Conference Presentations by CARC Classical Art Research Centre
Books by CARC Classical Art Research Centre
公元后的最初几世纪间，犍陀罗以一隅之地(以现代巴基斯坦北部为中心)，孕育出非同凡 响的佛教美术传统，其巨大影响最终遍及整个亚洲。犍陀罗造像主要用于装饰寺院和佛塔， 颂扬佛陀本人、他的生平故事，以... more 公元后的最初几世纪间，犍陀罗以一隅之地(以现代巴基斯坦北部为中心)，孕育出非同凡 响的佛教美术传统，其巨大影响最终遍及整个亚洲。犍陀罗造像主要用于装饰寺院和佛塔， 颂扬佛陀本人、他的生平故事，以及佛教宇宙中的众多神圣角色。自从19世纪这一美术形式 被重新发现以来，其最为引人入胜，又耐人寻味的方面之一，便是在多大程度上借鉴了源自 数千公里以西的希腊与罗马艺术传统。
本书受牛津大学古典艺术研究中心犍陀罗连接项目启发，提供了对犍陀罗美术及其与希 腊—罗马地中海世界神秘关联的导论。书中通俗易懂地阐释了犍陀罗美术的古今语境、该 领域的研究现状，并对进一步深入学习提供了指导。
In the early centuries AD, the small region of Gandhara (centred on what is now northern Pakistan... more In the early centuries AD, the small region of Gandhara (centred on what is now northern Pakistan) produced an extraordinary tradition of Buddhist art which eventually had an immense influence across Asia. Mainly produced to adorn monasteries and shrines, Gandharan sculptures celebrate the Buddha himself, the stories of his life and the many sacred characters of the Buddhist cosmos. Since this imagery was rediscovered in the nineteenth century, one of its most fascinating and puzzling aspects is the extent to which it draws on the conventions of Greek and Roman art, which originated thousands of kilometres to the west.
Inspired by the Gandhara Connections project at Oxford University’s Classical Art Research Centre, this book offers an introduction to Gandharan art and the mystery of its relationship with the Graeco-Roman world of the Mediterranean. It presents an accessible explanation of the ancient and modern contexts of Gandharan art, the state of scholarship on the subject, and guidance for further, in-depth study.
Gandhāran Art in its Buddhist Context is the fifth set of papers from the workshops of the Classi... more Gandhāran Art in its Buddhist Context is the fifth set of papers from the workshops of the Classical Art Research Centre’s Gandhāra Connections project. These selected studies revolve around perhaps the most fundamental topic of all for understanding Gandhāran art: its religious contexts and meanings within ancient Buddhism.
Addressing the responses of patrons and worshippers at the monasteries and shrines of Gandhāra, these papers seek to understand more about why Gandhāran art was made and what its iconographical repertoire meant to ancient viewers. The contributions from an array of international experts consider dedicatory practices in monasteries, the representation of Buddhas, and the lessons to be learned from some of the latest excavations and survey work in the region.
The View from Malakand: Harold Deane’s ‘Note on Udyana and Gandhara’ presents an edition with int... more The View from Malakand: Harold Deane’s ‘Note on Udyana and Gandhara’ presents an edition with introductions and extensive commentary of a manuscript, discovered by Luca M. Olivieri in the fort at Malakand, Swat, Pakistan, of a seminal and pioneering account of the antiquities of Swat and Peshawar by Harold Deane. The article of which this manuscript is an earlier draft, the first significant contribution to the archaeology of Swat, was published in the Journal of the Asiatic Society (1896), and the manuscript contains interesting additional information that did not make the final text. The book presents and transcribes the manuscript, also including introductory material on its discovery and the life and significance of Deane, and (most importantly) extended notes identifying and describing the places that Deane discusses in his article. The book thus doubles as a gazetteer of this immensely rich archaeological space, and a history of its archaeological discovery. The book includes images of the original article, the manuscript, some of the artefacts referred to by Deane in his article, and an appendix publishing a manuscript by J. W. McCrindle, ‘Alexander’s Campaign in Afghanistan’, found among a small number of Deane’s papers in the possession of his great-grandson in England, which is directly relevant to the composition of his article.
The ancient Buddhist art of Gandhāra was rediscovered from the 1830s and 1840s onwards in what w... more The ancient Buddhist art of Gandhāra 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 Gandhāran art has been impeded by gaps in documentation, haphazard excavation, forgery, and smuggling of antiquities. Consequently, the study of Gandhāran archaeology often involves the evaluation and piecing together of fragmentary clues. In more subtle ways, however, the modern view of Gandhāran 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 – Gandhāran 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 Centre’s Gandhāra Connections project presents the most recent research on the factors that mediate our encounter with Gandhāran art.
Gandhāran art is usually regarded as a single phenomenon – a unified regional artistic tradition ... more 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.
