DOCSLIB.ORG

Narration in Gandharan Reliefs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Narration in Gandharan Reliefs Narration in Gandharan Reliefs Muhammad Shehzad Haider Master of Architecture 1997 A thesis submitted in partial fulfillment of the requirement for the degree of Master of Architecture in the faculty of Built Environment at the University of New South Wales, Australia, 1997. U N S w 1 2 SEP 1997 LIBRARY Dedicated To My Parents Contents Acknowledgments List of Plates Introduction 1 Gandhara: 7 Geography 7 Evolution of Gandharan Art 9 Foreign Influences in Gandharan Stone Reliefs 15 Types of Narration in Gandharan Stone Reliefs 22 Monoscenic Narratives: the theme of Action 22 Monoscenic Narratives: Being in a State 25 Conflated Narrative 26 Continuous Narrative 26 Linear Narrative 29 The stone Bas-Reliefs of Gandhara 31 Themes of Narration 32 The Jatakas 32 Life of Buddha 38 Characteristics of Gandharan Stone Reliefs. 56 Notes 59 Bibliography 62 Acknowledgments This paper would not be completed without the guidance of my supervisor, Mr. Michael Tawa who always put me on the right track during the process of my research and presented me with questions that has to be answered. Special thanks to Premporn Khemavuk who always supported and encouraged me during my thesis and helped me in getting information regarding the topic. Besides using the vast collection of books in University of New South Wales, I am also much obliged to the library of University of Sydney that has a good collection of valuable books regarding my topic. I would also like to thank Amir Arif for his moral support during my thesis. LIST OF PLATES 1. Presentation of the Bride to Sidhartha 14 2. Birth of Chandakka and Kantakka 14 3. Hellenistic silver bowl, detail. Leningrad, Hermitage 14 4. The First Meditation 16 5. Ploughing Scene. Sarcophagus Relief 16 6. Raising of Lazarus. Detail from a Greek Manuscript. Rossano Cathedral. 18 7. Conversion of Angulimalya 18 8. Joshua meets the Angel. Vatican Library MS. Pal. Gr. 431 18 9. The attack of Mara 20 10. Two Merchants offer food to Buddha 20 11. Visvantara Jataka 23 12. Buddha with Indra and Brahma 23 13. Dipankara Jataka 27 14. Jataka of the Elephant with six Tusks 27 15. Syama Jataka 30 16. Nanda Panel 30 17. Syama Jataka 35 18. Sibi Jataka 35 19. Dream of Maya 40 20. Birth of Buddha 40 21. Figure of Yakshini (Mathura) 42 22. Bath of Buddha 44 23. Life in Palace (a), The renunciation (b) 46 24. The great Departure 48 25. Chandakka and kantakka Return 48 26. The first Sermon 50 27. Buddha in the Fire Temple 50 28. Death of Buddha 53 29. Sorrow over The Death 53 30. Cremation of Buddha 53 31. Distribution of relics 55 32. Buddha to be in Tushita Heaven 55 Most of the plates are printed from Ingholt, H. Gandhara Art in Pakistan. While some are printed form Hallade, M. Gandhara Style, and Nehru, L. Origins of the Gandharan Art. Introduction According to The Oxford English Dictionary, the word 'narration' is defined as the action of relating or recounting. An account or narration can be of a history, tale, story, recital (of facts etc.). Different mediums of narration in the visual arts are painting, theater, sculpture and of course the scientific screen image. In every day conversation the term narrative is equivocal. The most inclusive meaning of narrative refers to any written or spoken representation. I will not use narrative in this generalized sense, instead, I will confine my use to a more specific meaning of the term, that is the kind of organizational scheme of composition expressed in story form in Gandharan reliefs. Story is the relating of an event or series of events either real or imagined. Roland Barthes, one of the most important literary theorists concerned with narrative, opens his Introduction to the Structural Analysis of the Narrative, with a statement about the centrality of narrative in the lives of people: “The word "narrative" covers an enormous variety of genres which are themselves divided up between different subjects, as if any material was suitable for the composition of the narrative. The narrative may incorporate articulate language, spoken or written; pictures, still or moving; gestures and the ordered arrangements of all the ingredients. Narrative is present in myth, legend, fable, short story, epic, history, l tragedy, comedy, pantomime, painting,... stained glass windows, cinema, comic strip, journalism, conversation. In addition, under this almost infinite number of forms, the narrative is present at all times, in all places, in all societies; the history of narrative begins with the history of mankind; there does not exist and never has existed a people without narratives.”1 At the cultural level, narrative serves to give cohesion to shared beliefs and to transmit values. Narratives are to be differentiated from chronicles, which simply lists events according to their place on