothesis in mind, we have compared 364 scenes, distributed among seventeen episodes, with the relevant textual passages, while searching the principles governing the organisation of the singular episodes. The interesting result of our analysis is that though at first glance the two types of sources seem to be heterogeneous, actually and rather quickly they appear to display a common underlying logic that testify to the vivacity and inner coherence of the buddhist productions of that time
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Pons, Jessie. "Inventaire et étude systématiques des sites et des sculptures bouddhiques du Gandhāra : ateliers, centres de production." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040086.

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Les statues et les reliefs narratifs bouddhiques du Gandhāra présentent des points communs qui justifient la désignation d’un « art du Gandhāra » : le matériau, le sujet et la nature composite. Malgré cette évidente homogénéité, il existe d’importantes variations iconographiques et stylistiques. Cette thèse de doctorat tend à mettre en évidence ces variations afin de produire la première identification et caractérisation des langages stylistiques de l’art du Gandhāra. Les réflexions liminaires sur les contextes géographique, historique et religieux dans lesquels l’art du Gandhāra s’est développé sont suivies de prolégomènes sur les cadres historiographiques et théoriques de la recherche. Ils soulignent l’utilité d’une méthodologie et d’une terminologie appropriées ainsi que la nécessité d’un corpus des sculptures correctement documentées sur lequel une étude stylistique peut se fonder. L’inventaire des sculptures a permis d’identifier et de rassembler dans une base de données électronique environ 5000 oeuvres dont la provenance est attestée. La dernière partie se concentre sur l’identification des écoles, des foyers artistiques, des centres de production et des ateliers gandhāriens ainsi que sur leur caractérisation iconographique et formelle. La présentation suit une progression géographique qui permet de montrer la corrélation entre les niveaux stylistiques et la géographie gandhārienne et de déceler des réseaux d’interaction. Cette thèse propose en conclusion une reconstruction provisoire des routes anciennes de la région, un réexamen des chronologies fondées sur l’étude des styles et une réflexion sur la normalisation géographique des iconographies bouddhiques
Buddhist statues and narrative relieves from Gandhāra share common characteristics thus justifying the designation of “Gandhāran art”. The homogeneity of Gandhāran art is certainly manifest in its material, its subject and its composite nature, yet it is possible to distinguish important iconographic and stylistic variations. This doctoral thesis aims to highlight these variations in order to provide the first identification and characterisation of the various stylistic languages of Gandhāran Buddhist art. The introductory reflections on the geographical, historical and religious contexts within which Gandhāran Buddhist art developed, are followed by prolegomena of the historiographical and theoretical frameworks of the research. These emphasise the need for an appropriate methodology and terminology and the necessity for a corpus of correctly documented pieces on which a stylistic study can be founded. The preliminary inventory of Gandhāran sculptures has identified approximately 5000 pieces of known provenance gathered in an electronic database. The last part focuses on the identification of Gandhāran schools, artistic zones, production centres and workshops and on their characterisation in terms of iconography and form. The review is geographically organised, thus revealing the existing correlation between the stylistic levels and Gandhāran geography and allowing the recognition of various interaction networks. The thesis concludes with an attempt to identify ancient routes, a reassessment of old stylistically based chronologies and a reflection on the geographical normalisation of Buddhist iconographies
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Books on the topic "Gāndhārī"

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Śukla, Sudhākara. Mī-- Gāndhārī. Puṇe: Kônṭinenṭala Prakāśana, 2009.

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Śukla, Sudhākara. Mī-- Gāndhārī. Puṇe: Kônṭinenṭala Prakāśana, 2009.

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Śukla, Sudhākara. Mī-- Gāndhārī. Puṇe: Kônṭinenṭala Prakāśana, 2009.

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Mark, Allon, ed. Four Gāndhārī Saṃyuktāgama sutras: Senior Kharoṣṭhi fragment 5. Seattle: University of Washington Press, 2007.

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Tamai, Tatsushi. Sanskrit, Gāndhārī and Bactrian manuscripts in the Hirayama Collection. Tokyo: International Research Institute for Advanced Buddhology, Soka University, 2016.

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Ghatak, Ritwikkumar. Komala gāndhāra. Kalakātā: Komala Gāndhāra Prakāśanī, 2011.

