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RM2A52XTF–Winged Atlas Figure, 200s. The Greco-Roman figure of Atlas fought on the side of the Titans against the Olympian gods, lost, and was condemned to support the spherical vault of the heavens on his shoulders for eternity. In Buddhist art of the Gandharan region during the time of heightened contact with the Mediterranean world, the figure of Atlas was adopted, but given wings so as to appear super-human. This figure has been conflated with the image of Hercules, who wears the skin of the Nemean lion, and relieved Atlas of his duties for a short time. Repeated images of composite Atlas-like figur
RM2B00NBN–India: Gandharan script. Buddhist text, 1st-2nd century CE. The Gandharan Buddhist texts are both the earliest Buddhist and South Asian manuscripts discovered so far. Most are written on birch bark and were found in labeled clay pots. Panini has mentioned both the Vedic form of Sanskrit as well as what seems to be Gandhari, a later form of Sanskrit, in his Ashtadhyayi. Gandhara's language was a Prakrit or 'Middle Indo-Aryan' dialect, usually called Gāndhārī. Texts are written right-to-left in the Kharoṣṭhī script, which had been adapted for Indo-Aryan languages from the Aramaic Alphabet.
RM2B01D3N–Afghanistan: A Greco-Gandharan 'Corinthian' column capital from the citadel at Ai-Khanoum, 3rd-2nd century BCE. Ai-Khanoum or Ay Khanum ( 'Lady of the Moon' in Uzbek, probably the historical Alexandria on the Oxus, also possibly named Eucratidia), was founded in the 4th century BCE, following the conquests of Alexander the Great and was one of the primary cities of the Greco-Bactrian kingdom. The city is located in Kunduz Province northern Afghanistan, at the confluence of the Oxus river (today's Amu Darya) and the Kokcha river. Ai-Khanoum was one of the focal points of Hellenism in the East.
RM2A2PAKE–Unknown (Gandharan), Buddha's Descent from the Trayastrimsas Heaven, c. 200, Schist, height: 46 in
RF2HK5WM3–Inspired by Standing Bodhisattva, Gandhāran, Kushan dynasty, 1st–3rd century, 2nd–3rd century, Phyllite (micaceous schist), Khyber-Pakhtunkhwa province, Pakistan, Asia, Sculpture, stone & mineral, 18 1/2 x 8 x 5 in. (47 x 20.3 x 12.7 cm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
RMAX5EP2–Bronze relief of Buddha, hand raised in the abhaya mudra, Gandharan civilisation, circa 3rd century BC
RM2PN2RRJ–Toronto, Canada - April 7, 2023: Head of Buddha sculpture. Gandharan art. The object is part of an exhibit in the Royal Ontario Museum.
RM2DENY2X–Bust of a bodhisattva. 2nd-4th century. Gray schist. Kushan Empire. Gandhara Region (Pakistan). Dallas Museum of Art. State of Texas. United States.
RM2B0179B–China: Sealed document from Khotan, c. 3rd-4th century CE. This manuscript, discovered by Sir Aurel Stein at Khotan, exemplifies the cultural crossroads that was the Silk Road. Written in an Indian Gandharan language using Central Asian Kharoshi script, it bears two seals. The first is in classical Chinese script, while the second bears a likeness of a traditional Greek head.
RM2CFE009–Gallery of Gandhara, ancient Buddhism collections, National Museum of Pakistan, Karachi, Sindh, Pakistan, South Asia, Asia
RM2B01D24–Pakistan/Afghanistan: Standing image of the Buddha, Gandhara Kingdom, 1st-2nd century CE. Gandhāra is noted for the distinctive Gandhāra style of Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. This development began during the Parthian Period (50 BCE - 75 CE). Gandhāran style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. It declined and suffered destruction after invasion of the White Huns in the 5th century.
RMD9B12M–Part of a Relief of the Buddha's Death (Parinirvana) 100-300 - Kushan period. The four disciples by the Buddha's bedside are grieving. A water bottle hangs on a tripod next to the bed. Such overt expressions of demotion derive from the late Hellenistic tradition, which strongly influenced Gandharan art.