a time line. Narrative provides a symbolized account of actions gathered together into a meaningful story that includes a temporal dimension. History is the narrative statement of happenings in the past. According to Polkinghorne, In historical narrative the events in the first order are meant to be real rather than imaginary. History, literature and myth share the extract of the historical experience of a people, a group, or a culture. The knowledge provided by narrative history is what results from the application of the systems of meaning originally elaborated by cultures in their myths and in some cultures later refined by their literature. Thus, historical narratives transform a culture's collection of past happenings (its first order referents) by shaping them into a second-order pattern of meaning.2 The sculptor or painter can also adopt a variety of modes to present the same or similar narratives to his viewers. Historical facts can not be established by the idea that direct observation is the only secure foundation for knowledge. 2 It is these historic images of the past that provides us with the history of great civilizations and acts as a film depicting the glory and the mastery of the cultured and civilized beings. Each great civilization has its particular style of narrating historical and mythological events. Examining reliefs in the light of elements such as treatment of human form, background, spatial depth, concept of time, and space, it is concluded that for the artist, the protagonists of a story, together with the elements of space and time are the three major components of narrative. It is traditionally accepted that a narrative has two aspects- a story or content that generally consists of a sequence of events, and the form or expression, the means by which the story is communicated and its actions are presented. Gandhara, the north west region of present Pakistan and adjacent eastern Afghanistan has experienced a glorious past. The peculiar art of Gandhara is one of the well established and mature arts in the near regions. The narration in the stone reliefs of Gandhara is of distinct style with its own themes. Much has been written about the history and art of Gandhara in genera! but my particular interest lies in narration in the stone reliefs of Gandhara that needs more exploration and detail study. In my research, I have tried to give an idea of the nature and characteristics of Gandharan narrative in stone reliefs that is an important record of the life of Buddha historically as well as mythically. The precedent for this research is Lolita Nehru’s , Origins Of The Gandharan Style. Nehru has traced the history of Gandhara, and has detailed the origins of the its style. However, the characteristics of the bas reliefs of Gandhara do not fall into the scope of her research. I have carried out my study by examining Gandharan reliefs in the following modes of visual narration used by the artist to tell tales from Buddhist legend. Monoscenic Narratives: The Theme of Action A single identifiable moment of action is depicted here to narrate a story. Monoscenic Narratives: Being in a State In such depictions, the narrative content is reduced and reliefs present the scene in which actin has already taken place. Conflated Narrative: While multiple episodes of a story are presented, the figure of the protagonist is conflated instead of being repeated from one scene to the next. Continuous Narrative: It depicts successive episodes of a story within a single frame, repeating the figure of the protagonist in the course of the narrative. Linear Narrative: It contains the repeated appearance of the protagonist at different times and places. Scenes are separated from one another by a variety of compositional means and each episode is contained within a separate frame. In addition, the physical characteristics of Gandharan reliefs are evaluated under the main composing elements such as time, space, figural treatment, and background, which characterize Gandharan reliefs. 4 The study is carried out starting with the geography and brief introduction to the evolution of Gandhara art. Foreign influences on the art of Gandhara are studied with reference to Greek, Roman, Parthian and indigenous Indian art to evolve the independent and unique stylistic approach of the artists of Gandhara. The development of Gandharan art is also a part of this chapter. This is followed by the types of narration used by Gandharan artist in reliefs. In the next chapter, themes of narration in Gandharan stone reliefs are discussed in detail. The reliefs are discussed according to the described set of elements. The final chapter outlines the characteristics of Gandharan reliefs as a conclusion to the topic under discussion. These characteristics are evolved by examining the reliefs in previous chapters under the outlined set of composing elements. Notes (pp. 1-5) 1.
