DOCSLIB.ORG

Kanishka I's Coins with the Buddha Image on the Reverse and Some References to the Art of Gandhara

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kanishka I's Coins with the Buddha Image on the Reverse and Some References to the Art of Gandhara KANISHKA I'S COINS WITH THE BUDDHA IMAGE ON THE REVERSE AND SOME REFERENCES TO THE ART OF GANDHARA KATSUMI TANABE The University of Tokyo Preface I. List of documents II. Coin-types III. Stylistical and Iconographical analysis, and chronological order of the coin-types IV. Epigraphical investigation and chronological setting of the legends Conclusion Preface Since the numismatic researches of the various coins discovered in the area covering Afganistan, Pakistan, Nothern India was inaugurated, some numismatists, archaeologists, historians have opined that there are several kings who adopted as one of their dynastic tutelary(1) deities the Buddha Image stand- ing or sitting on the reverse of their coins, such as Saka king Maues, Kushan kings Kujula Kadphises and Kanishka I, Sasanian kings Hormuzd I, Peroz, Hormuzd II, Sapor II, not mentioning the earlier cases of the symbolic represen- tations tried by Indo-Greek kings.(2) Among those coins issued by these kings, the most varied and also most important from the art-historical view-point, are those which were issued by Kanishka I who is said to have converted himself to a fervnt Buddhist and contributed much to the development of the Buddhist Sanghas in Kushan Empire. But, in spite of several scholars' due attentions to these issues and frequent references and comments,(3) none has yet attempted any comprehensive investigation of the coins concerned,(4) though we should take into account the fact that the primary source materials are extremely rare, compared with the large number of the catalogued coins of other types issued by this king. Nor, 31 therefore, the author of this paper cannot afford to make a detailed account of Kanishka I's coins with the Buddha image, due to the scarcity of the documents available, and also to their poor quality of conservation except of a few. Quite recently, however, the author happened to get one copper piece (pl. I) and thought it more approapriate to publish it with some preliminary notes and suggestions, referring to some art-historical problems concerning Kushan Art, for the sake of those who are interested in Kushan numismatics and art- history. I. List of Documents No. I, AU (pl. II) Obv. The king standing l., wearing helmet & diadem, clad in coat, trousers & cloak; flames rise from his shoulders; holding in his r. hand elephant-goad over small alter; in his l, hand, spear; sword at his l. waist. Leg. (in Greek-letters); p AONANO p AOKA (l.), NH p KIKO p- ANO (r.). Rev. Buddha standing en face with big usnisa & long ears; with (two- circled) round nimbus & oval aureole; clad in uttarasanga, ant- arvasaka & sanghati; r. hand raised in abhaya-mudra, l. hand holding the hem of sanghati. Leg. (in Greek-letters); BODDO. Monogram; to r., H. References; B. M. C., p. 130, pl. XXVI, 8. No. II, AU (pl, II) Obv. Do. Leg. (in Greek-letters); p AONANO p AOKA(l.), NH p KIKO- p ANO(r.). Rev. Do. Legend; do. Monogram; to r., H. References; Museum of Fine Arts, Boston; Acc. Num. 31,895 (Seth K. Sweetser Fund). MFA, BULLETIN (1965), p. 147, fig. 10. No. III, AU (1/4 dinar) Not consulted. 32 ORIENT KANISHKA I'S COINS References; Gobl, R., GNOMON, 1963, p. 254. Said to behoused at Bibliotheque Nationale, Paris. No. IV, AE (pl. II) Obv. The king standing l., clad in coat, trousers & cloak; holding r. hand over small alter, in l. hand, spear. Leg. (in Greek-letters); (p AO) KA (r.), NH (p KI) (l.). Rev. Buddha Sakyamuni en face standing with long ears and (big) usn- isa; clad in sanghati & trousers; r. hand raised in abhaya-mudra, l. hand holding the hem of the garment. Leg. (in Greek-letters) CAKAMA(l.), NOBODDO(r.). Monogram; to l., H (?). References; B. M. C., pl. XXVII, 2. N. C., Vol. XII, pl. VIII, 10, Ing- holt, H., Gandharan Art in Pakistan, pl. III, 3. No. V, AE Obv. & Rev., do. References; B. M. C., Kanerkes, no. 37. No. VI, AE (pl. II) Obv. The king standing l., wearing peaked helmet, long heavy coat & trousers; sacrifices