Art and Culture ( Supplementary Material )

Total Page:16

File Type:pdf, Size:1020Kb

Art and Culture ( Supplementary Material ) https://t.me/UPSC_PDF www.UPSCPDF.com https://t.me/UPSC_PDF VISION IAS ™ www.visionias.in www.visionias.wordpress.com ART AND CULTURE ( SUPPLEMENTARY MATERIAL ) Copyright © by Vision IAS All rights are reserved. No part of this document may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of Vision IAS www.visionias.in ©Vision IAS Download from:- www.UPSCPDF.com https://t.me/UPSC_PDF www.UPSCPDF.com https://t.me/UPSC_PDF Student Notes: ART AND CULTURE – SUPPLEMENTARY MATERIAL Contents 1] Architecture and Sculpture ........................................................................................................ 4 2] Classification of India Architecture ............................................................................................ 4 3] Harappan Civilization (Indus Valley Civilization) Art .................................................................. 5 3.1 Seals ..................................................................................................................................... 5 3.2 Sculpture .............................................................................................................................. 5 3.3 Terracotta ............................................................................................................................. 6 3.4 Pottery .................................................................................................................................. 6 3.5 Beads and Ornaments .......................................................................................................... 7 3.6 Extensive Town Planning ...................................................................................................... 7 4] Mauryan Art ............................................................................................................................... 8 4.1 Pillars .................................................................................................................................... 9 4.2 Stupas ................................................................................................................................. 10 4.3 Caves .................................................................................................................................. 11 4.4 Sculpture ............................................................................................................................ 12 4.5 Pottery ................................................................................................................................ 12 5] Post – Mauryan Art .................................................................................................................. 12 5.1 Caves Tradition ................................................................................................................... 13 5.2 Stupas ................................................................................................................................. 13 5.3 Sculpture ............................................................................................................................ 14 6] Gupta Age ................................................................................................................................ 15 6.1 Rock Cut Cave ..................................................................................................................... 16 6.2 Sculpture ............................................................................................................................ 18 6.3 Temple Architecture ........................................................................................................... 18 Rajinder Nagar: 1/8-B, 2 nd Floor, Apsara Arcade, Near Gate 6, Karol Bagh Metro, Delhi Mukherjee Nagar: 103, 1 st Floor, B/1-2, Ansal Building, Behind UCO Bank, Delhi-9 09650617807, 09968029039, 09717162595 1 www.visionias.in ©Vision IAS Download from:- www.UPSCPDF.com https://t.me/UPSC_PDF www.UPSCPDF.com https://t.me/UPSC_PDF Student Notes: 6.4 Styles of Temples ................................................................................................................ 19 Temple Architecture in South India .............................................................................................. 21 7.0 Dravida Style.......................................................................................................................... 21 7.1 Nayaka Style ....................................................................................................................... 23 7.2 Vijaynagar Legacy ............................................................................................................... 24 8.0 Vesara Style/Chalukya Style/Karnataka Style ........................................................................ 24 Architecture in Medieval India ..................................................................................................... 24 9.0 Indo-Islamic Style ................................................................................................................... 24 9.1 Imperial Style ..................................................................................................................... 