This superb Buddha head dates to the most prolific and vibrant era of Gandharan Buddhist art. Stucco and terracotta were favoured materials as they were easy to manipulate  More »

This superb Buddha head dates to the most prolific and vibrant era of Gandharan Buddhist art. Stucco and terracotta were favoured materials as they were easy to manipulate and suited to the application of polychromy. The hair is formed from regular semi-circles of rippling curls which also cover the topknot, symbolic of the Buddha’s spiritual wisdom. The texture of the hair contrasts with the smooth surface of the face. The arched eyebrows and deep-set downcast eyes are expertly moulded. The nose is long and straight, set above pursed lips which bear the faintest trace of a smile. The features are idealised as befits the representation of the Buddha, set apart from ordinary mortals by his enlightenment and spiritual wisdom. - (AM.0395 )   « Less

This delicate stucco fragment depicts the head of a Buddha. The topknot or ushnisha, symbolic of the Buddha's spiritual wisdom, is positioned just above the forehead in an  More »

This delicate stucco fragment depicts the head of a Buddha. The topknot or ushnisha, symbolic of the Buddha's spiritual wisdom, is positioned just above the forehead in an unusually forward position. The hair is indicated by semi-circular bands of wavy curls etched into the wet stucco with a sharp point. Traces of the original polychromy survive; red pigment is visible along the hairline and on the lips, nose, neck and ears. The pupils of the eyes are outlined in black. A prominent raised urna, one of the lakshana, or magical marks of the Buddha, is visible on the forehead. The elongated ears refer to the historical Buddha's former life of luxury, before he renounced his princely status and set out on the path to enlightenment. The charm of this piece lies in its youthful features, particularly the small chin, and the slight tilt of the head. - (AM.0432)   « Less

Situated on the border between what is now Pakistan and Afghanistan, the kingdom of Gandhara contained several notable cities that flourished between the 6th century B.C. and  More »

Situated on the border between what is now Pakistan and Afghanistan, the kingdom of Gandhara contained several notable cities that flourished between the 6th century B.C. and the 11th century A.D. It saw enormous changes with the ebb and flow of contemporary superpowers. It also became a center of learning (notably with the invention of the Kharosti alphabet) and of religious pilgrimage, as this is where the holy scriptures of Buddha were kept. Prior to this in the 6th century B.C. Gandhara was absorbed into the Achaemenid (Persian) Empire. The collapse of this dynasty led to a series of power struggles that ended with the crushing of native armies by Alexander the Great in 327 B.C. This was followed by the attack by Demetrius of Bactria, and while the area was Graeco-Bactrian for some time, it eventually gained independence under King Menander in the mid 2nd century B.C. The final effects of Greek colonialism were eroded by about 50 B.C. under a fierce campaign headed by the Parthians. While catastrophic to social order at the time, the cultural diversity of the region was greatly enhanced by the appearance of the Greeks, especially in terms of artistic production. Even after the Greeks had gone, their legacy endured in the aesthetics that makes Gandhara art unique.The golden period of Gandharan art dates to c. 100-200 A.D. with the arrival of the Kushans, a Central Asian group under whose governorship the arts and sciences flourished as never before. The mixture of different cultures produced a completely unique set of architectural and artistic traditions. Their greatest monarch, Kanishka, encouraged the arts, and under his reign totally new conventions were to develop including the earliest depictions of the Buddha in human form. The cultural syncretism between eastern themes and western styles has become known as Greco-Buddhism, and is one of the most remarkable – and successful – examples of cultural fusion in history. Everything from architecture to sculpture, coinage and even jewelry developed in new and extraordinary ways. Myths and figures from Greek mythology – such as Atlas, or Dionysus – are also found in some friezes and paintings. The Buddhas resemble Greek kings in ersatz togas, sitting in houses influenced by the Corinthian model, while Bodhisattvas and other religious figures are often depicted with startling realism as bare-chested Indian princes. - (PF.0025)   « Less

Origin: Central Asia Circa: 100 AD to 400 AD Dimensions: 14.6" (37.1cm) high x 3.5" (8.9cm) wide Collection: Asian Art Style: Gandharan Medium: Schist

Origin: Central Asia Circa: 100 AD to 400 AD Dimensions: 14.6" (37.1cm) high x 3.5" (8.9cm) wide Collection: Asian Art Style: Gandharan Medium: Schist   « Less

Origin: Afghanistan/Pakistan Circa: 100 AD to 300 AD Dimensions: 8.4" (21.3cm) high x 6" (15.2cm) wide Collection: Asian Art Style: Gandharan Medium: Schist

Origin: Afghanistan/Pakistan Circa: 100 AD to 300 AD Dimensions: 8.4" (21.3cm) high x 6" (15.2cm) wide Collection: Asian Art Style: Gandharan Medium: Schist   « Less

The ancient civilization of Gandhara was located in the region between modern northeastern Afghanistan and northwestern Pakistan and was situated at a confluence of trading  More »

