Buddhism in Central Asia II
Buddhism in Central Asia II

Author:

Publisher: BRILL

Published: 2022-07-11

Total Pages: 586

ISBN-13: 9004508449

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The ERC-funded research project BuddhistRoad aims to create a new framework to enable understanding of the complexities in the dynamics of cultural encounter and religious transfer in pre-modern Eastern Central Asia. Buddhism was one major factor in this exchange: for the first time the multi-layered relationships between the trans-regional Buddhist traditions (Chinese, Indian, Tibetan) and those based on local Buddhist cultures (Khotanese, Uyghur, Tangut) will be explored in a systematic way. The second volume Buddhism in Central Asia II—Practice and Rituals, Visual and Materials Transfer based on the mid-project conference held on September 16th–18th, 2019, at CERES, Ruhr-Universität Bochum (Germany) focuses on two of the six thematic topics addressed by the project, namely on "practices and rituals", exploring material culture in religious context such as mandalas and talismans, as well as “visual and material transfer”, including shared iconographies and the spread of ‘Khotanese’ themes.

Look at the Coins! Papers in Honour of Joe Cribb on his 75th Birthday
Look at the Coins! Papers in Honour of Joe Cribb on his 75th Birthday

Author: Helen Wang

Publisher: Archaeopress Publishing Ltd

Published: 2023-12-21

Total Pages: 236

ISBN-13: 1803276118

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24 contributions reflect the vast scope of Joe Cribb’s interests including Asian numismatics, museology, poetry and art. Papers are arranged geographically, then chronologically/thematically including studies on coins, charms and silver currencies in or from China; finds from ancient Central Asia and Afghanistan: coins of South Soghd, and far more.

Exegisti Monumenta
Exegisti Monumenta

Author: Werner Sundermann

Publisher: Otto Harrassowitz Verlag

Published: 2009

Total Pages: 644

ISBN-13: 9783447059374

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This volume is a collection of forty articles dedicated to one of the most distinguished contemporary iranists, Nicholas Sims-Williams, on the occasion of his sixtieth birthday on 11th April 2009. It includes an essay on Sims-Williams' outstanding contributions to Iranian studies, especially Sogdian and Bactrian, a list of his publications, editions of various texts written in Sogdian, Khotanese, Parthian, Middle Persian, and Avestan and articles on Old Persian, Middle Persian, New Persian, Bactrian, Balochi, Tati, Judeo-Persian, Caucasian, Uighur philology, linguistics and iconography. The book is illustrated by numerous plates. From the table of contents (40 contributions) A.D.H. Bivar, The Rukhkh, Giant Eagle of the Southern Seas F. de Blois, A Sasanian Silver Bowl A. Cantera, On the History of the Middle Persian Nominal Inflection C.G. Cereti, The Pahlavi Signatures on the Quilon Copper Plates (Tabula Quilonensis) J. Cheung, Two Notes on Bactrian I. Colditz, The Parthian "Sermon on happiness" J. Elfenbein, Eastern Hill Balochi H. Falk, The Name of Vema Takhtu P. Gignoux, Les relations interlinguistiques de quelques termes de la pharmacopee antique.

The Geography of Gandhāran Art
The Geography of Gandhāran Art

Author: Wannaporn Rienjang

Publisher: Archaeopress

Published: 2019-03-15

Total Pages: 202

ISBN-13: 1789691877

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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.

Kizil on the Silk Road
Kizil on the Silk Road

Author: Rajeshwari Ghose

Publisher:

Published: 2008

Total Pages: 148

ISBN-13:

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Recently, the academic world celebrated 100 years of the opening of Cave 17 or the Library Cave, a veritable treasure house of Silk Road artifacts, in Dunhuang, the eastern terminus of the silk routes. Celebrations recording a hundred years of Tocharian Studies soon followed. The complexity of documenting the cultural artifacts of the so-called Silk Road becomes clear when it is remembered that between 1900 - 1925 just six men made what have been called archaeological raids into this remote corner of Central Asia. Between them until the 1940s they removed wall paintings, manuscripts, sculptures and other treasures literally by tons from the lost cities of the Silk Road. Today this great Central Asian collection, apart from what is in situ, is scattered through museums and institutions of at least 12 different countries. To even see some of this treasure one has to travel to Great Britain, China, Finland, France, Germany, India, Japan, Russia, South Korea, Sweden, Taiwan, and the United States, and have to visit over 30 institutions. The German expedition alone collected manuscripts in more than 20 languages and 25 scripts on silk, leather, birch, bark, wood paper, and more. Little wonder then that the articles on Kizil and generally on the Silk Road lie buried in obscure publications in different languages, Chinese, German and Russian being the most frequently used, apart from English.

Creating the Universe
Creating the Universe

Author: Eric Huntington

Publisher: University of Washington Press

Published: 2019-01-22

Total Pages: 308

ISBN-13: 0295744073

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Winner, 2018 Edward Cameron Dimock, Jr. Prize in the Indian Humanities Buddhist representations of the cosmos across nearly two thousand years of history in Tibet, Nepal, and India show that cosmology is a rich language for the expression of diverse religious ideas, with cosmological thinking at the center of Buddhist thought, art, and practice. In Creating the Universe, Eric Huntington presents examples of visual art and architecture, primary texts, ritual ideologies, and material practices—accompanied by extensive explanatory diagrams—to reveal the immense complexity of cosmological thinking in Himalayan Buddhism. Employing comparisons across function, medium, culture, and history, he exposes cosmology as a fundamental mode of engagement with numerous aspects of religion, from preliminary lessons to the highest rituals for enlightenment. This wide-ranging work will interest scholars and students of many fields, including Buddhist studies, religious studies, art history, and area studies. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/creating-the-universe

The Buddha Image
The Buddha Image

Author: Yuvraj Krishan

Publisher: Bharatiya Vidya Bhavan

Published: 1996

Total Pages: 176

ISBN-13: 9788121505659

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Illustrations: 247 b/w illustrations Description: This book deals with crucial though controversial questions in Buddhist art: the origin of the Buddha image and the iconography of the Buddha images. The earliest Buddhist art of Sanchi and Bharhut is aniconic : The Buddha is represented in symbols only. In the later Buddhist art of Gandhara and Mathura, the Buddha is represented in human form: he is the principal subject of sculptural art. The book seeks to explore the geographical area in which the image of the Buddha first emerged and whether the Buddhist doctrines-Hinayana or Mahayana-had anything to do with this transformation. The Buddha image, as developed eventually at Sarnath, became the model for the Buddha images in whole of Asia, south-east, central and eastern Asia. The iconographic features of the Buddha image are superficially an aberration, being in apparent conflict with the doctrine. The Buddha had cut off his hair at the time of his renunciation; the rules of the order enjoin that a monk must be tonsured and must discard and eschew all riches. However, in his images, the Buddha has hair on his head; later he is also endowed with a crown and jewels. After an exhaustive examination of the views of various scholars, the book answers these questions and resolves the controversies on the basis of literary, numismatic and epigraphic sources. More importantly it makes use of the valuable evidence from the contemporaneous Jaina art : Aniconism of early Jaina art and the iconographic features of Jaina images. The implications of this study are also important : Does India owe idolatry to Buddhism? Was this of foreign inspiration? Was the Buddha image fashioned after the Vedic Brahma and whether the Buddha's usnisa and Buddhist art motifs are rooted in the Vedic tradition? The book is profusely illustrated and provides rich and stimulating fare to students of Indian art in general and of Buddhist art in particular.