Symposia & Conferences

Now showing 1 - 3 of 3

Relic Shrines Pilgrimage
(The International Conference on Land Transportation, Locomotive Heritage and Road Culture - 2017, 2017) Kumar, A.
In the South Asian world, the first and second centuries CE gives a new dimension to Buddhism and its pilgrimage with the rise of Buddha image in human form. Whether the image originated in Mathura school of Art or Gandhara school of Art had been a long time question for scholars. This paper does not dwell into the origination of Buddha image but inspite it offers some light on Gandharan regional sites, and relic shrines pilgrimage and routes. Chinese pilgrims' accounts this region mostly confined to Peshawar basin, but due to its unified artistic and stupa tradition which had an extent to South-Afghanistan, as well as on the east of it due to Graeco Roman influences on art, Kashmir is also taken in examples. Buddhist art, culture and traditions flourished in Gandhara which was an ancient region between north-western Pakistan and eastern Afghanistan. The spread of Semi-Mahayanic tradition and monastic art from India via Gandhara to Central Asia and China played a vital role in the propagation of Buddhism as a world religion. Rise of Buddhism is evident in the period of the 1st century CE to 4th century CE during the rule of Kusana Empire. A distinctive feature of this period was the sustained patronage of Buddhist monasteries, art and architecture. Buddhist chronicles give an idea of pilgrimage sites which venerated body relics of Buddha which later were enshrined in the stupa. It comprises several narrative strands that relate the life story of the Buddha and the manner in which Buddhist teachings and institutions were established on the Gandharan periphery in ancient times. The focus of this work traces the relics associated with the historical Buddha.This paper traces the art and religiousity of relic shrines via Buddhist and cultural context in selecting some specimens of the 4th century BCE until 5th Century CE. Thus the paper will address some broader parameters in the history of Gandharan pilgrimage and move to a focus on Gandharan sculptures and Indo-Greek antiquities, coins that have been subject to concerted collecting efforts in the nineteenth and early twentieth century.
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.
Shad-Danta Jataka- Depicted In Ajanta Caves
(Centre for Asian Studies, University of Kelaniya, 2015) Premsagar, P.S.; Jagtap, P.D.
In 1972, the General Conference of UNESCO adopted a resolution regarding protection of the World Cultural and Natural Heritage. The List of recorded sites on the World Heritage now stands at 981. There are 32 World Heritage Properties in India out of which 25 are Cultural Properties and 7 are Natural Properties. Ajanta Caves are also included in the World Heritage as recognized by the U.N.O. and is placed at 153 in the list. These Caves had been discovered in 1819 A.D. by a tiger hunting British officer from Madras Army, John Smith. The existence of the Ajanta Caves dated back from 2nd century BC to 7th century AD, the 30 cave temples are situated at Ajanta, in the Indian state of Maharashtra. These Caves are carved at the height of 76 meters straight into a semicircular mountainside from the bank of river Waghora. There are paintings on the walls, pillars and ceilings of Cave No. 1, 2, 9, 10, 16, 17, 19 and 21 and sculptures all over in the 30 caves. At Ajanta, the story of Shad-danta Jataka is painted on the right hand side wall of Cave No. 10, as well as on the inner side of the left hand side wall adjacent to the entrance gate of Cave No. 17. Shad-danta Jataka story exemplifies the effort that the Bodhisattva made to develop virtues- Parmitas. In this Jataka, the Bodhisattva who was incarnation (Yoni) of an elephant, the Shad-danta and who worshipped ‘Prachchek Buddha’ acquired all Parmitas and became Buddha. The Paintings of this Jataka lead the future generation from the darkness of material life to the light of spiritual life and special reference to salvation (Nirvana).

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