Gandhāran art is often regarded as the epitome of cultural exchange in antiquity. The ancient reg... more Gandhāran art is often regarded as the epitome of cultural exchange in antiquity. The ancient region of Gandhāra, centred on what is now the northern tip of Pakistan, has been called the ‘crossroads of Asia’. The Buddhist art produced in and around this area in the first few centuries AD exhibits extraordinary connections with other traditions across Asia and as far as the Mediterranean. Since the nineteenth century, the Graeco-Roman associations of Gandhāran art have attracted particular attention. Classically educated soldiers and administrators of that era were astonished by the uncanny resemblance of many works of Gandhāran sculpture to Greek and Roman art made thousands of miles to the west. More than a century later we can recognize that the Gandhāran artists’ appropriation of classical iconography and styles was diverse and extensive, but the explanation of this ‘influence’ remains puzzling and elusive. The Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre was initiated principally to cast new light on this old problem.
This volume is the third set of proceedings of the project’s annual workshop, and the first to address directly the question of cross-cultural influence on and by Gandhāran art. The contributors wrestle with old controversies, particularly the notion that Gandhāran art is a legacy of Hellenistic Greek rule in Central Asia and the growing consensus around the important role of the Roman Empire in shaping it. But they also seek to present a more complex and expansive view of the networks in which Gandhāra was embedded. Adopting a global perspective on the subject, they examine aspects of Gandhāra’s connections both within and beyond South Asia and Central Asia, including the profound influence which Gandhāran art itself had on the development of Buddhist art in China and India.
Have a look at our most recent brochure, which showcases the work of the Classical Art Research C... more Have a look at our most recent brochure, which showcases the work of the Classical Art Research Centre and our current research projects.
Since the beginning of Gandhāran studies in the nineteenth century, chronology has been one of th... more Since the beginning of Gandhāran studies in the nineteenth century, chronology has been one of the most significant challenges to the understanding of Gandhāran art. Many other ancient societies, including those of Greece and Rome, have left a wealth of textual sources which have put their fundamental chronological frameworks beyond doubt. In the absence of such sources on a similar scale, even the historical eras cited on inscribed Gandhāran works of art have been hard to place. Few sculptures have such inscriptions and the majority lack any record of find-spot or even general provenance. Those known to have been found at particular sites were sometimes moved and reused in antiquity. Consequently, the provisional dates assigned to extant Gandhāran sculptures have sometimes differed by centuries, while the narrative of artistic development remains doubtful and inconsistent.
Building upon the most recent, cross-disciplinary research, debate and excavation, this volume reinforces a new consensus about the chronology of Gandhāra, bringing the history of Gandhāran art into sharper focus than ever. By considering this tradition in its wider context, alongside contemporary Indian art and subsequent developments in Central Asia, the authors also open up fresh questions and problems which a new phase of research will need to address.
Problems of Chronology in Gandhāran Art is the first publication of the Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre, which has been supported by the Bagri Foundation and the Neil Kreitman Foundation. It presents the proceedings of the first of three international workshops on fundamental questions in the study of Gandhāran art, held at Oxford in March 2017.
Papers by CARC Classical Art Research Centre
The work presented here is also the third volume of the Archival Studies series of ACT Field Scho... more The work presented here is also the third volume of the Archival Studies series of ACT Field School Reports and Memoirs, founded by L.M.O., director of the ISMEO/Ca' Foscari University of Venice Italian Archaeological Mission, which since 2011 has divulged the mission's work (for a total of twelve, including the present one, issues). Most of these studies had already been published for ISMEO by Sang-e Meel cultural cooperation project of the same name was active. The Archival Studies also include Sir Aurel Stein and the 'Lords of the Marches'. New Archival Materials by Luca M. Olivieri (2015) and Toponymy of the Swāt Valley: Linguistic Archaeology by Matteo De Chiara (2020). proof of how fruitfully our research activities have always collaborated with Pakistani friends and institutions.
Addressing these and other questions, this second volume of the Gandhara Connections project at O... more 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
Gandhāran art is often regarded as the epitome of cultural exchange in antiquity. The ancient reg... more Gandhāran art is often regarded as the epitome of cultural exchange in antiquity. The ancient region of Gandhāra, centred on what is now the northern tip of Pakistan, has been called the ‘crossroads of Asia’. The Buddhist art produced in and around this area in the first few centuries AD exhibits extraordinary connections with other traditions across Asia and as far as the Mediterranean. Since the nineteenth century, the Graeco-Roman associations of Gandhāran art have attracted particular attention. Classically educated soldiers and administrators of that era were astonished by the uncanny resemblance of many works of Gandhāran sculpture to Greek and Roman art made thousands of miles to the west. More than a century later we can recognize that the Gandhāran artists’ appropriation of classical iconography and styles was diverse and extensive, but the explanation of this ‘influence’ remains puzzling and elusive. The Gandhāra Connections project at the University of Oxford’s Classical ...