26 9.2 Provincial Style ................................................................................................................... 28 9.3 Mughal Period .................................................................................................................... 29 Modern India and European Influence ........................................................................................ 33 Some Famous Architects of Modern India ................................................................................... 36 INDIAN CLASSICAL DANCE............................................................................................................ 37 Bharatnatyam Dance ................................................................................................................ 37 Kuchipudi ................................................................................................................................. 39 Kathakali Dance ........................................................................................................................ 40 Kathak Dance ........................................................................................................................... 43 Manipuri ................................................................................................................................... 44 Odissi ........................................................................................................................................ 46 Sattriya ..................................................................................................................................... 48 Mohiniyattam ........................................................................................................................... 49 INDIAN PAINTING ......................................................................................................................... 50 Sadanga of Indian painting ....................................................................................................... 51 Genres of Indian Painting ......................................................................................................... 51 10 Murals.................................................................................................................................... 51 Rajinder Nagar: 1/8-B, 2 nd Floor, Apsara Arcade, Near Gate 6, Karol Bagh Metro, Delhi Mukherjee Nagar: 103, 1 st Floor, B/1-2, Ansal Building, Behind UCO Bank, Delhi-9 09650617807, 09968029039, 09717162595 2 www.visionias.in ©Vision IAS Download from:- www.UPSCPDF.com https://t.me/UPSC_PDF www.UPSCPDF.com https://t.me/UPSC_PDF Student Notes: 10.1 Badami paintings ............................................................................................................ 52 10.2 Murals under the Pallava, Pandava and Chola kings ...................................................... 52 10.3 Vijayanagara murals ....................................................................................................... 53 10.4 Nayaka Murals ................................................................................................................ 54 10.5 Kerala Murals .................................................................................................................. 54 11 Miniature Painting ................................................................................................................. 54 11.1 The Pala School (11 th – 12 th Century) ............................................................................. 54 11.2 Western Indian School of Painting ................................................................................. 55 11.3 Mughal Painting ............................................................................................................. 56 11.4 Rājput Painting ................................................................................................................ 57 12 Modern Painting .................................................................................................................... 60 Phases .....................................................................................................................................
Recommended publications
  • List of State-Wise National Parks & Wildlife Sanctuaries in India
    List of State-wise National Parks & Wildlife Sanctuaries in India Andaman and Nicobar Islands Sr. No Name Category 1 Barren Island Wildlife Sanctuary Wildlife Sanctuary 2 Battimalve Island Wildlife Sanctuary Wildlife Sanctuary 3 Bluff Island Wildlife Sanctuary Wildlife Sanctuary 4 Bondoville Island Wildlife Sanctuary Wildlife Sanctuary 5 Buchaan Wildlife Sanctuary Wildlife Sanctuary 6 Campbell Bay National Park National Park 7 Cinque Island Wildlife Sanctuary Wildlife Sanctuary 8 Defense Island Wildlife Sanctuary Wildlife Sanctuary 9 East Island Wildlife Sanctuary Wildlife Sanctuary 10 East Tingling Island Wildlife Sanctuary Wildlife Sanctuary 11 Flat Island Wildlife Sanctuary Wildlife Sanctuary 12 Galathea National Park National Park 13 Interview Island Wildlife Sanctuary Wildlife Sanctuary 14 James Island Wildlife Sanctuary Wildlife Sanctuary 15 Kyd Island Wildlife Sanctuary Wildlife Sanctuary 16 Landfall Island Wildlife Sanctuary Wildlife Sanctuary 17 Lohabarrack Salt Water Crocodile Sanctuary Crocodile Sanctuary 18 Mahatma Gandhi Marine National Park National Park 19 Middle Button Island National Park National Park 20 Mount Harriet National Park National Park 21 Narcondum Island Wildlife Sanctuary Wildlife Sanctuary 22 North Button Island National Park National Park 23 North Reef Island Wildlife Sanctuary Wildlife Sanctuary 24 Paget Island Wildlife Sanctuary Wildlife Sanctuary 25 Pitman Island Wildlife Sanctuary Wildlife Sanctuary 26 Point Island Wildlife Sanctuary Wildlife Sanctuary 27 Ranger Island Wildlife Sanctuary Wildlife Sanctuary
