Early Buddhist Art of China and Central Asia, Volume Two: The Eastern Chin and Sixteen Kingdoms Period in China, and Tumshuk, Kucha and Karashar in Central Asia

Artibus Asiae ◽  
2002 ◽  
Vol 62 (2) ◽  
pp. 283
Author(s):  
Angela Falco Howard ◽  
Marylin Martin Rhie
Keyword(s):  
Author(s):  
TIGRAN MKRTYCHEV

This chapter examines Buddhism and the features of the Buddhist art in the Bactria-Tokharistan region of Central Asia. The findings indicate that Buddhism spread to Bactria in the Kushan period because of the support of the Kushan nobility. During the first to third centuries there was a considerable growth of Buddhist art, mainly that of the monumental variety. Most of the work on the decoration of Buddhist monuments at that time was undertaken by professional artists who did not belong to the Buddhist community.


Author(s):  
Luca Maria Olivieri

The main themes of archaeological research in Gandhāra are currently developing along a timeline that starts in the Late Bronze Age and ends in the Shahi period. The majority of scholarship, however, is focused on the chronological phase between 150 bce and 300 ce. Because of the unbalanced level of studies, it is not easy to define what archaeology can positively say about the knowledge of the ancient world in this corner of Asia. However, the overall result of archaeological research in Gandhāra shows that the region was itself a center, not simply a frontier region of interaction between Central Asia and Iran, India, and its coastlands. Gandhāra appears to have played a central role in many of the developments that occurred throughout the period considered here. With the spread of domesticated rice during the mid-2nd millennium, a double-crop agricultural system and associated farm breeding system developed, linking Gandhāra with Kashmir and trans-Himalaya. Toward the end of the 1st millennium, the northern valleys saw the diffusion of burial and settlement features and associated material culture, which allows archaeological and genetic comparisons with earlier complexes of Central Asia and Iran up to 1000 ce. The initial urban phase in Gandhāra (500–150 bce) is defined by the evidence from Barikot, Bhir Mound (Taxila I), and Charsadda. Mature urban phases (150 bce–350 ce) are defined by the evidence of the restructuring of old cities (such as Barikot) and new urban foundations (e.g., Taxila III and Charsadda/Shahikhan-dheri) during the phases of contact with the Indo-Greek, Saka-Parthian, Kushana, and Kushano-Sasanian systems of power. During the last three centuries of the mature urban phase, the Buddhist art of Gandhāra developed a narrative biographical mode, which represents its most distinctive feature. The following period until 650 ce, distinguished by uncertain or scarce assemblages, is defined as post-urban. The post-650 to c. 1000 ce evidence, marked by cultural material associated with the Shahi dynasties and the first phase of contact with the Islamic dynasty of the Ghaznavids, defines the late ancient period.


2012 ◽  
Vol 29 (1) ◽  
pp. 57-83 ◽  
Author(s):  
Tianshu Zhu

Kucha was the major Buddhist center on the Northern Route of the Silk Road, and well known for being dominated by the Sarv?stiv?da school for most of its history. Replacing the j?taka story, the avad?na story (story of causation) became the major theme depicted on the ceiling of the central-pillar caves in this area (fifth–seventh centuries). Turfan is another important cultural center in Central Asia where Buddhism once flourished. The pra?idh?na (or ‘vow’) painting, which was based on the Bhai?ajyavastu, a vinaya text of the Mulasarv?stiv?da school, was a unique subject normally appearing on the walls of Buddhist caves in Turfan (ninth twelfth centuries). Both the avad?na and pra?idh?na stories are derived from j?taka stories, with significant shifts of focus, as well as of the format of the narrative. In this paper, through studying the avad?na and vow paintings at Kucha and Turfan, and comparing them with j?takas in early Buddhist art, I attempt to show how j?taka stories were transformed for different doctrinal messages of Buddhist teaching in some late ‘H?nay?na’ schools, namely Sarv?stiv?da and Mulasarv?stiv?da, and how the visual representations mirror the narrative styles in Buddhist texts.


Sign in / Sign up

Export Citation Format

Share Document