RM2B02XA6–Gandhāra is noted for the distinctive Gandhāra style of Buddhist art, which developed out of a merger of Greek, Syrian, Persian, and Indian artistic influence. This development began during the Parthian Period (50 BCE – 75 CE). Gandhāran style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. It declined and suffered destruction after invasion of the White Huns in the 5th century. Stucco as well as stone was widely used by sculptors in Gandhara for the decoration of monastic and cult buildings. Stucco provided the artist with a medium of great plastic
RMPB6PMG–Seated Bodhisattva Maitreya (Buddha of the Future). Culture: Afghanistan (found near Kabul). Dimensions: H. 30 5/8 in. (77.8 cm). Date: 7th-8th century. This sculpture is a product of the latest period of greater Gandharan production. It is stylistically related to Shahi sculpture of northern Pakistan and Afghanistan as well as to the latest Gandharan workshops such as those at Sahri-Bahlol. Museum: Metropolitan Museum of Art, New York, USA.
RM2B02ABB–Gandhāra is noted for the distinctive Gandhāra style of Buddhist art, which developed out of a merger of Greek, Syrian, Persian, and Indian artistic influence. This development began during the Parthian Period (50 BCE – 75 CE). Gandhāran style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. It declined and suffered destruction after invasion of the White Huns in the 5th century. Stucco as well as stone was widely used by sculptors in Gandhara for the decoration of monastic and cult buildings. Stucco provided the artist with a medium of great plastic
RM2B01D8D–Pakistan/Afghanistan: Shiva with trident, Gandhara, 2nd century CE. Photo by PHGCOM (CC BY-SA 3.0 License). Gandhāra is noted for the distinctive Gandhāra style of Buddhist art, which developed out of a merger of Greek, Syrian, Persian, and Indian artistic influence. This development began during the Parthian Period (50 BCE - 75 CE). Gandhāran style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. It declined and suffered destruction after invasion of the White Huns in the 5th century. Stucco as well as stone was widely used by sculptors in Gandhara
RM2B01202–China: A 5th century Serindian Buddha image from Tumshuq (also Tumxuk, Tumushuke) in Western Xinjiang. Serindian art developed from the 2nd through the 11th century C.E. in Serindia or Xinjiang, the western region of China that forms part of Central Asia. It derives from the art of the Gandhara district of what is now Afghanistan and Pakistan. Gandharan sculpture combined Indian traditions with Greek influences. Greek-influenced culture may have existed in the region before Alexander the Great's invasions, but the empires founded by him and his successors were a major syncretic cultural force
RM2B01D2A–Pakistan/Afghanistan: An early Buddhist triad. From left to right, a Kushan devotee, the Bodhisattva Maitreya, the Buddha, the Bodhisattva Avalokitesvara, and a Buddhist monk. Gandhara, 2nd-3rd century CE. Photo by World Imaging (CC BY-SA 3.0 License). Gandhāra is noted for the distinctive Gandhāra style of Buddhist art, which developed out of a merger of Greek, Syrian, Persian, and Indian artistic influence. This development began during the Parthian Period (50 BCE - 75 CE). Gandhāran style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century.
RMP5GWKA–N/A. English: Exhibit in the Dallas Museum of Art, Dallas, Texas, USA. 7 May 2017, 17:00:05. Daderot 215 Bodhisattva Padmapani, India, Gandharan period, 200s AD, schist - Dallas Museum of Art - DSC05034
RM2A2P8KC–Unknown (Gandharan), Bodhisattva, between 200 and 400, Gray schist, Overall: 20 1/2 × 16 1/2 × 7 3/4 inches (52.1 × 41.9 × 19.7 cm
RF2HK60KJ–Inspired by Head of a Figure, Gandhāran, Kidarite dynasty, 3rd–5th century, 4th century, Stucco with traces of pigment, Hadda, Punjab province, Pakistan, Asia, Sculpture, stone & mineral, 9 1/2 x 7 1/2 x 7 in. (24.1 x 19.1 x 17.8 cm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
RM2DT6PAF–Standing Bodhisattva, 2nd–3rd century CE, Gray schist, 14 3/4 × 6 × 3 1/2 in. (37.5 × 15.2 × 8.9 cm), Pakistan, Pakistani, Gandharan, Kushan period (ca. late 1st–early 4th century), Sculpture
RF2M4KFDH–The inside view of the corridor of the Balo Kaley double dome stupa built in the 2nd century
RM2CFE00C–Gallery of Gandhara, ancient Buddhism collections, National Museum of Pakistan, Karachi, Sindh, Pakistan, South Asia, Asia
RMA1F1BA–Sculpture of the fasting Buddha Gandharan civilisation Gandhara art, style of Buddhist visual art that developed between 1-7th century CE.