    [Show full text]
  • 11 Indian Painting
    MODULE - V Indian Painting Painting, Performing Arts and Architecture Notes 11 INDIAN PAINTING hen you go to the market or to a museum you will find many paintings, wall hangings or work done on terracotta. Do you know that these paintings have Wtheir origin in ouir ancient past. They depict the life and customs followed by the people of those times. They also show how the kings and queens dressed or how the courtiers sat in the royal assembly. Literacy records which had a direct bearing on the art of painting show that from very early times painting both secular and religious were considered an important form of artistic expression and was practised. This need for expression is a very basic requirement for human survival and it has taken various forms since prehistoric times. Painting is one such form with which you may have been acquainted in some way or the other. Indian painting is the result of the synthesis of various traditions and its development is an ongoing process. However while adapting to new styles, Indian painting has maintained its distinct character. “Modern Indian painting in thus a reflection of the intermingling of a rich traditional inheritance with modern trends and ideas”. OBJECTIVES After reading this lesson you will be able to: trace the origin of painting from the prehistoric times; describe the development of painting during the medieval period; recognise the contribution of Mughal rulers to painting in India; trace the rise of distinct schools of painting like the Rajasthani and the Pahari schools; assess
    [Show full text]
  • Government of India Ministry of Tourism
    GOVERNMENT OF INDIA MINISTRY OF TOURISM LOK SABHA UNSTARRED QUESTION NO.3341 ANSWERED ON 09.08.2021 SETTING UP OF TOURISM HUBS 3341. PROF. SOUGATA RAY: Will the Minister of TOURISM be pleased to state: (a) whether the Government has any proposal to set up tourism hubs in the country; (b) if so, the details thereof, State-wise; and (c) the details of existing pilgrim tourism hubs in the country? ANSWER MINISTER OF TOURISM (SHRI G. KISHAN REDDY) (a) to (c): Development and promotion of Tourism is primarily the responsibility of the State Government / Union Territory Administration. The Ministry of Tourism, under its ‘Swadesh Darshan scheme’ is developing thematic circuits in the country in planned and prioritized manner in order to develop tourism infrastructure at multiple destinations. The Ministry under its scheme ‘National Mission on Pilgrimage Rejuvenation and Spiritual, Heritage Augmentation Drive (PRASHAD)’ provides financial assistance to State Governments/ Union Territory (UT) Administrations etc. with the objective of integrated development of identified pilgrimage and heritage destinations. Sanctioning of the projects is a continuous process and is subject to availability of funds, submission of suitable Detailed Project Reports, adherence to scheme guidelines and utilization of funds released earlier etc. The details of projects sanctioned under ‘Swadesh Darshan’ and ‘PRASHAD’ scheme are annexed. ******* ANNEXURE STATEMENT IN REPLY TO PARTS (a) TO (c) OF LOK SABHA UNSTARRED QUESTION NO. 3341 ANSWERED ON 09.08.2021 REGARDING SETTING UP OF TOURISM HUBS. I. THE DETAILS OF PROJECTS SANCTIONED UNDER SWADESH DARSHAN SCHEME (Rs. in crore) Sl. State/UT Name of the Name of the Project Amount No.
    [Show full text]
  • Detail of Registered Travel Agents in Jalandhar District Sr.No
    Detail of Registered Travel Agents in Jalandhar District Sr.No. Licence No. Name of Travel Agent Office Name & Address Home Address Licence Type Licence Issue Date Till Which date Photo Licence is Valid 1 2 3 4 5 1 1/MC1/MA Sahil Bhatia S/o Sh. M/s Om Visa, Shop R/o H.No. 57, Park Avenue, Travel Agency Consultancy Ticekting Agent 9/4/2015 9/3/2020 Manoj Bhatia No.10, 12, AGI Business Ladhewali Road, Jalandhar Centre, Near BMC Chowk, Garha Road, Jalandhar 2 2/MC1/MA Mr. Bhavnoor Singh Bedi M/s Pyramid E-Services R/o H.No.127, GTB Avenue, Jalandhar Travel Agent Coaching Consultancy Ticekting Agent 9/10/2015 9/9/2020 S/o Mr. Jatinder Singh Pvt. Ltd., 6A, Near Old Institution of Bedi Agriculture Office, Garha IELTS Road, Jalandhar 3 3/MC1/MA Mr.Kamalpreet Singh M/S CWC Immigration Sco 26, Ist to 2nd Floor Crystal Plaza, Travel Agency 12/21/2015 12/20/2020 Khaira S/o Mr. Kar Solution Choti Baradari Pase-1 Garha Road , Jalandhar 4 4/MC1/MA Sh. Rahul Banga S/o Late M/S Shony Travels, 2nd R/o 133, Tower Enclave, Phase-1, Travel Agent Ticketing Agent 12/21/2015 6/17/2023 Sh. Durga Dass Bhanga Floor, 190-L, Model Jalandhar Town Market, Jalandhar 5 5/MC1/MA Sh.Jaspla Singh S/o Sh. M/S Cann. World Sco-307, 2nd Floor, Prege Chamber , Travel Agency 2/3/2016 2/2/2021 Mohan Singh Consulbouds opp. Nanrinder Cinema Jalandhar 6 6/MC1/MA Sh.