Load more

Recommended publications
  • Issues and Challenges to Academic Journalism and Mass Communication in Khyber Pakhtunkhwa, Pakistan
    Volume 6 number 3 Journalism Education page 53 Issues and challenges to academic journalism and mass communication in Khyber Pakhtunkhwa, Pakistan Sajjad Ali, University of Swat, KPK, Pakistan; Muhammad Shahid, University of Peshawar, Pakistan; Muhammad Saeed, The Islamia University of Bahawlpur, Pakistan; Muhammad Tariq, The Islamia University of Bahawlpur, Pakistan. Abstract Through this study, the researchers aim to explore the his- tory of Journalism and Mass Communication education in Pakistan in general and the evolution of academic disci- pline in Khyber Pakhtunkhwa (KPK) in particular. The study also explores the problems and prospects of the Journal- ism and Mass Communication Departments in KPK. The re- searchers used qualitative method and collected the data though secondary resources as well as conducted in-depth interviews with the chairpersons and in-charge of the de- partments. The researchers developed five questions and six objectives to explore the history of academic journal- ism in KPK and highlight the problems of the concerned de- partments. The study disclosed that the academic Journal- ism and Mass Communication started as discipline in 1974 and presently there are seven departments in government universities and one in a private sector university. The Articles Page 54 Journalism Education Volume 6 number 3 study found out the answers of the designed questions and proved the objective that the departments of journal- ism and Mass Communication are facing academic, profes- sional, curricula, administrative, technical, lack of research culture, lack of coordination with other journalism depart- ments and media organizations, printing, broadcasting, telecasting, online journalism, practical journalism, educa- tion system, lack of research environment, administrative, technical and financial resources for the development of research journal publication.
    [Show full text]
  • The Silk Road in World History
    The Silk Road in World History The New Oxford World History The Silk Road in World History Xinru Liu 1 2010 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offi ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2010 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, NY 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Liu, Xinru. The Silk Road in world history / Xinru Liu. p. cm. ISBN 978-0-19-516174-8; ISBN 978-0-19-533810-2 (pbk.) 1. Silk Road—History. 2. Silk Road—Civilization. 3. Eurasia—Commerce—History. 4. Trade routes—Eurasia—History. 5. Cultural relations. I. Title. DS33.1.L58 2010 950.1—dc22 2009051139 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper Frontispiece: In the golden days of the Silk Road, members of the elite in China were buried with ceramic camels for carrying goods across the desert, hoping to enjoy luxuries from afar even in the other world.
    [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]
  • Mauryan Art and Architecture- Part 1
    Mauryan Art and Architecture- Part 1 drishtiias.com/printpdf/mauryan-art-and-architecture-part-1 Introduction The Great Mauryan ruler Ashoka embraced Buddhism (as a part of shraman tradition) and the immense Buddhist missionary activities that followed during his rule paved the way for the development of Mauryan sculptural and architectural styles. King Ashoka patronized the shraman tradition in the third century BCE. The shraman tradition refers to several Indian religious movements parallel to but separate from the historical vedic religion. It includes Jainism, Buddhism, and others such as Ajivikas, and Carvakas. Background In 321 BC, Chandragupta Maurya, with the help of Chanakya (author of Arthashasthra) founded the Mauryan dynasty after overthrowing Nanda Dynasty. The Mauryan Empire was the first most powerful Indian empire to bring the entire Indian subcontinent under a single rule. The Mauryan empire under Chandragupta Maurya spread its boundaries into Central Asia and Persia. Expansion of Mauryan Empire: Chandragupta Maurya was succeeded by his son Bindusara in 298 BC who expanded the kingdom over most of present-day India, except Kalinga. Mauryan Dynasty under Ashoka: Bindusara's kingdom was inherited by his son Ashoka the Great in 274 B.C. Kalinga Invasion: During the invasion of Kalinga, Ashoka renounced bloodshed and adopted the policy of Ahimsa and adopted Buddhism. Mauryan Art and Architecture Mauryan architecture can be divided into Court Art and Popular Art. 1/6 Mauryan Court Art: Implies architectural works (in the form of pillars, stupas and palaces) commissioned by Mauryan rulers for political as well as religious reasons. Palaces: Greek historian, Megasthenes, described the palaces of the Mauryan empire as one of the greatest creations of mankind and Chinese traveler Fa Hien called Mauryan palaces as god gifted monuments.
    [Show full text]
  • The Achaemenid Empire in South Asia and Recent Excavations in Akra in Northwest Pakistan Peter Magee Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 2005 The Achaemenid Empire in South Asia and Recent Excavations in Akra in Northwest Pakistan Peter Magee Bryn Mawr College, [email protected] Cameron Petrie Robert Knox Farid Khan Ken Thomas Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Magee, Peter, Cameron Petrie, Richard Knox, Farid Khan, and Ken Thomas. 2005. The Achaemenid Empire in South Asia and Recent Excavations in Akra in Northwest Pakistan. American Journal of Archaeology 109:711-741. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/82 For more information, please contact [email protected]. The Achaemenid Empire in South Asia and Recent Excavations in Akra in Northwest Pakistan PETER MAGEE, CAMERON PETRIE, ROBERT KNOX, FARID KHAN, AND KEN THOMAS Abstract subject peoples. A significant proportion of this The impact of the Achaemenid annexation of north- research has been carried out on the regions that westernPakistan has remained a focus for archaeological border the classical world, in particular Anatolia,1 researchfor more than a century.A lack of well-stratified the Levant,2and Egypt.3In contrast, the far eastern settlementsand a focus on artifactsthat are not necessar- extent of the which is the for the effects of control empire, encompassed by ily appropriate assessing imperial borders of Pakistan and haveuntil now obfuscatedour understandingof this issue.