RM2HGP5A6–Pair of Lions with Attendant 3rd–5th century Pakistan (ancient region of Gandhara) Such lions are often seen as components of the bases of late Gandharan images.. Pair of Lions with Attendant. Pakistan (ancient region of Gandhara). 3rd–5th century. Schist. Sculpture
RMR5E4BX–Buddhist text. Kharosthi Buddhist text. The manuscript is written on birchbark and is part of a group of early manuscripts from Gandhara (modern East Afghanistan/Noth-West Pakistan). Image taken from Kharosthi Buddhist text. . Source: Or. 14915, f.1v. Language: Gandharan.
RMPAJPBT–Stem Cup. Culture: China (Xinjiang Autonomous Region, Central Asia). Dimensions: H. 3 1/2 in. (8.9 cm); Diam. of mouth 2 3/4 in. (7 cm). Date: 7th-9th century. The intertwined vine with its curled leaves is reminiscent of Sogdian imagery and motifs found in Gandharan Dionysian reliefs. The twelve animals of the Chinese zodiac are placed in rectangular frames beneath the cup rim. Museum: Metropolitan Museum of Art, New York, USA.
RM2HHWAAK–Seated Buddha 6th–7th century China (Xinjiang Autonomous Region) This Buddha image was using a mold. It exemplifies the Khotan taste for Gandharan classical drapery—here, juxtaposed with the local aesthetic, as seen in the representation of the face and hair.. Seated Buddha 39980
RM2A530M7–Reliquary Box, 200-400. This casket in bronze represents the great variety of reliquary caskets. It is round, has a low foot, and is covered with a lid (with raised handle) that fits over the vessel rather than being inset. It is a traditional shape frequently encountered in Gandharan reliquaries, but its slight flattening and elaborate decoration imply a slightly late date. A central band of a floral creeper decorates the main body of the box and its lid, and is framed on both sides by narrower fluted bands. This type of freehand design is characteristic of the late Kusana-early Gupta period.
RM2B01D3R–Afghanistan: A Hellenistic capital found in the city of Balkh, possibly 2nd century BCE. Photo by World Imaging (CC BY-SA 3.0 License). Balkh (Ancient Greek: Baktra or Zariaspa), was an ancient city and centre of Zoroastrianism in what is now northern Afghanistan. Today it is a small town in the province of Balkh, about 20 kilometres northwest of the provincial capital, Mazar-i Sharif, and some 74 km (46 miles) south of the Amu Darya. It was one of the major cities of Khorasan. Marco Polo described Balkh as a 'noble and great city'.
RMP5GWK8–N/A. English: Exhibit in the Dallas Museum of Art, Dallas, Texas, USA. 7 May 2017, 16:58:13. Daderot 225 Boshisattva Maitreya, India, Gandharan period, 200s-300s AD, gray schist - Dallas Museum of Art - DSC05023
RM2B017M2–Afghanistan: The Great Buddha at Bamiyan, photographed by Robert Byron (26 Febraury 1905 - 24 February 1941) in 1934 and destroyed by Taliban zealots in 2001. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km (143 miles) northwest of Kabul at an altitude of 2,500 m (8,202 ft). Built in 507 CE, the larger in 554 CE, the statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs.
