Browsing by Author "Bukhari, M.F."

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Buddhist Art in Ancient Gandhara, an Appraisal of its Distinctive Features
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2017) Aslam, N.; Bukhari, M.F.
The present research paper focuses on the Buddhist art of Gandhara. The main objectivee behind this has been to focus on the distinctive features of this art. Gandhara art was initiated under the powerful Kushan kingdom and this was its blossoming period. Thus the term Gandhara art applies to the Buddhist art and architecture that flourished in Gandhara region from the 1st century to the 5th century A.D. After the Mahaprinirvana of the Buddha, his followers started to worship him but they did not have any object for worship like stupas and Buddha images. Firstly, King Asoka built thousands stupas and viharas and during this time Buddhism was spread in Gandhara by Majjhantika. Gandhara received its share from the relics of the Buddha, and they erected stupas to enshrine the relics of the Buddha and the story of Buddhist art and architecture also started with that. Maurya state followed the Graeco-Bactrians kingdom. The Indo Greeks rulers arrived with new philosophical and cultural approaches giving new dimensions to the art of Gandhara. Subsequently, the Indo-Scythian and the Indo-Parthian set new trends in the local traditions. However, the Kushan rule proved more innovation in the field of art and architecture. It is in this regard that reign of Kanishka-I is considered the golden age of Gandhara art. During the reign of Kanishka, Buddhism took a new twist and developed into Mahayana Buddhism (the Great Vehicle). Mahayana Buddhism gave birth to the most tangible form of Gandhara art. In India, initially Buddhist sculptures were made in the form of symbols but Emperor Kanishka gave physical shape to the Buddha statue and the first Buddha figure was constructed in Gandhara. This was the most important contribution of Gandhara art in the depiction of the Buddha in human form. The main purpose of Gandhara art is the spread of Buddhism through the different sculptures carved in stone, stucco, terracotta bronze and even paintings. Gandhara art is first and foremost a religious Buddhist art. The events of the life of the Buddha starting from his mother dreaming up to his great demise are captured in these art works. Besides the sculptures exemplify the life of the Buddha, single statue or relief of him, either standing or seated were also erected. Gandhara art Sculpture is divided into three groups: Independent cult images of the Buddha and Bodhisattva, Non-Buddhist deities’ images, Relief panels. Gandhara sculptures are entirely connected with Buddhist iconography, though many of them manifest some western or classical influence and this Buddhist art is generally known as Graeco-Roman, Greco -Buddhist, Indo-Greek and Indo-Bactrian and Roman-Buddhist. The images of the Buddha resembled precisely to ‘Apollo’ the Greek god of beauty .The describing style is sophisticated and has stylish manners. The Buddha images are shown in many different poses such as abhayamudra, dhayanamudra, dharamacharkamudra and bhumisparsamudra. The images of the Buddha show some special signs or symbols. The most prominent among those that appear are ushnisha, urṇa and wheel. The main focus of the art was Buddha's life stories and individual images, his previous birth stories or jatakas. Bodhisattvas and Buddha. The theme of Gandhara art was the depiction of different concepts of Buddhism. Many aspects of Gandhara art have been studied but however this art misted up in obscurity. Even today many questions remain about the date of its rise and decline; the sources of its influences and causes of its destruction. All these issues are part of discussion of the present research study.
Buddhist Art in Ancient Gandhara, An Appraisal of its Distinctive Features
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2017) Aslam, N.; Bukhari, M.F.
Portable Art in Buddhist Period in Sindh and its Evaluation and Connection to Global Buddhist Community
(Centre for Asian Studies, University of Kelaniya, 2015) Bukhari, M.F.
This paper aims at reporting a unique portable votive plaques and clay tablets discovered from different Buddhist period (Sites of Sindh, Pakistan.) 1. Kahu-Jo-Daro (Mirpurkhas) 2. Gul Mohammad Jamro (Ranipur) 3. Thul Mir Rukun (Daulatpur) 4. Khijrani (Umer Kot) 5. Koriani (Badin) 6. Siraj-ji-Takri (Khairpur) These plaques made up of baked clay, in different sizes, and shapes like oval, square, small, large, thin, thick inscribed and carved. It can be classified in different groups; according to their sizes and shapes. According to their patterns, some are exhibiting Buddha’s figure in different Asana, some with inscribed written Buddha’s creed, some with stupa impressions and hundred stupas. The Buddha is in Bhumispersamudra. The enlightened one must be understood as sitting inside the Mahabodhi temple at Bodhgaya, and the stupas surrounding him are meant to be inside the temple compound. “The second type of plaque represents a series of bell-shaped stupas (understood as being grouped round the main stupa) and is inscribed as the bottom with the Buddhist creed.” From Sindh, these plaques found and documented by Bhandarkhar (1914-15) and Cousens (1929). Few tablet donated by Givannino Verardi (1975). The total No of 33 votive plaques display in Archaeology and Anthropology Museum. Shah Abdul Latif University, Khairpur, Sindh, Pakistan. Except a few, most of them are damaged and broken into small pieces. The site Kahu-Jo-Daro, Mirpur Khas yielded hundreds of sun dried votive clay tablets almost identical with those discovered from Nalanda and Sarnath in Eastern India. These votive tablets were used by devotees who came on pilgrimage as offerings. These types of votive plaques/inscribed clay tablets have been discovered in different parts of Pakistan, Afghanistan and India.
Symbolism of Elephants in Buddhism and Hinduism
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2016) Aslam, N.; Bukhari, M.F.
Elephants have been utilized in different cultural and religious depictions since the Stone Age. They are depicted on petroglyphs and inside caves and also represented through different methods of art and craft as well as sculptures, architecture, ivory crafts and ivory paintings. In different mythologies the elephant is a sacred animal. In Hinduism and Buddhism, the elephant has been a strong special power that has spiritual significance. In Hindu mythology, one acts as the custom vehicle of Lord Indra who is considered as the God of heaven and additionally Ganesha was offered his head by the elephant when he was once beheaded by his own angry father. Hence the elephant has the honour and respect and is therefore celebrated and worshipped by the Hindus of India. In Buddhism many symbols represent the Buddha, and in Buddhist iconography a white elephant is an albino elephant. The white color is a sign of purity and holiness in Buddhism. The elephant is commonly known for its power and wisdom, and white elephants also have the all these characteristics. Queen Maya the mother of Buddha also claimed that in a dream a white elephant flew in the air and inserted his trunk in her right side resulting in the birth of Buddha. The symbols of Buddhism means “Om Mani Padme Hum”. The lotus flower, dharma wheel, stupa and white elephant are common symbols which represent the presence of Buddha.