    [Show full text]
  • Gandharan Origin of the Amida Buddha Image
    Ancient Punjab – Volume 4, 2016-2017 1 GANDHARAN ORIGIN OF THE AMIDA BUDDHA IMAGE Katsumi Tanabe ABSTRACT The most famous Buddha of Mahāyāna Pure Land Buddhism is the Amida (Amitabha/Amitayus) Buddha that has been worshipped as great savior Buddha especially by Japanese Pure Land Buddhists (Jyodoshu and Jyodoshinshu schools). Quite different from other Mahāyāna celestial and non-historical Buddhas, the Amida Buddha has exceptionally two names or epithets: Amitābha alias Amitāyus. Amitābha means in Sanskrit ‘Infinite light’ while Amitāyus ‘Infinite life’. One of the problems concerning the Amida Buddha is why only this Buddha has two names or epithets. This anomaly is, as we shall see below, very important for solving the origin of the Amida Buddha. Keywords: Amida, Śākyamuni, Buddha, Mahāyāna, Buddhist, Gandhara, In Japan there remain many old paintings of the Amida Triad or Trinity: the Amida Buddha flanked by the two bodhisattvas Avalokiteśvara and Mahāsthāmaprāpta (Fig.1). The function of Avalokiteśvara is compassion while that of Mahāsthāmaprāpta is wisdom. Both of them help the Amida Buddha to save the lives of sentient beings. Therefore, most of such paintings as the Amida Triad feature their visiting a dying Buddhist and attempting to carry the soul of the dead to the AmidaParadise (Sukhāvatī) (cf. Tangut paintings of 12-13 centuries CE from Khara-khoto, The State Hermitage Museum 2008: 324-327, pls. 221-224). Thus, the Amida Buddha and the two regular attendant bodhisattvas became quite popular among Japanese Buddhists and paintings. However, the origin of this Triad and also the Amida Buddha himself is not clarified as yet in spite of many previous studies dedicated to the Amida Buddha, the Amida Triad, and the two regular attendant bodhisattvas (Higuchi 1950; Huntington 1980; Brough 1982; Quagliotti 1996; Salomon/Schopen 2002; Harrison/Lutczanits 2012; Miyaji 2008; Rhi 2003, 2006).