RF2HK63MN–Inspired by Head of a Buddha, Gandhāran, probably Kidarite dynasty, 3rd–5th century, 4th century, Stucco with traces of pigment, Hadda, Punjab province, Pakistan, Asia, Sculpture, stone & mineral, 18 x 11 1/2 x 10 1/2 in. (45.7 x 29.2 x 26.7 cm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
RM2DRP6MK–Head, 2nd– 3rd century CE, Stucco with traces of pigment, 5 11/16 × 4 5/16 × 3 3/4 in. (14.5 × 11 × 9.5 cm), Pakistan, Pakistani, Gandharan, Kushan period (ca. late 1st–early 4th century), Sculpture
RM2HB2NK3–Standing Bodhisattva, Gandhāran, Kushan dynasty, 1st–3rd century, 2nd–3rd century, Phyllite (micaceous schist), Khyber-Pakhtunkhwa province, Pakistan, Asia, Sculpture, stone & mineral, 18 1/2 x 8 x 5 in. (47 x 20.3 x 12.7 cm
RM2CFE002–Gallery of Gandhara, ancient Buddhism collections, National Museum of Pakistan, Karachi, Sindh, Pakistan, South Asia, Asia
RMJX4RTE–Seated Buddha Shakyamuni in Meditation with Flaming Shoulders, China, Gandharan style, Six Dynasties period, 3rd to early 4th century AD, gilt bronze Arthur M Sackler Museum, Harvard University DSC00886
RMR578BD–Fragmentary Buddhist text. Kharosthi Buddhist text. The manuscript is written on birchbark and is part of a group of early manuscripts from Gandhara (modern East Afghanistan/North-West Pakistan). Image taken from Kharosthi Buddhist text. . Source: Or. 14915, part 47. Language: Gandharan.
RMPA8N67–Door Guardian (Dvarapala). Culture: Pakistan (ancient region of Gandhara). Dimensions: H. 18 in. (45.7 cm); W. 10 3/4 in. (27.3 cm). Date: ca. 4th century. Similar armored guardian figures were found flanking a doorway of a monastery at the Gandharan site of Thareli; clearly, this example also had significance as a protective deity. It is interesting that the monks chose to integrate such non-Buddhist deities into the embellishment of their monastic residences. The appearance of such protectors probably can be linked to the growing importance of the war god Skanda in the late Gandharan tradit
RM2HHPNF3–Head of Buddha ca. 4th century Pakistan (ancient region of Gandhara) This head shows close stylistic affinities with early stucco production from Gandharan sites at Taxila. The sensitive modeling has an expressive quality that is not seen in the more formal images in stone from this period.. Head of Buddha 38777
RM2B01EM5–China: Ceramic face of a Central Asian from Khotan, Xinjiang, 7th-8th century CE. The Kingdom of Khotan was an ancient Buddhist kingdom that was located on the branch of the Silk Road that ran along the southern edge of the Taklamakan Desert in the Tarim Basin. The name of the kingdom in the region now called Khotan has received many forms. The local people about the third century CE wrote Khotana in Kharoşţhī script; and Hvatäna- in Brāhmī in the somewhat later texts, whence as the language developed came Hvamna and Hvam.
RM2HJ3AMH–Standing Buddha late 6th century Pakistan (ancient region of Gandhara) or Afghanistan Such portable metal images were important for the spread of the Gandharan style and have been found in Gandhara, Kashmir, and Tibet. The hairstyle of this Buddha is organized in repeating bands, a motif that is found among late Gandharan stuccos as well as images from Kashmir and Sind.. Standing Buddha 72382
RM2B01EJY–China: Ceramic figurine showing Western features, Yotkan near Khotan, Xinjiang, 2nd-4th century CE. Photo by Uploadalt (CC BY-SA 3.0 License). The Kingdom of Khotan was an ancient Buddhist kingdom that was located on the branch of the Silk Road that ran along the southern edge of the Taklamakan Desert in the Tarim Basin. The name of the kingdom in the region now called Khotan has received many forms. The local people about the third century CE wrote Khotana in Kharoşţhī script; and Hvatäna- in Brāhmī in the somewhat later texts, whence as the language developed came Hvamna and Hvam.