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Conference Presentations by CARC Classical Art Research Centre
'The Maker's Share in Ancient Greek Art'
26th & 27th September 2016
For further information and to book a place please visit:
http://www.carc.ox.ac.uk/events/
Books by CARC Classical Art Research Centre
本书受牛津大学古典艺术研究中心犍陀罗连接项目启发，提供了对犍陀罗美术及其与希 腊—罗马地中海世界神秘关联的导论。书中通俗易懂地阐释了犍陀罗美术的古今语境、该 领域的研究现状，并对进一步深入学习提供了指导。
Inspired by the Gandhara Connections project at Oxford University’s Classical Art Research Centre, this book offers an introduction to Gandharan art and the mystery of its relationship with the Graeco-Roman world of the Mediterranean. It presents an accessible explanation of the ancient and modern contexts of Gandharan art, the state of scholarship on the subject, and guidance for further, in-depth study.
Addressing the responses of patrons and worshippers at the monasteries and shrines of Gandhāra, these papers seek to understand more about why Gandhāran art was made and what its iconographical repertoire meant to ancient viewers. The contributions from an array of international experts consider dedicatory practices in monasteries, the representation of Buddhas, and the lessons to be learned from some of the latest excavations and survey work in the region.
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 Centre’s Gandhāra Connections project presents the most recent research on the factors that mediate our encounter with Gandhāran art.
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.
This volume is the third set of proceedings of the project’s annual workshop, and the first to address directly the question of cross-cultural influence on and by Gandhāran art. The contributors wrestle with old controversies, particularly the notion that Gandhāran art is a legacy of Hellenistic Greek rule in Central Asia and the growing consensus around the important role of the Roman Empire in shaping it. But they also seek to present a more complex and expansive view of the networks in which Gandhāra was embedded. Adopting a global perspective on the subject, they examine aspects of Gandhāra’s connections both within and beyond South Asia and Central Asia, including the profound influence which Gandhāran art itself had on the development of Buddhist art in China and India.
Building upon the most recent, cross-disciplinary research, debate and excavation, this volume reinforces a new consensus about the chronology of Gandhāra, bringing the history of Gandhāran art into sharper focus than ever. By considering this tradition in its wider context, alongside contemporary Indian art and subsequent developments in Central Asia, the authors also open up fresh questions and problems which a new phase of research will need to address.
Problems of Chronology in Gandhāran Art is the first publication of the Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre, which has been supported by the Bagri Foundation and the Neil Kreitman Foundation. It presents the proceedings of the first of three international workshops on fundamental questions in the study of Gandhāran art, held at Oxford in March 2017.
Papers by CARC Classical Art Research Centre
'The Maker's Share in Ancient Greek Art'
26th & 27th September 2016
For further information and to book a place please visit:
http://www.carc.ox.ac.uk/events/
本书受牛津大学古典艺术研究中心犍陀罗连接项目启发，提供了对犍陀罗美术及其与希 腊—罗马地中海世界神秘关联的导论。书中通俗易懂地阐释了犍陀罗美术的古今语境、该 领域的研究现状，并对进一步深入学习提供了指导。
Inspired by the Gandhara Connections project at Oxford University’s Classical Art Research Centre, this book offers an introduction to Gandharan art and the mystery of its relationship with the Graeco-Roman world of the Mediterranean. It presents an accessible explanation of the ancient and modern contexts of Gandharan art, the state of scholarship on the subject, and guidance for further, in-depth study.
Addressing the responses of patrons and worshippers at the monasteries and shrines of Gandhāra, these papers seek to understand more about why Gandhāran art was made and what its iconographical repertoire meant to ancient viewers. The contributions from an array of international experts consider dedicatory practices in monasteries, the representation of Buddhas, and the lessons to be learned from some of the latest excavations and survey work in the region.
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 Centre’s Gandhāra Connections project presents the most recent research on the factors that mediate our encounter with Gandhāran art.
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.
This volume is the third set of proceedings of the project’s annual workshop, and the first to address directly the question of cross-cultural influence on and by Gandhāran art. The contributors wrestle with old controversies, particularly the notion that Gandhāran art is a legacy of Hellenistic Greek rule in Central Asia and the growing consensus around the important role of the Roman Empire in shaping it. But they also seek to present a more complex and expansive view of the networks in which Gandhāra was embedded. Adopting a global perspective on the subject, they examine aspects of Gandhāra’s connections both within and beyond South Asia and Central Asia, including the profound influence which Gandhāran art itself had on the development of Buddhist art in China and India.
Building upon the most recent, cross-disciplinary research, debate and excavation, this volume reinforces a new consensus about the chronology of Gandhāra, bringing the history of Gandhāran art into sharper focus than ever. By considering this tradition in its wider context, alongside contemporary Indian art and subsequent developments in Central Asia, the authors also open up fresh questions and problems which a new phase of research will need to address.
Problems of Chronology in Gandhāran Art is the first publication of the Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre, which has been supported by the Bagri Foundation and the Neil Kreitman Foundation. It presents the proceedings of the first of three international workshops on fundamental questions in the study of Gandhāran art, held at Oxford in March 2017.