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Reḍḍi, I. Es, and Ār Sundara Rāvu. Pinākinī tīraṃlō Mahātmā Gāndhī: Nellūru Jillālō Gāndhījī paryaṭanalu, upanyāsālu, vyāsālu, lēkhalu, jīvana rēkhalu. Kāvali: Vāṇi Pracuraṇalu, 2004.

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Miśra, Rāmaśaṅkara. Gāndhāra-dhaivata: Prabandha kavitā. Jabalapura: Paribhāshā Prakāśana, 1991.

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Kottāpalle, Nāganātha. Gāndhārīce ḍoḷe. Puṇe: Śailendra Prakāśana, 1985.

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Kara, Saurībandhu. Gāndhārīra svapna. Kaṭaka: Kaṭaka Shṭuḍeṇts Shṭora, 2008.

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Book chapters on the topic "Gāndhārī"

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"Gāndhārī Script." In Encyclopedia of Scientific Dating Methods, 502. Dordrecht: Springer Netherlands, 2017. http://dx.doi.org/10.1007/978-94-024-0852-2_100328.

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Salomon, Richard. "Gāndhārī and the other Indo-Aryan languages in the light of newly-discovered Kharoṣṭhī manuscripts." In Indo-Iranian Languages and Peoples. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262856.003.0005.

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This chapter focuses on a language whose very name was first proposed by the great scholar whose career is celebrated in this volume. For it was Harold Bailey's 1946 article whose title ‘Gāndhārī’ introduced that name for the first time. The discussion covers the varieties of literary Gāndhārī, the historical development of Gāndhārī as a literary language, the character of literary Gāndhārī, and Gāndhārī and the modern language of the northwest.
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Baums, Stefan. "A New Gāndhārī Document from Niya." In Reading Slowly, 59–70. Harrassowitz, O, 2018. http://dx.doi.org/10.2307/j.ctvckq4dr.8.

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Allon, Mark. "The Formation of Canons in the Early Indian nikāyas or Schools in the Light of the New Gāndhārī Manuscript Finds." In Buddhist Path, Buddhist Teachings: Studies in Memory of L.S. Cousins, 249–68. Equinox Publishing, 2019. http://dx.doi.org/10.1558/equinox.33395.

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The new Gāndhārī manuscript finds from Afghanistan and Pakistan, which date from approximately the first century BCE to the third or fourth century CE, are the earliest manuscript witnesses to the literature of the Indian Buddhist nikāyas or schools. They preserve texts whose parallels are found in the various Tripiṭakas, or what remains of them, preserved in other languages and belonging to various nikāyas, including sections of āgamas such as the Ekottarikāgama and Vana-saṃyutta of the Saṃyutta-nikāya/Saṃyuktāgama and anthologies of such sūtras, besides many texts that are not generally classed as “canonical”, such as commentaries. These very early collections of texts raise questions concerning canon-formation, such as whether the Gandhāran communities that produced these manuscripts had fixed āgama collections and closed canons or whether this material witnesses a stage in which collections and canons were still relatively fluid and open, and whether these manuscripts, which span several centuries, witness a shift towards fixity. This paper addresses these issues and re-examines our understanding of the formation of the canons of the early Indian nikāyas in light of the new Gāndhārī manuscript finds.
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Hinüber, O. Von. "The vocabulary of Buddhist Sanskrit: Problems and perspectives." In Indo-Iranian Languages and Peoples. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262856.003.0007.

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This chapter analyses the problems associated with Buddhist Sanskrit vocabulary. The obvious reason for these problems is the well-known linguistic diversity that prevailed in the vast area of India in ancient times as it does today. The first to experience them were most likely the early Buddhist monks, when they propagated their faith and tried to make themselves understood beyond Magadha, the original home of Buddhism, and then in the course of time even beyond India. These problems were gradually exported from India, as Buddhists in Central Asia and finally in China started to struggle with strange Sanskrit — or even worse Gāndhārī — words in their attempt to translate new and alien concepts into Chinese and other languages.
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Baums, Stefan. "A survey of place-names in Gāndhārī inscriptions and a new oil lamp from Malakand." In The Geography of Gandhāran Art, 167–74. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/jj.15136005.16.

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