at a small alter; long spear in l. hand. Leg. (in Greek-letters); p AO KANH p KI (P. M. C., p. 186). Rev. Buddha Sakyamuni standing en face with big usnisa and (ears); with round nimbus, clad in sanghati; r. hand raised in abhaya- mudra, l. hand holding the hem of the garment. Leg. (in Greek-letters); (CA)KAM(r.), (BOD)DO(l.). Monogram; to l., H. References; P. M. C., pl. XVIII, 113. No. VII, AE (pl. III) Obv. Bearded figure of king, and legend, as usual on copper coins. Leg. (in Greek-letters); p AO KANH p KI (N. C., Vol. XII, p. 43). Rev. Buddha Sakyamuni standing en face with big usnisa & long ears; with round nimbus, clad in sanghati; r. hand raised in abhaya- mudra, l. hand holding the hem of the garment. Leg. (in Greek-letters); CAKAM(r.), NOBOYDO(l.). Monogram; to r., H (?). References; Wilson, H., Ariana Antiqua, pl. XIII, 2. Vol. X 1974 33 No. VIII, AE Obv. Similar to No. VII. Rev. Similar to No. VII, but the mudra is dharmacakra-mudra(?) and the body-representation does not fit so much the tri-bhanga pose as is shown in No. VII. Further, the position of monogram H is different (put outside the legend). References; Cunningham, A., N. C., Vol. XII, pl. VIII, 8. J. A. S. B., Vol. XIV, pl. 2, fig. 7. No. IX, AE (pl. III) Obv. & Rev., do References; Cunningham, A., N. C., Vol. XII, pl. VIII, 9. No. X, AE (pl. III) Obv. Similar to No. IV. Rev. Similar to No. IV. References; Wilson, H., Ariana Antiqua, pl. XIII, l. No. XI, AE (pl. III) Obv. do. Rev. Buddha standing en face with radiating nimbus (Strahlenkranz); clad in sanghati, though with r. shoulder disclosed; r. hand raised in abhaya-mudra, l. hand resting on the l. waist. Leg. (in Greek-letters); (C)AKA(M) (r.). Monogram; ? References; Wilson, H., Ariana Antiqua, pl. XIII, 3. No. XII, AE (pl. I) Obv. do (hilt of sword is observable). Leg. (in Greek-letters); p AOKA(l.), (NH) p KI (r.). Rev. Buddha standing en face in tri-bhanga pose, with round nimbus & clad in sanghati; r. hand raised in abhaya-mudra, l, hand resting on the l. waist (or holding the hem of the garment); usnisa in medium size & ears defaced or not represented. Leg. (in Greek-letters); (CAKAMA?) (l.), BOYDO (r.). Monogram; to r., H. References; Author's collection. diam: 2.3 centimetres, weight: 16.30 grams. No. XIII, AE (pl. III) Obv. Similar to No. IV. 34 ORIENT KANISHKA I'S COINS Leg. (in Greek-letters); p (A)OKA(r.), NH(p KI) (l.). Rev. Buddha sitting en face cross-legged on asana with big usnisa & long ears; clad in sanghati(?) with radiating round nimbus (formed of dots); r. hand raised (in abhaya-mudra), l. hand on the l, thigh (holding the hem of the garment). Leg. (in Greek-letters); CAKA(?)(l.), OBOYD(r.). According to A. Cunningham's deciferment, O DDO BOD(DMA). Monogram; to l., H (?). References; J.A.S.B., Vol. XIV, pl. 2, fig. 6. No. XIV, AE (pl. III) Obv. do Leg. (in Greek-letters); NH p KI (l.). Rev. Buddha sitting en face cross-legged on asana with round nimbus. (big) usnisa & long ears; clad in sanghati, r. hand raised in abhaya- mudra, l. hand resting on the l. thigh. Leg. (in Greek-letters); BAGOB(l.), OYDO(r.). References; von Sallet, A., Die Nachfolger Alexanders des Grossen in Baktrien und Indien, pl. VI, fig. I. B. M. C., pl. XXXII, 14. No. XV, AE (pl. IV) Obv. The king standing l., holding r. hand over a small altar (similar to No. IV). Leg. (in Greek-letters); defaced. Rev. Buddha sitting en face cross-legged on asana with big usnisa & long ears (similar to No. XIV). Leg. (in Greek-letters); OBOYD(r.), (CAKAMAN)(l.). Monogram; ? References; Cunningham, A., N. C., Vol. XII, pl. XVIII, fig. 12. Ingholt, H., loc. cit., pl. III, 4. No. XVI, AE (pl. IV) Obv. The king standing l., as on No. IV. Leg. (in Greek-letters); (p AO KA)(r.), NH p KI(l.). Rev. Buddha sitting en face cross-legged on asana with round nimbus & long ears; clad in sanghati, both hands raised in front of breast (in dharmacakra-mudra ?). Leg. (in Greek-letters); CAK(A) (l.), NBOYD(r.). References; Cunningham, A., N. C., Vol. XII, pl. XVIII, 14. Ingholt, Vol. X 1974 35 H., loc. cit., pl. III, 5. No. XVII, AE (pl. IV) Obv. The king standing l., with spear in l. hand. Leg. (in Greek-letters);...H p KI (l.). Rev. Buddha sitting en face cross-legged