RMP5GWKH–N/A. English: Exhibit in the Dallas Museum of Art, Dallas, Texas, USA. 7 May 2017, 17:04:14. Daderot 252 Bust of a bodhisattva, Gandharan region, Pakistan, Kushan empire, 100s-200s AD, gray schist - Dallas Museum of Art - DSC05062
RM2AJ51XD–Footfalls of Indian history . th the oldByzantium and with Rome. Greek art may havespoken at Mathura, but certainly nothing betterthan the Graeco-Roman ever made itself felt in thenorth-west. All this represents facts which will beacknowledged. The argument that the artisticcapacities of the Gandharan region in the time ofthe Roman Empire were the result of a certainethnic strain, due to Alexander and the Graeco-Bactrian kingdom which succeeded him, is not ofa character to be taken very seriously. Garrisonsof occupation are not usually accompanied bythe representative genius of their home-coun
RF2HK60CR–Inspired by Head of a Figure, Gandhāran, probably Kidarite dynasty, 3rd–5th century, 4th century, Stucco with traces of pigment, Hadda, Punjab province, Pakistan, Asia, Sculpture, stone & mineral, 7 3/4 x 5 1/4 x 5 1/2 in. (19.7 x 13.3 x 14 cm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
RMP80TNY–English: Statue of a Buddha seated on a lotus throne, Swat Valley Photograph a statue of Budda sat on a lotus throne taken by Alexander .E Caddy in 1896. The ancient kingdoms of Udyana (Swat) and Gandhara (Peshawar), ruled by the Kushans from the first century AD, corresponded fairly closely with the northern part of the North West Frontier Province. The sculpture of the area, referred to as Gandharan, was influenced by Graeco-Roman elements and this influence can be seen in the draped clothing the figure wears, and in the naturalistic modelling of the body. In 1895 Surgeon-Major L.A.Waddell w
RF2M4KF9X–The Balo Kaley archaeology site was first visited by a Hungarian-British archeologist, Sir Aurel Stein, in 1926 and then hastily excavated by Burger a
RM2HB2PJJ–Head of a Figure, Gandhāran, Kidarite dynasty, 3rd–5th century, 4th century, Stucco with traces of pigment, Hadda, Punjab province, Pakistan, Asia, Sculpture, stone & mineral, 9 1/2 x 7 1/2 x 7 in. (24.1 x 19.1 x 17.8 cm
RMMPNED9–Gautama Buddha, The Presentation of the Bowls, Gandhara School. 2nd-3rd century. Artist: Unknown.
RM2CFE005–Gallery of Gandhara, ancient Buddhism collections, National Museum of Pakistan, Karachi, Sindh, Pakistan, South Asia, Asia
RMPY1D4C–Bust of a bodhisattva, Gandharan region, Pakistan, Kushan empire, 100s-200s AD, gray schist -
RM2CFDYK9–Gallery of Gandhara, ancient Buddhism collections, National Museum of Pakistan, Karachi, Sindh, Pakistan, South Asia, Asia
RMJW4CKC–Seated Buddha Shakyamuni in Meditation with Flaming Shoulders, China, Gandharan style, Six Dynasties period, 3rd to early 4th century AD, gilt bronze Arthur M Sackler Museum, Harvard University DSC00886
RM2CFDYJC–Gallery of Gandhara, ancient Buddhism collections, National Museum of Pakistan, Karachi, Sindh, Pakistan, South Asia, Asia
RMPA977M–Head of Buddha. Culture: Pakistan (ancient region of Gandhara). Dimensions: H. 7 3/4 in. (19.7 cm); W. 4 1/2 in. (11.4 cm); D. 5 1/8 in. (13 cm). Date: ca. 4th century. This head shows close stylistic affinities with early stucco production from Gandharan sites at Taxila. The sensitive modeling has an expressive quality that is not seen in the more formal images in stone from this period. Museum: Metropolitan Museum of Art, New York, USA.