The ancient civilization of Gandhara was located in the region between modern northeastern Afghanistan and northwestern Pakistan and was situated at a confluence of trading paths along the Silk Road, an area which was abundant in cultural influences ranging from Greece to China. Gandara flourished under the Kushan Dynasty and their great King, Kanishka, who is traditionally given credit for spreading the philosophies of Buddhism through central Asia and into China. This period is hence viewed as the most important era in the history of Buddhism. After the conquests of Alexander the Great, the creation of the Greco-Bactrian Kingdoms and the general Hellenization of subcontinent, Western aesthetics became prominent. Consequently, Greek influence began permeating into Gandhara. Sculptors soon based the images of the Buddha on Greco-Roman models, depicting him as a stocky and youthful Apollo complete with stretched earlobes and loose monastic robes similar to those found on the Roman toga. The extraordinary artistic creations of Gandhara reveal links between the different worlds of the East and the West.According to tradition, Buddhism first spread into the Gandharan region under the patronage of Asoka, Emporer of the Mauryan dynasty, in the third century B.C. The earliest extant significant physical remains, including stupas and figurative sculpture, date from the first century BC between c.100 B.C.-400 A.D. Sculptors working in schist, terracotta, and stucco produced an astonishing number and variety of Buddhist images that reveal a wide variety of artistic influences including those of Persia, Greek, and India. Gandhara also became an important pilgrimage site for Buddhists from across Asia, as it was claimed that events from the Buddha�s former lives had taken place in the area.The artists of Gandhara were the first to represent the Buddha in his human form, as opposed to a symbol such as his footprint. This beautifully formed stucco sculpture of a Buddha shows how he was celebrated even as early as this period. This was most likely once attached to a body that would have been placed inside a niche on the exterior of a stupa or shrine. The modeling of this Buddha�s head is very fine. He wears a topknot in the center of his head, which is the Gandharan version of the ushnisha, which symbolizes the Buddha�s spiritual wisdom and Enlightenment. Strands of hair are signaled through wave-like indentations in the stucco. The elongated earlobes stand for a reference to the historical Buddha�s former wealth. They are beautifully and proportionately intact. The head would have most likely been painted in color as was customary for religious sculpture. The gorgeous head of a Buddha pays tribute to the extraordinary ability of the Gandharan artists. It would be a splendid addition to any collection of Asian art.- (RP.169)   « Less

Origin: Afghanistan/Pakistan Circa: 100 AD to 300 AD Dimensions: 7" (17.8cm) high x 5" (12.7cm) wide Collection: Asian Art Style: Gandharan Medium: Schist

Origin: Afghanistan/Pakistan Circa: 100 AD to 300 AD Dimensions: 7" (17.8cm) high x 5" (12.7cm) wide Collection: Asian Art Style: Gandharan Medium: Schist   « Less

The ancient region of northeastern Afghanistan and northwestern Pakistan was situated at a confluence of trading paths along the Silk Route, an area was flooded in cultural  More »

The ancient region of northeastern Afghanistan and northwestern Pakistan was situated at a confluence of trading paths along the Silk Route, an area was flooded in cultural influences ranging from Greece to China. After the conquests of Alexander the Great, the creation of Greco-Bactrian kingdoms, and the general Hellenization of the subcontinent, Western aesthetical tastes became prominent. Greek influence began to permeate into the arts and culture. Eventually, the Bactrian Kingdom was absorbed by the nomadic Kushan tribes, who settled in the region and went on to establish their own dynasty. The area flourished under the Kushan and their greatest king, Kanishka, who traditionally given credit for further spreading the philosophies of Buddhism throughout central Asia and into China. This period is viewed as one of the most important era in the history of Buddhism.The main painted frieze decorating the body and shoulders of this vessel depicts a wildlife scene. Two large gazelles with curved horns crowning their heads flee from what appears to be a voracious lion. While the emphasis of the gazelles has been places on their large, rotund bodies, the head of the lion has been greatly exaggerated. Perhaps these compositional differences can be explained by the nature of the animals as prey and predator. The neck of the vessel has been adorned with a series of abstract, floral patterns framed by a red border highlighted with three alternating groups of concentric circles or swastikas. The swastika is an ancient Buddist symbol that may reflect the interaction between Greco-Bactrian artists and their neighbors. Furthermore, the gazelle is a traditional Central Asian motif utilized in the art of many Mesopotamian kingdoms as well as nomadic tribes such as the Scythians. - (X.0205)   « Less

The ancient region of northeastern Afghanistan and northwestern Pakistan was situated at a confluence of trading paths along the Silk Route, an area was flooded in cultural  More »

The ancient region of northeastern Afghanistan and northwestern Pakistan was situated at a confluence of trading paths along the Silk Route, an area was flooded in cultural influences ranging from Greece to China. After the conquests of Alexander the Great, the creation of Greco-Bactrian kingdoms, and the general Hellenization of the subcontinent, Western aesthetical tastes became prominent. Greek influence began to permeate into the arts and culture. Eventually, the Bactrian Kingdom was absorbed by the nomadic Kushan tribes, who settled in the region and went on to establish their own dynasty. The area flourished under the Kushan and their greatest king, Kanishka, who traditionally given credit for further spreading the philosophies of Buddhism throughout central Asia and into China. This period is viewed as one of the most important era in the history of Buddhism.Small globular jar painted with rows of small medallions and zoomorphic figures. One small loop handle attached at one side of the body. - (LO.757)   « Less

The ancient region of northeastern Afghanistan and northwestern Pakistan was situated at a confluence of trading paths along the Silk Route, an area was flooded in cultural  More »

The ancient region of northeastern Afghanistan and northwestern Pakistan was situated at a confluence of trading paths along the Silk Route, an area was flooded in cultural influences ranging from Greece to China. After the conquests of Alexander the Great, the creation of Greco-Bactrian kingdoms, and the general Hellenization of the subcontinent, Western aesthetical tastes became prominent. Greek influence began to permeate into the arts and culture. Eventually, the Bactrian Kingdom was absorbed by the nomadic Kushan tribes, who settled in the region and went on to establish their own dynasty. The area flourished under the Kushan and their greatest king, Kanishka, who traditionally given credit for further spreading the philosophies of Buddhism throughout central Asia and into China. This period is viewed as one of the most important era in the history of Buddhism. - (LO.839)   « Less