    [Show full text]
  • Buddha on the Rocks: Gandhāran Connections Through the Karakorum Mountains M
    Buddha on the Rocks: Gandhāran connections through the Karakorum mountains M. E. J. J. van Aerde, A. D. L. Mohns, and A. G. Khan The Global Connections of Gandhāran Art Proceedings of the Third International Workshop of the Gandhāra Connections Project, University of Oxford, 18th-19th March, 2019 Edited by Wannaporn Rienjang Peter Stewart Archaeopress Archaeology Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978-1-78969-695-0 ISBN 978-1-78969-696-7 (e-Pdf) DOI: 10.32028/9781789696950 www.doi.org/10.32028/9781789696950 © Archaeopress and the individual authors 2020 Gandhāran ‘Atlas’ figure in schist; c. second century AD. Los Angeles County Museum of Art, inv. M.71.73.136 (Photo: LACMA Public Domain image.) This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. This book is available direct from Archaeopress or from our website www.archaeopress.com Contents Acknowledgements ����������������������������������������������������������������������������������������������������������������������������iii Illustrations ����������������������������������������������������������������������������������������������������������������������������������������iii Contributors ��������������������������������������������������������������������������������������������������������������������������������������� iv Preface ������������������������������������������������������������������������������������������������������������������������������������������������
    [Show full text]
  • The Caves of Ajanta, Ellora and Elephanta
    PREVIEWCOPY Introduction Previewing this book? Please check out our enhanced preview, which offers a deeper look at this guidebook. Built by Buddhist, Hindu and Jain monks as mountain retreats, India’s magnificent rock-cut sanctuaries, monasteries and temples offer travelers an unrivaled cultural experience, trans- porting them back to the formative stage of art and architecture for India’s indigenous religions. This Approach Guide serves as an ideal companion for travelers seeking a deeper understanding of this fantastic landscape, profiling India’s three premier rock-cut religious sites: Ajanta (Buddhist), Elephanta (Hindu) and Ellora (a mixture of Buddhist, Hindu and Jain). What’s in this guidebook • Comprehensive look at rock-cut art and architecture. We provide an overview of In- dia’s rock-cut art and architecture, isolating trademark features that you will see again and again as you make your way through Ajanta, Elephanta and Ellora. To make things come alive, we have packed our review with high-resolution images. • A tour that goes deeper on the most important sites. Following our tradition of being the most valuable resource for culture-focused travelers, we offer detailed tours of the most impressive and representative caves at Ajanta, Elephanta and Ellora, walking step-by-step through their distinctive artistic and architectural highlights. For each, we present informa- tion on its history, a detailed plan that highlights its most important architectural and artistic features, high-resolution images and a discussion that ties it all together. • Advice for getting the best cultural experience. To help you plan your visit, this guide- book supplies logisticalPREVIEW advice, maps and links to online resources.
