The ancient Buddhist art of Gandhra was rediscovered from the 1830s and 1840s onwards in what would become the North-West Frontier of British India. By the end of the century an abundance of sculptures had been accumulated by European soldiers and officials, which constituted the foundations for a new field of scholarship and internationally celebrated museum collections. Both then and since, the understanding of Gandhran art has been impeded by gaps in documentation, haphazard excavation, forgery, and smuggling of antiquities. Consequently, the study of Gandhran archaeology often involves the evaluation and piecing together of fragmentary clues. In more subtle ways, however, the modern view of Gandhran art has been shaped by the significance accorded to it by different observers over the past century and a half. Conceived in the imperial context of the late nineteenth century as Graeco-Buddhist art a hybrid of Asian religion and Mediterranean artistic form Gandhran art has been invested with various meanings since then, both in and beyond the academic sphere. Its puzzling links to the classical world of Greece and Rome have been explained from different perspectives, informed both by evolving perceptions of the evidence and by modern circumstances.
From the archaeologists and smugglers of the Raj to the museums of post-partition Pakistan and India, from coin-forgers and contraband to modern Buddhism and contemporary art, this fourth volume of the Classical Art Research Centres Gandhra Connections project presents the most recent research on the factors that mediate our encounter with Gandhran art.
Recenzijas
The Gandhra Connections project has succeeded in setting a high standard for how collaborative academic workshops should operate in benefitting a number of constituencies. This volume is no exception. It contains wide-ranging research implications by addressing the big issues surrounding the relationship between art and life, and the interaction of human beings and material culture. As with other works in this series, this volume should form part of any library (personal or public) which aspires to complete holdings on Ghandhran art. Jeffrey D. Lerner (2024): Ancient West and East Volume 23
Preface Wannaporn Rienjang and Peter Stewart [ DOI:
10.32028/9781803272337-1] ;
Part 1 Archaeology and Collecting History ;
Reconstructing Jamlgarh and Appendix B: the archaeological record 1848-1923
Elizabeth Errington [ DOI: 10.32028/9781803272337-2] ;
Gandhran stucco sculptures from Sultan Khel (former Khyber Agency) in the
collection of Peshawar Museum: a study in three parts Zarawar Khan, Fawad
Khan, and Ghayyur Shahab [ DOI: 10.32028/9781803272337-3] ;
A unique collection of confiscated material of Gandhra (Pakistan) Muhammad
Ashraf Khan and Tahir Saeed [ DOI: 10.32028/9781803272337-4] ;
Part 2 Receptions ;
Gandhran imagery as remembered by Buddhist communities across Asia Kurt A.
Behrendt [ DOI: 10.32028/9781803272337-5] ;
Archaeology of Buddhism in post-partition Punjab: the disputed legacy of
Gandhra Himanshu Prabha Ray [ DOI: 10.32028/9781803272337-6] ;
From colonial Greece to postcolonial Rome? Re-orienting ancient Pakistan in
museum guides in the 1950s and 1960s Andrew Amstutz [ DOI:
10.32028/9781803272337-7] ;
Stories of Gandhra: antiquity, art and idol Shaila Bhatti [ DOI:
10.32028/9781803272337-8] ;
The art of deception: perspectives on the problem of fakery in Gandhran
numismatics Shailendra Bhandare [ DOI: 10.32028/9781803272337-9] ;
Gandhra in the news: rediscovering Gandhra in The Times and other media
Helen Wang [ DOI: 10.32028/9781803272337-10]
Wannaporn Rienjang is Lecturer in Archaeology, Museum and Heritage Studies at the Faculty of Sociology and Anthropology, Thammasat University and a project consultant for the Gandhra Connections project at the Classical Art Research Centre, Oxford. She completed her doctoral degree in Archaeology at the University of Cambridge in 2017, and has been involved in research projects focusing on the art and archaeology of Greater Gandhra, Indian Ocean Trade and ancient working technologies of stone beads and vessels. ;
Peter Stewart is Director of the Classical Art Research Centre and Professor of Ancient Art at the University of Oxford. He has worked widely in the fields of Graeco-Roman sculpture and ancient world art. His publications include Statues in Roman Society: Representation and Response (2003), The Social History of Roman Art (2008), and A Catalogue of the Sculpture Collection at Wilton House (2020).
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