RM2HF6W49–Seated Buddha Shakyamuni in Meditation with Flaming Shoulders, China, Gandharan style, Six Dynasties period, 3rd to early 4th century AD, gilt bronze
RMR588X1–Fragmentary Buddhist text. Kharosthi Buddhist text. The manuscript is written on birchbark and is part of a group of early manuscripts from Gandhara (modern East Afghanistan/Noth-West Pakistan). Image taken from Kharosthi Buddhist text. . Source: Or. 14915, part 31. Language: Gandharan.
RM2HHA7M2–Seated Bodhisattva Maitreya (Buddha of the Future) 7th–8th century Afghanistan (found near Kabul) This sculpture is a product of the latest period of greater Gandharan production. It is stylistically related to Shahi sculpture of northern Pakistan and Afghanistan as well as to the latest Gandharan workshops such as those at Sahri-Bahlol.. Seated Bodhisattva Maitreya (Buddha of the Future). Afghanistan (found near Kabul). 7th–8th century. Schist. Sculpture
RM2HGX6JD–Reliquary in the Form of a Miniature Stupa 2nd–3rd century Pakistan (ancient region of Gandhara) Miniature reliquaries in the form of a stupa such as the example seen here, provide a clear architectural representation of the monumental stupas of the Gandharan region, none of whose superstructures survive intact today.. Reliquary in the Form of a Miniature Stupa. Pakistan (ancient region of Gandhara). 2nd–3rd century. Schist. Sculpture
RM2B01EJW–China: Ceramic figurine showing Western features, Yotkan near Khotan, Xinjiang, 2nd-4th century CE. Photo by Uploadalt (CC BY-SA 3.0 License). The Kingdom of Khotan was an ancient Buddhist kingdom that was located on the branch of the Silk Road that ran along the southern edge of the Taklamakan Desert in the Tarim Basin. The name of the kingdom in the region now called Khotan has received many forms. The local people about the third century CE wrote Khotana in Kharoşţhī script; and Hvatäna- in Brāhmī in the somewhat later texts, whence as the language developed came Hvamna and Hvam.
RM2HJ4R6C–Standing Buddha with Radiate Combined Halo ca. late 6th century Pakistan (ancient region of Gandhara) A few small personal images from Gandhara representing the Buddha have survived. This metal image blends elements seen in the stone sculpture of Gandhara with the Gupta style of north India. Its portability made it an important vehicle for disseminating the Gandharan style to other parts of Asia.. Standing Buddha with Radiate Combined Halo 39165
RF2HKM3HB–Art inspired by Standing Bodhisattva, Gandhāran, Kushan dynasty, 1st-3rd century, 2nd-3rd century, Phyllite (micaceous schist), Khyber-Pakhtunkhwa province, Pakistan, Asia, Sculpture, stone & mineral, 18 1/2 x 8 x 5 in. (47 x 20.3 x 12.7 cm, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2HH432F–Stem Cup 7th–9th century China (Xinjiang Autonomous Region, Central Asia) The intertwined vine with its curled leaves is reminiscent of Sogdian imagery and motifs found in Gandharan Dionysian reliefs. The twelve animals of the Chinese zodiac are placed in rectangular frames beneath the cup rim.. Stem Cup. China (Xinjiang Autonomous Region, Central Asia). 7th–9th century. Gold with repoussé decoration. Period of Tibetan Empire. Metalwork
RM2HB2RF1–Head of a Buddha, Gandhāran, probably Kidarite dynasty, 3rd–5th century, 4th century, Stucco with traces of pigment, Hadda, Punjab province, Pakistan, Asia, Sculpture, stone & mineral, 18 x 11 1/2 x 10 1/2 in. (45.7 x 29.2 x 26.7 cm
RM2HHA0R1–Bowl with double fish, dancers, and animals 5th–6th century China (Xinjiang Autonomous Region, Central Asia) Paired fish are an auspicious emblem (mangala) that first appeared in conjunction with the earliest Buddhist and Jain images from India. The presence this motif suggests that this bowl likely had a ritual function. The animals and dancers relate to Central Asian art, while the palmette design is similar to Sogdian and earlier Gandharan production.. Bowl with double fish, dancers, and animals 49634
