International Conference on Buddhism and Jainism in Early Historic Asia
Permanent URI for this collectionhttp://repository.kln.ac.lk/handle/123456789/16586
Browse
3 results
Search Results
Item Images of Dāna in Gandhāra(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2017) Kumar, A.This paper draws on the Buddhist narrative panels from the legend of the Buddha’s life in the Gandhāran Art. Dāna is a Pali word that connotes the virtue of generosity; and it played pivotal role in putting structure of Buddhism. Dāna is one of the important virtues in putting strength to material aspect of Indian religions namely Jainism, Hinduism, and Buddhism, The spread of Buddhist tradition and monastic art from India to Gandhāra and Central Asia played a vital role in the propagation of Buddhism as a world religion. A distinctive feature of the Kusānas resulted in a sustained patronage of Buddhist monasteries through art and architecture. Gandhāran art has more narrative reliefs as compared to Mathurā school of art especially to show the visuals of Dāna. This paper springs from my research and field work which examine cross cultural assimilation and change of the artistic tradition of Gandhāra as well as the interpretation of Buddhist panels via connecting the visuals with the Buddhist literature.Item Classification of the Stupas(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2017) Prasad, P.; Prasad, S.K.K.Out of the primary ten Buddhist stupas, eight were built over the Buddha's relics, and one over the ashes of the funeral pyre and another over the vessal, that was used for distributing the relics. Thus total ten stupas were built after His death. Cunningham categorized the stupas into three viz. ''sharirika'', ''paribhigika'' and ''uddeshika''. The first two refer to the contents kept inside the stupa and the third refers to the places associated with the Buddha. These stupas are mostly huge in structure. Later it was felt that the small stupas built in the vicinity and around the bigger ones were not represented in this classification. Hence, the fourth category ''votive'' was added to the earlier three. Though four different categories are generally accepted, the study of the archaeological findings from different stupas bring out certain anomalies in the classification. It is observed that only eight stupas that contain relics can be termed as ''sharirika'' and none of the other two stupas can be kept in either ''paribhogika'' or ''uddeshika'' categories. These stupas are equally important and therefore cannot be ignored. Moreover as the meaning of the word votive is ''consecrated in fulfillment of a vow'', fourth category, ''votive'' doesn't represent all varieties of the small stupas. Because small stupas were used for many other purposes also. Finally, an entirely different variety of the stupas, e.g. ''chaitya stupas'', has not been given a place in the stated classification. The classification of stupas proposed in the paper is based on the purpose and they are mahastupas, cave stupas and miniature stupas. The mahastupas are further sub-classified on the basis of architecture and they are round medhi, square medhi, medhi like a drum, projections in medhi, medhi with ''ayaka platforms''. The miniature stupas are further sub-classified on the basis of materials used and these are stone, brick, terracota, crystal and metal. The details of the classification and sub-classification are brought out in the paper.Item 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.