    [Show full text]
  • Arc India Ajanta 5501 Cave 1 Interior Sibi Jataka ACSAA Slide (C) AAAUM Arc India Ajanta 5502 Cave 1 Interior Unident
    Arc India Ajanta 5501 Cave 1 Interior Sibi Jataka ACSAA Slide (C) AAAUM Arc India Ajanta 5502 Cave 1 Interior Unidentified Scene ACSAA Slide (C) AAAUM Arc India Ajanta 5503 Cave 1 Interior Det:Unidentified Scene ACSAA Slide (C) AAAUM Arc India Ajanta 5504 Cave 1 Interior Det:Unidentified Scene ACSAA Slide (C) AAAUM Arc India Ajanta 5505 Cave 1 Interior Det:Unidentified Scene ACSAA Slide (C) AAAUM Arc India Ajanta 5506 Cave 1 Interior Mahajanaka Jataka ACSAA Slide (C) AAAUM Arc India Ajanta 5507 Cave 1 Interior Mahajanaka Jataka ACSAA Slide (C) AAAUM Arc India Ajanta 5508 Cave 1 Interior Mahajanaka Jataka ACSAA Slide (C) AAAUM Arc India Ajanta 5509 Cave 1 Interior Detail of 5508: Heads ACSAA Slide (C) AAAUM Arc India Ajanta 5510 Cave 1 Interior Lustration scene ACSAA Slide (C) AAAUM Arc India Ajanta 5511 Cave 1 Interior Maha - Ummaga Jataka ACSAA Slide (C) AAAUM Arc India Ajanta 5512 Cave 1 Interior Padmapani ACSAA Slide (C) AAAUM Arc India Ajanta 5513 Cave 1 Interior Detail: Padmapani ACSAA Slide (C) AAAUM Arc India Ajanta 5514 Cave 1 Interior Detail: Padmapani ACSAA Slide (C) AAAUM Arc India Ajanta 5515 Cave 1 Inter. Antech. Left: Bodhisattva ACSAA Slide (C) AAAUM Arc India Ajanta 5516 Cave 1 Inter. Antech. Right:Sravasti Miracle ACSAA Slide (C) AAAUM Arc India Ajanta 5517 Cave 1 Interior "Black Princess" ACSAA Slide (C) AAAUM Arc India Ajanta 5518 Cave 1 Interior Campeya Jataka ACSAA Slide (C) AAAUM Arc India Ajanta 5519 Cave 1 Interior "Embassy scene" ACSAA Slide (C) AAAUM Arc India Ajanta 5520 Cave 1 Interior L Aisle:Painted pillar ACSAA Slide (C) AAAUM Arc India Ajanta 5521 Cave 1 Interior Ceiling: Aquatic Cows ACSAA Slide (C) AAAUM Arc India Ajanta 5522 Cave 1 Interior Ceilg.:Yaksha King (?) ACSAA Slide (C) AAAUM Arc India Ajanta 5523 Cave 1 Inter.
    [Show full text]
  • Introduction to Indian Art
    AN INTRODUCTION TO INDIAN ART PART I Textbook in Fine Arts for Class XI ISBN- 978-93-5007-187-8 First Edition ALL RIGHTS RESERVED September 2012 Asvina 1934 No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise PD 5T MJ without the prior permission of the publisher. This book is sold subject to the condition that it shall not, by way © National Council of Educational of trade, be lent, re-sold, hired out or otherwise disposed of without the publisher’s consent, in any form of binding or cover Research and Training, 2012 other than that in which it is published. The correct price of this publication is the price printed on this page, Any revised price indicated by a rubber stamp or by a sticker or by any other means is incorrect and should be unacceptable. OFFICES OF THE PUBLICATION DIVISION, NCERT NCERT Campus Sri Aurobindo Marg New Delhi 110 016 Phone : 011-26562708 108, 100 Feet Road Hosdakere Halli Extension Banashankari III Stage Bangalore 560 085 Phone : 080-26725740 Navjivan Trust Building P.O.Navjivan Ahmedabad 380 014 Phone : 079-27541446 `` CWC Campus ``` 120.00 Opp. Dhankal Bus Stop Panihati Kolkata 700 114 Phone : 033-25530454 CWC Complex Maligaon Guwahati 781 021 Phone : 0361-2674869 Publication Team Head, Publication : A.K. Srivastava Division Chief Production : Shiv Kumar Officer Chief Editor (Incharge) : Naresh Yadav Chief Business : Gautam Ganguly Manager Printed on 80 GSM paper with NCERT watermark Editorial Assistant : Mathew John Published at the Publication Division by Production Officer : V.B.