RM2B01D1M–Afghanistan: The Buddhas of Bamiyan as represented by Iwan Lawrowitsch Jaworski (fl. 1870s-1880s), c. 1885. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan. Built in 507 CE, the larger in 554 CE, the statues represented the classic blended style of Gandhara art. The bodies were hewn directly from the sandstone cliffs, but details were modeled in mud mixed with straw. They were intentionally dynamited and destroyed in 2001 by the Taliban, declared as 'idols'
RM2HH92MB–Buddha with Radiate Halo and Mandorla 6th century Pakistan (ancient region of Gandhara) This image was likely used for personal veneration. The Buddha wears a typical Gandharan-style robe while his hair is reminiscent of images from Swat and Kashmir. Although the combined radiate halo and mandorla appears in Gandhara, this exact motif is found at the Afghan site of Bamiyan. The portability of such Buddhist images made them important vehicles for disseminating this hybrid Gandharan style.. Buddha with Radiate Halo and Mandorla 39164
RM2B01D2W–Afghanistan: A plate depicting Cybele and Nike being pulled by lions, a votive sacrifice and the Sun God Helios. Ai Khanoum, 3rd century BCE. Ai-Khanoum or Ay Khanum ( 'Lady of the Moon' in Uzbek, probably the historical Alexandria on the Oxus, also possibly named Eucratidia), was founded in the 4th century BCE, following the conquests of Alexander the Great and was one of the primary cities of the Greco-Bactrian kingdom. The city is located in Kunduz Province northern Afghanistan, at the confluence of the Oxus river (today's Amu Darya) and the Kokcha river.
RMJW4CHW–Seated Buddha with Left Hand Holding a Covered Jar, Late Gandharan style, Pakistan, Swat Valley, Swat District, Khyber Pakhtunkhwa, 9th cent , bronze Arthur M Sackler Museum, Harvard University DSC00843
RM2HHHGFX–Door Guardian (Dvarapala) ca. 4th century Pakistan (ancient region of Gandhara) Similar armored guardian figures were found flanking a doorway of a monastery at the Gandharan site of Thareli; clearly, this example also had significance as a protective deity. It is interesting that the monks chose to integrate such non-Buddhist deities into the embellishment of their monastic residences. The appearance of such protectors probably can be linked to the growing importance of the war god Skanda in the late Gandharan tradition.. Door Guardian (Dvarapala). Pakistan (ancient region of Gandhara). ca. 4
RMPA9AN0–Dish with Drunken Herakles Embracing Two Women. Culture: Pakistan (ancient region of Gandhara). Dimensions: Diam. 6 1/8 in. (15.6 cm). Date: 1st century. This dish from the ancient region of Gandhara dates from the second century B.C. to the first century A.D. International trade with the Hellenistic world and India as well as invasions into Gandhara by the Scythians, Parthians, and Kushans brought many new stylistic idioms that shaped the stylistic vocabulary of these objects. Similar dishes were found in the Gandharan city of Sirkap (Taxila) in contexts that suggest they were used for dom
RM2HF6W46–Seated Buddha with Left Hand Holding a Covered Jar, Late Gandharan style, Pakistan, Swat Valley, Swat District, Khyber Pakhtunkhwa, 9th cent., bronze
RMR50P1M–Buddhist text. Kharosthi Buddhist text. The manuscript is written on birchbark and is part of a group of early manuscripts from Gandhara (modern East Afghanistan/Noth-West Pakistan). Image taken from Kharosthi Buddhist text. . Source: Or. 14915, f.2 bottom. Language: Gandharan.
RM2B00NC3–China: Kharoshthi script. 2nd-5th century CE, Yingpan, Xinjiang. The Kharoṣṭhī script is an ancient abugida (or 'alphasyllabary') used by the Gandhara culture of Pakistan, nestled in the historic northwest South Asia to write the Gāndhārī and Sanskrit languages. It was in use from the middle of the 3rd century BCE until it died out in its homeland around the 3rd century CE. It was also in use in Kushan, Sogdiana and along the Silk Road where there is some evidence it may have survived until the 7th century in the remote way stations of Khotan and Niya.