on asana with (big usnisa & long ears); clad in sanghati with r. hand raised in abhaya-mudra, l. hand on l. thigh (similar to No. XVI.). Legend is blurred. References; excavated at Dharmarajika Stupa, Taxila, AR.ASI (1915- 16), p. 34. Marshall, J., Taxila, vol. III. pl. 243, No. 261. No. XVIII, AE Obv. The king standing l., holding r. hand over a small altar, clad in long coat, trousers & cloak. Legend defaced, but probably, (p AO KANH p KI). Rev. Buddha seated en face cross-legged on a chauki with broad feet. The r. hand is held near the chest in abhaya-mudra and the l. hand with clenched fist resting on the thigh; head nimbate, ears elongated; traces of drapery on both shoulders (due to V. S. Agrawala's descrip- tion) (quite similar to Nos.
Load more

Recommended publications
  • Problems of Chronology in Gandhāran Art
    Rienjang and Stewart (eds) Problems of Chronology in Gandhāran Art Edited by Wannaporn Rienjang Peter Stewart Problems of Chronology in Gandhāran Art Since the beginning of Gandhāran studies in the nineteenth century, chronology has been one of the most significant challenges to the understanding of Gandhāran art. Many other ancient societies, including those of Greece and Rome, have left a wealth of textual sources which have put their fundamental chronological frameworks beyond doubt. In the absence of such sources on a similar scale, even the historical eras cited on inscribed Gandhāran works of art have been hard to place. Few sculptures have such inscriptions and the majority lack any record of find-spot or even general provenance. Those known to have been found at particular sites were sometimes moved and reused in antiquity. Consequently, the provisional dates assigned to extant Gandhāran sculptures have sometimes differed by centuries, while the narrative of artistic development remains doubtful and inconsistent. Building upon the most recent, cross-disciplinary research, debate and excavation, this volume reinforces a new consensus about the chronology of Gandhāra, bringing the history of Gandhāran art into sharper focus than ever. By considering this tradition in its wider context, alongside contemporary Indian art and subsequent developments in Central Asia, the authors also open up fresh questions and problems which a new phase of research will need to address. Problems of Chronology in Gandhāran Art is the first publication of the Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre, which has been supported by the Bagri Foundation and the Neil Kreitman Foundation.
    [Show full text]
  • The Mahayana Doctrine and Art. Comments on the Story of Amitabha
    MISCEIvIvANEOUS. MAHAYANA DOCTRINE AND ART. COMMENTS ON THE STORY "AMITABHA."^ (concluded.) The story Amitabha characterises that phase in the development of Buddhism which may be called " the rise of the Mahayana," or " the origin of Buddhist the- ology." The age in which this process took place is the beginning of the Christian era, and the main events of our story are based upon historical traditions. The General Plan of the Ajant.v Caves. The philosophy of the Mahayana which finds expression in the philosophy of Acvaghosha may be regarded as orthodox Buddhist metaphysics. King Kanishka is a historical personality. His war against Magadha is mentioned in the Records of the Western IVorld, written by the Chinese pilgrim Hsiien Tsang. The con- ditions of peace imposed upon the king of Magadha are related in our story ex- actly as they are mentioned by this Chinese author. 1 See The Open Court for July, August, September. 622 THE OPEN COURT. The monastic life described in the first, second, and fifth chapters of the story Amitdbha is a faithful portrayal of the historical conditions of the age. The ad- mission and ordination of monks (in Pali called Pabbajja and Upasampada) and the confession ceremony (in Pfili called Uposatha) are based upon accounts of the MahSvagga, the former in the first, the latter in the second, Khandaka (cf. Sacred Books of the East, Vol. XIII.). A Mother Leading Her Child to Buddha. (Ajanta caves.) Kevaddha's humorous story of Brahma (as told in The Open Cozirt, No. 554. pp. 423-427) is an abbreviated account of an ancient Pali text.
