LEADER 03255nam 2200469 450 001 9910619483403321 005 20240131163456.0 010 $a1-80327-234-1 035 $a(CKB)4900000001453354 035 $a(NjHacI)994900000001453354 035 $a(ScCtBLL)fb3c7253-d395-41b4-82b0-bda6679c4010 035 $a(EXLCZ)994900000001453354 100 $a20230821h20222022 uy 0 101 0 $aeng 135 $aur|n||||||||| 181 $ctxt$2rdacontent 181 $csti$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 04$aThe rediscovery and reception of Gandha?ran art $eproceedings of the fourth International Workshop of the Gandha?ran Connections Project, University of Oxford, 24th-26th March, 2021 /$fedited by Wannaporn Rienjang, Peter Stewart 210 1$aOxford :$cArchaeopress Publishing Ltd,$d[2022] 210 4$dİ2022 215 $a1 online resource (230 pages) $cillustrations 225 1 $aArchaeopress archaeology 320 $aIncludes bibliographical references. 330 $a"The ancient Buddhist art of Gandha?ra was rediscovered from the 1830s and 1840s onwards in what would become the North-West Frontier of British India. By the end of the century an abundance of sculptures had been accumulated by European soldiers and officials, which constituted the foundations for a new field of scholarship and internationally celebrated museum collections. Both then and since, the understanding of Gandha?ran art has been impeded by gaps in documentation, haphazard excavation, forgery, and smuggling of antiquities. Consequently, the study of Gandha?ran archaeology often involves the evaluation and piecing together of fragmentary clues. In more subtle ways, however, the modern view of Gandha?ran art has been shaped by the significance accorded to it by different observers over the past century and a half. Conceived in the imperial context of the late nineteenth century as 'Graeco-Buddhist' art - a hybrid of Asian religion and Mediterranean artistic form - Gandha?ran art has been invested with various meanings since then, both in and beyond the academic sphere. Its puzzling links to the classical world of Greece and Rome have been explained from different perspectives, informed both by evolving perceptions of the evidence and by modern circumstances. From the archaeologists and smugglers of the Raj to the museums of post-partition Pakistan and India, from coin-forgers and contraband to modern Buddhism and contemporary art, this fourth volume of the Classical Art Research Centre's Gandha?ra Connections project presents the most recent research on the factors that mediate our encounter with Gandha?ran art." 410 0$aArchaeopress Archaeology. 606 $aArt, Gandhara$vCongresses 606 $aBuddhism in art 607 $aGandhara (Pakistan and Afghanistan)$xAntiquities 615 0$aArt, Gandhara 615 0$aBuddhism in art. 676 $a704.9489430934 702 $aRienjang$b Wannaporn 702 $aStewart$b Peter$f1971- 801 0$bNjHacI 801 1$bNjHacl 801 2$bUkLUC 906 $aBOOK 912 $a9910619483403321 996 $aThe rediscovery and reception of Gandha?ran art$93014528 997 $aUNINA