    [Show full text]
  • The Organ Giving-Away in Mahāyāna Buddhist Perspective
    THE ORGAN GIVING-AWAY IN MAHĀYĀNA BUDDHIST PERSPECTIVE BHIKKHUNĪ JING LIU A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts (Buddhist Studies) Graduate School Mahachulalongkornrajavidyalaya University C.E. 2017 The Organ Giving-Away in Mahāyāna Buddhist Perspective Bhikkhunī Jing Liu A Thesis Submitted in Partial Fulfilment of The Requirements for the Degree of Master of Arts (Buddhist Studies) Graduate School Mahachulalongkornrajavidyalaya University C.E. 2017 (Copyright by Mahachulalongkornrajavidyalaya University) i Thesis Title : The Organ Giving-Away in Mahāyāna Buddhist Perspective Researcher : Bhikkhunī Jing Liu Degree : Master of Arts (Buddhist Studies) Thesis Supervisory Committee : Asst. Prof. Dr. Sanu Mahatthanadull, B.A. (Advertising), M.A. (Buddhist Studies), Ph.D. (Buddhist Studies) : Phramaha Nantakorn Piyabhani, Dr., Pāḷi VIII, B.A. (English), M.A. (Buddhist Studies), Ph.D. (Buddhist Studies) Date of Graduation : March 10, 2018 Abstract This thesis is a research on Organ Giving-Away after death in Mahāyāna Buddhist perspective. There are mainly three objectives in this thesis: (1) to study the definition, types and significance of Giving-Away (dāna) in Mahāyāna scriptures; (2) to study the definition, practice and significance of Organ Giving-Away in Mahāyāna Buddhism; (3) to analyze Organ Giving-Away after death in Mahāyāna Buddhist Perspective. There mainly exists two primary cruxes during the process of this research: (1) the first crux of Organ Giving-Away after death which involves with the problematic definitions for death; (2) the second crux of ii Organ Giving-Away after death which involves with different comprehensions of death and how to take care of death.
    [Show full text]
  • Buddha Stone Images in Sub-Regional Office, Peshawar: Classification and Stylistic Analysis
    BUDDHA STONE IMAGES IN SUB-REGIONAL OFFICE, PESHAWAR: CLASSIFICATION AND STYLISTIC ANALYSIS By Tahir Saeed TAXILA INSTITUTE OF ASIAN CIVILIZATIONS QUAID-I-AZAM UNIVERSITY, ISLAMABAD, PAKISTAN 2017 Author’s Declaration I, Tahir Saeed hereby state that my PhD thesis titles “Buddha Stone Images in Sub-Regional Office, Peshawar: Classification and Stylistic Analysis” is my own work and not been submitted previously by me for taking any degree from Quaid-i-Azam University, Islamabad or anywhere else in the country/world. At any time if my statement is found to be incorrect even after my Graduate the university has the right to withdraw my PhD degree. Name of student: Tahir Saeed Dated: 13-08-2018. i Plagiarism Undertaking I solemnly declare that research work presented in the thesis titled “Buddha Stone Images in Sub- Regional Office, Peshawar: Classification and Stylistic Analysis” is solely my research work with no significant contribution from any person. Small contribution / help wherever taken has been duly acknowledged and that complete thesis has been written by me. I understand the Zero tolerance policy of the HEC and Quaid-i-Azam University, Islamabad towards plagiarism. Therefore, I as an author of the above titled thesis declare that no portion of my thesis has been plagiarized and my material used as reference is properly referred/ cited. I undertake that if I am found guilty of any formal plagiarism in the above titled thesis even after award of PhD degree, the University reserves the right to with draw/revoke my PhD degree and that HEC and the University has the right to publish may name of the HEC/University Website on which names of students are placed who submitted plagiarized thesis.
    [Show full text]
  • Spatial Narratives of Taxila: a Thematic Study of Urbanisation in Ancient Past
    International Journal of Research in Social Sciences Vol. 9 Issue 5, May 2019, ISSN: 2249-2496 Impact Factor: 7.081 Journal Homepage: http://www.ijmra.us, Email: [email protected] Double-Blind Peer Reviewed Refereed Open Access International Journal - Included in the International Serial Directories Indexed & Listed at: Ulrich's Periodicals Directory ©, U.S.A., Open J-Gage as well as in Cabell’s Directories of Publishing Opportunities, U.S.A Spatial Narratives of Taxila: A Thematic Study of Urbanisation in Ancient Past Dr. D. K. Shahi* Abstract; The landscape of Taxila has a unique spatial fingerprint. As a story and history, it is inscribed on geography and as a geography it has imprints of its long history. The spatial narratives of Taxila helps to recreate the past history and historical geography. It has a spatial chronology and it involves historical chorology. The fragment of history provides an alternative way of reading its geography and thus experiencing the landscape of Taxila. Spatial narratives are representation of geography and narration of history. But these stories are neither (only) geography nor (only) history. These narratives spell out both myths and realities of geography and history and thus help to recreate the historical geography and spatial history. Another fact of special significance is that, the spatial narratives are rooted in geography while still rooted in history. Although, the spatial narratives are usually punctuated spatially they are also accentuated temporally (they underline history). These narratives are descriptions ofplaces or spaces. Besides, these narratives are descriptions of change in a place or space or any other geographical entity.
    [Show full text]