    [Show full text]
  • ACKNOWLEDGEMENT Peshawar Museum Is a Rich Repository of the Unique Art Pieces of Gandhara Art in Stone, Stucco, Terracotta and Bronze
    ACKNOWLEDGEMENT Peshawar Museum is a rich repository of the unique art pieces of Gandhara Art in stone, stucco, terracotta and bronze. Among these relics, the Buddhist Stone Sculptures are the most extensive and the amazing ones to attract the attention of scholars and researchers. Thus, research was carried out on the Gandharan Stone Sculptures of the Peshawar Museum under the supervision of Prof. Dr. Ihsan Ali, the then Director of Archaeology and Museums, Govt. of NWFP, currently Vice Chancellor Hazara University and Muhammad Naeem Qazi, Assistant Professor, Department of Archaeology, University of Peshawar. The Research team headed by the authors included Messrs. Syed Ayaz Ali Shah, Muhammad Ashfaq, Abdul Hameed Chitrali, Muhammad Zahir, Asad Raza, Shahid Khan, Muhammad Imran Khan, Asad Ali, Muhammad Haroon, Ubaidullah Afghani, Kaleem Jan, Adnan Ahmad, Farhana Waqar, Saima Afzal, Farkhanda Saeed and Ihsanullah Jan, who contributed directly or indirectly to the project. The hard working team with its coordinated efforts usefully assisted for completion of this research project and deserves admiration for their active collaboration during the period. It is great privilege to offer our sincere thanks to the staff of the Directorate of Archaeology and Museums Govt. of NWFP, for their outright support, in the execution of this research conducted during 2002-06. Particular mention is made here of Mr. Saleh Muhammad Khan, the then Curator of the Peshawar Museum, currently Director of the Directorate of Archaeology and Museums, Govt. of NWFP. The pioneering and relevant guidelines offered by the Directorate of Archaeology and Museums, Govt. of NWFP deserve appreciation for their technical support and ensuring the availability of relevant art pieces.
    [Show full text]
  • Notes on the Yuezhi - Kushan Relationship and Kushan Chronology”, by Hans Loeschner
    “Notes on the Yuezhi - Kushan Relationship and Kushan Chronology”, by Hans Loeschner Notes on the Yuezhi – Kushan Relationship and Kushan Chronology By Hans Loeschner Professor Michael Fedorov provided a rejoinder1 with respect to several statements in the article2 “A new Oesho/Shiva image of Sasanian ‘Peroz’ taking power in the northern part of the Kushan empire”. In the rejoinder Michael Fedorov states: “The Chinese chronicles are quite unequivocal and explicit: Bactria was conquered by the Ta-Yüeh-chih! And it were the Ta-Yüeh-chih who split the booty between five hsi-hou or rather five Ta-Yüeh-chih tribes ruled by those hsi-hou (yabgus) who created five yabguates with capitals in Ho-mo, Shuang-mi, Hu-tsao, Po-mo, Kao-fu”. He concludes the rejoinder with words of W.W. Tarn3: “The new theory, which makes the five Yüeh- chih princes (the Kushan chief being one) five Saka princes of Bactria conquered by the Yüeh- chih, throws the plain account of the Hou Han shu overboard. The theory is one more unhappy offshoot of the elementary blunder which started the belief in a Saka conquest of Greek Bactria”.1 With respect to the ethnical allocation of the five hsi-hou Laszlo Torday provides an analysis with a result which is in contrast to the statement of Michael Fedorov: “As to the kings of K’ang- chü or Ta Yüeh-shih, those chiefs of foreign tribes who acknowledged their supremacy were described in the Han Shu as “lesser kings” or hsi-hou. … The hsi-hou (and their fellow tribespeople) were ethnically as different from the Yüeh-shih and K’ang-chü as were the hou… from the Han.
    [Show full text]
  • Problems of Chronology in Gandhāran Art
    Rienjang and Stewart (eds) Problems of Chronology in Gandhāran Art Edited by Wannaporn Rienjang Peter Stewart Problems of Chronology in Gandhāran Art Since the beginning of Gandhāran studies in the nineteenth century, chronology has been one of the most significant challenges to the understanding of Gandhāran art. Many other ancient societies, including those of Greece and Rome, have left a wealth of textual sources which have put their fundamental chronological frameworks beyond doubt. In the absence of such sources on a similar scale, even the historical eras cited on inscribed Gandhāran works of art have been hard to place. Few sculptures have such inscriptions and the majority lack any record of find-spot or even general provenance. Those known to have been found at particular sites were sometimes moved and reused in antiquity. Consequently, the provisional dates assigned to extant Gandhāran sculptures have sometimes differed by centuries, while the narrative of artistic development remains doubtful and inconsistent. Building upon the most recent, cross-disciplinary research, debate and excavation, this volume reinforces a new consensus about the chronology of Gandhāra, bringing the history of Gandhāran art into sharper focus than ever. By considering this tradition in its wider context, alongside contemporary Indian art and subsequent developments in Central Asia, the authors also open up fresh questions and problems which a new phase of research will need to address. Problems of Chronology in Gandhāran Art is the first publication of the Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre, which has been supported by the Bagri Foundation and the Neil Kreitman Foundation.
    [Show full text]
  • Greece, the Mother of All Religious Art
    GREECE, THE MOTHER OF ALL RELIGIOUS ART BY THE EDITOR. the of eternal principles we may IF revelation means discovery justly declare that the Greek nation has been the medium for the revelation of art to mankind as well as the founder of science. The Greek style of literature, Greek methods of artistic represen- tation. Greek modes of thought have become standards and are therefore in this sense called "classical." We stand on the shoul- ders of the ancient Greeks, and whatever we accomplish is but a continuing- of their work, a building higher upon the foundations they have laid. This is true of sculpture, of poetry and of the basic principle of the science of thought, of logic, and also of mathematics. Euclid, more than Leviticus or Deuteronomy, is a book inspired by God.^ Whatever the non-Euclideans- may have to criticize in the outlines of Euclid's plane geometry, we must say that the author of this brief work is, in a definite and well-defined sense, the prophet of the laws that prevail in the most useful of all space- conceptions. By Euclid we understand not so much the author of the book that goes under his name, but the gist of the book itself, the thought of it, the conception of geometry and the principles which are embodied in it. In our recognition of Euclid's geometry we include his predecessors, whosoever they may have been. The man who for the first time in the history of mankind conceived the idea of points, lines, planes as immaterial quantities, as thought-constructions or whatever you may call the presentation of pure figures and their interdependence, was really a divinely inspired mind.
    [Show full text]
  • A Copper Hoard of the Great Kushans from Jamrud (Khyber Agency), Pakistan Gul Rahim Khan and Muhammad Naeem Qazi
    Ancient Pakistan, Vol. XXV (2014) 1 A Copper Hoard of the Great Kushans from Jamrud (Khyber Agency), Pakistan Gul Rahim Khan and Muhammad Naeem Qazi Abstract: Copper hoards with small quantity of coins particularly of the Kushan period are not often appreciated for publication. But when such a parcel of coins is known from proper context then it is well praised by the scholars. Moreover, when such a collection containing coins of some interest then it is a noteworthy piece of evidence and always contributes something new to the site and history of that period. The present lot which is small but yields many things of interest like its provenance, the Buddhist site near Peshawar, and bearing two coins of the Buddha image. Keyword: Kushans, Kanishka, Huvishka, Ardoxsho, Huvishka. A small hoard of copper of the Kushan period and local people. During his visit the author got was reported to the authors about nineteen years some photographs of the site and other ago. This parcel of coins was unearthed by a antiquities but they disappeared few years back local person from a Buddhist site lying to the due to the shifting of his residence to the west of Zor Gudar, a small village at Jamrud, University campus. However, the principal Khayber Agency on the west of Peshawar. The author recently found a set of photographs along said village is located about 2.5 km to the north with hand written description of those coins west of the famous Jamrud fort and 6.0 km when they were first discovered and handed over northwest of the modern town of Hayatabad in to him for study in 1996.
    [Show full text]
  • Shankara: a Hindu Revivalist Or a Crypto-Buddhist?
    Georgia State University ScholarWorks @ Georgia State University Religious Studies Theses Department of Religious Studies 12-4-2006 Shankara: A Hindu Revivalist or a Crypto-Buddhist? Kencho Tenzin Follow this and additional works at: https://scholarworks.gsu.edu/rs_theses Part of the Religion Commons Recommended Citation Tenzin, Kencho, "Shankara: A Hindu Revivalist or a Crypto-Buddhist?." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/rs_theses/4 This Thesis is brought to you for free and open access by the Department of Religious Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Religious Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. SHANKARA: A HINDU REVIVALIST OR A CRYPTO BUDDHIST? by KENCHO TENZIN Under The Direction of Kathryn McClymond ABSTRACT Shankara, the great Indian thinker, was known as the accurate expounder of the Upanishads. He is seen as a towering figure in the history of Indian philosophy and is credited with restoring the teachings of the Vedas to their pristine form. However, there are others who do not see such contributions from Shankara. They criticize his philosophy by calling it “crypto-Buddhism.” It is his unique philosophy of Advaita Vedanta that puts him at odds with other Hindu orthodox schools. Ironically, he is also criticized by Buddhists as a “born enemy of Buddhism” due to his relentless attacks on their tradition. This thesis, therefore, probes the question of how Shankara should best be regarded, “a Hindu Revivalist or a Crypto-Buddhist?” To address this question, this thesis reviews the historical setting for Shakara’s work, the state of Indian philosophy as a dynamic conversation involving Hindu and Buddhist thinkers, and finally Shankara’s intellectual genealogy.
    [Show full text]
  • Gandharan Sculptures in the Peshawar Museum (Life Story of Buddha)
    Gandharan Sculptures in the Peshawar Museum (Life Story of Buddha) Ihsan Ali Muhammad Naeem Qazi Hazara University Mansehra NWFP – Pakistan 2008 Uploaded by [email protected] © Copy Rights reserved in favour of Hazara University, Mansehra, NWFP – Pakistan Editors: Ihsan Ali* Muhammad Naeem Qazi** Price: US $ 20/- Title: Gandharan Sculptures in the Peshawar Museum (Life Story of Buddha) Frontispiece: Buddha Visiting Kashyapa Printed at: Khyber Printers, Small Industrial Estate, Kohat Road, Peshawar – Pakistan. Tel: (++92-91) 2325196 Fax: (++92-91) 5272407 E-mail: [email protected] Correspondence Address: Hazara University, Mansehra, NWFP – Pakistan Website: hu.edu.pk E-mail: [email protected] * Professor, Department of Archaeology, University of Peshawar, Currently Vice Chancellor, Hazara University, Mansehra, NWFP – Pakistan ** Assistant Professor, Department of Archaeology, University of Peshawar, Pakistan CONTRIBUTORS 1. Prof. Dr. Ihsan Ali, Vice Chancellor Hazara University, Mansehra, Pakistan 2. Muhammad Naeem Qazi, Assistant Professor, Department of Archaeology, University of Peshawar, Pakistan 3. Ihsanullah Jan, Lecturer, Department of Cultural Heritage & Tourism Management, Hazara University 4. Muhammad Ashfaq, University Museum, Hazara University 5. Syed Ayaz Ali Shah, Department of Archaeology, University of Peshawar, Pakistan 6. Abdul Hameed Chitrali, Lecturer, Department of Cultural Heritage & Tourism Management, Hazara University 7. Muhammad Imran Khan, Archaeologist, Charsadda, Pakistan 8. Muhammad Haroon, Archaeologist, Mardan, Pakistan III ABBREVIATIONS A.D.F.C. Archaeology Department, Frontier Circle A.S.I. Archaeological Survery of India A.S.I.A.R. Archaeological Survery of India, Annual Report D.G.A. Director General of Archaeology E.G.A.C. Exhibition of the German Art Council I.G.P. Inspector General Police IsMEO Instituto Italiano Per il Medio ed Estremo Oriente P.M.
    [Show full text]
  • Aspects of Ancient Indian Art and Architecture
    ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE M.A. History Semester - I MAHIS - 101 SHRI VENKATESHWARA UNIVERSITY UTTAR PRADESH-244236 BOARD OF STUDIES Prof (Dr.) P.K.Bharti Vice Chancellor Dr. Rajesh Singh Director Directorate of Distance Education SUBJECT EXPERT Dr. S.K.Bhogal, Professor Dr. Yogeshwar Prasad Sharma, Professor Dr. Uma Mishra, Asst. Professor COURSE CO-ORDINATOR Mr. Shakeel Kausar Dy. Registrar Author: Dr. Vedbrat Tiwari, Assistant Professor, Department of History, College of Vocational Studies, University of Delhi Copyright © Author, 2019 All rights reserved. No part of this publication which is material protected by this copyright notice may be reproduced or transmitted or utilized or stored in any form or by any means now known or hereinafter invented, electronic, digital or mechanical, including photocopying, scanning, recording or by any information storage or retrieval system, without prior written permission from the Publisher. Information contained in this book has been published by VIKAS® Publishing House Pvt. Ltd. and has been obtained by its Authors from sources believed to be reliable and are correct to the best of their knowledge. However, the Publisher and its Authors shall in no event be liable for any errors, omissions or damages arising out of use of this information and specifically disclaim any implied warranties or merchantability or fitness for any particular use. Vikas® is the registered trademark of Vikas® Publishing House Pvt. Ltd. VIKAS® PUBLISHING HOUSE PVT LTD E-28, Sector-8, Noida - 201301
    [Show full text]
  • NOTES on HELLENISM in BACTRIA and INDIA. How Far Can The
    NOTES ON HELLENISM IN BACTRIA AND INDIA. How far can the kingdoms in Bactria and India, ruled by kings with Greek names, be called Hellenistic, and how far were they simply native? These pages were put together with this question in view ; they have no claim to be more than an attempt to get certain problems stated, to which some day some further answer may be given by the spade. The series of these kings stretches from the levolt of Diodotos, about 250 B.C., to the final merger of Indo-Greek rule in that of the Indo-Scyths in 26 B.C. The period is bisected by the conquest of Bactria by the Yue-tche, which probably took some little while to complete, but with respect to which our information centres on the year 128 B.C. By the time of Augustus, a number of merchant- men were sailing directly from the Red Sea to India, a rare event under the Ptolemies; and this traffic increased later, when in the reign of Nero was made that discovery, or rediscovery, of the monsoons vvhicli is associated with the name of Hippalos. To arrive, therefore, at any ideas about the kingdoms of Alexander's successors beyond Parthia, it is necessary to distinguish as carefully as possible the information with regard to India, and the traces of western influence on things Indian, which can be dated later than (say) the Christian era, (and which belong rather to the history of Rome), from information which can be, or may be, dated prior to 26 B.C., or I might almost say prior to 100 B.C., (the time between these two dates being for my purpose a blank); and only to make use of the former sources when they clearly refer to something that falls within the period under consideration.
    [Show full text]
  • Language and Legend in Early Kushan Coinage: Progression and Transformation Razieh Taasob Princeton University
    2018, No. 5 © Samuel Jordan Center for Persian Studies and Culture, University of California, Irvine ISSN: 2470 - 4040 Language and Legend in Early Kushan Coinage: Progression and Transformation Razieh Taasob Princeton University 71 Introdu' ion: arly Kushan coinage displays its aff iliation and syncretism with former coin pra9 ices not only in the Erepresentation of royal and religious imagery, but also in the language, legends and the execution of inscriptions. The Kushans continued the traditional Greek pra9 ices that had already been adopted by the Greco-Ba9 rians, specifically the use of the Greek language on their coinage as seen frequently in Ba9 ria. In conformity with other former traditions, the Kushans also maintained the Indo-Greek prac- tices employed south of the Hindu Kush by using bilingual inscriptions on their coinage. The languages used south of the Hindu Kush were predominantly Greek for the obverse type and PrakritH (wriJ en in Brahmi and Kharoshthi script) for the reverse. The Indo-Greeks introduced the use of the Kharoshthi script for coinage, and it was subsequently applied by the Indo-Scythians and Indo-Parthians in their respe9 ive regions. This script was used in the area of the Indus, Swat, and Kabul valleys and in a wide area of northern India and the surrounding regions. Evidence of this can be seen on the coinage of the H- “The language of Indic inscription”. The Prakrit or middle Indo-Aryan (MIA) language was the only inscriptional language from the third to firQ century BC, which endured as a common language for coinage for more than two centuries.
    [Show full text]