    [Show full text]
  • ISID Twenty Fifth Annual Report 2011-12
    Institute for Studies in Industrial Development Twenty Fifth Annual Report 2011–12 ISID 4, Institutional Area, Vasant Kunj Phase II, New Delhi - 110 070, INDIA Website: http://isidev.nic.in or http://isid.org.in, Email: [email protected] Telephone: +91 11 2676 4600; Fax: +91 11 2676 1631 CONTENTS Introduction 1 Research Programme 1 Faculty 3 Research Projects / Studies 4 Completed 4 Ongoing 16 Studies Initiated 23 ISID Foundation Day 24 Two-Day National Seminar 26 Internal Seminars / Presentations 28 Publications 28 Journals / Newspapers 28 Occasional Papers 29 Working Papers 30 Discussion Notes 32 Presentations in Conferences / Seminars / Workshops 40 Lectures Delivered 43 Participation in Conferences / Seminars / Workshops 44 Award of Doctoral Degree 47 Research Internship Programme 47 Visit of Foreign Scholars 48 ISID and PHFI collaborative Research 49 Recognition of ISID by the Panjab Univeristy 49 Research Infrastructure 49 Databases 50 Library & Documentation 51 On-line Databases of Social Science Journals & News Papers Clippings 53 ISID Research Reference CD (RRCD) 54 ISID Website 55 IT Facilities 56 ISID Social Science Database on the INFLIBNET 57 Media Centre 57 Travesty of Justice: Where Denial is the Rule 57 Campus News 58 Foundation Day Cultural Programme 59 Finances 60 Management 61 Acknowledgements 62 Annexures 1. Faculty Members with their Areas of Research Interests and Staff Members (as on March 31, 2012) 63 2. List of Journals Covered in On-Line Index 67 3. State-wise Distribution of Registered Users (as on March 31, 2012) 76 4. Country-wise Distribution of Registered Users (as on March 31, 2012) 77 5.
    [Show full text]
  • The Gupta Empire: an Indian Golden Age the Gupta Empire, Which Ruled
    The Gupta Empire: An Indian Golden Age The Gupta Empire, which ruled the Indian subcontinent from 320 to 550 AD, ushered in a golden age of Indian civilization. It will forever be remembered as the period during which literature, science, and the arts flourished in India as never before. Beginnings of the Guptas Since the fall of the Mauryan Empire in the second century BC, India had remained divided. For 500 years, India was a patchwork of independent kingdoms. During the late third century, the powerful Gupta family gained control of the local kingship of Magadha (modern-day eastern India and Bengal). The Gupta Empire is generally held to have begun in 320 AD, when Chandragupta I (not to be confused with Chandragupta Maurya, who founded the Mauryan Empire), the third king of the dynasty, ascended the throne. He soon began conquering neighboring regions. His son, Samudragupta (often called Samudragupta the Great) founded a new capital city, Pataliputra, and began a conquest of the entire subcontinent. Samudragupta conquered most of India, though in the more distant regions he reinstalled local kings in exchange for their loyalty. Samudragupta was also a great patron of the arts. He was a poet and a musician, and he brought great writers, philosophers, and artists to his court. Unlike the Mauryan kings after Ashoka, who were Buddhists, Samudragupta was a devoted worshipper of the Hindu gods. Nonetheless, he did not reject Buddhism, but invited Buddhists to be part of his court and allowed the religion to spread in his realm. Chandragupta II and the Flourishing of Culture Samudragupta was briefly succeeded by his eldest son Ramagupta, whose reign was short.
    [Show full text]
  • Nepal Country Strategic Opportunities Programme 2021-2026
    Document: EB 2021/132/R.19 Agenda: 12(b)(i)(a) Date: 22 March 2021 E Distribution: Public Original: English Nepal Country Strategic Opportunities Programme 2021-2026 Note to Executive Board representatives Focal points: Technical questions: Dispatch of documentation: Nigel Brett Deirdre Mc Grenra Regional Director Chief Asia and the Pacific Division Institutional Governance and Tel.: +39 06 5459 2516 Member Relations e-mail: [email protected] Tel.: +39 06 5459 2374 e-mail: [email protected] Tarek Kotb Country Director Tel.: +91 1146532789 e-mail: [email protected] Executive Board — 132nd Session Rome, 19-21 April 2021 For: Review EB 2021/132/R.19 Contents I. Country context and rural sector agenda: Key challenges and opportunities 1 II. Government policy and institutional framework 2 III. IFAD engagement: Lessons learned 3 IV. Country strategy 4 A. Comparative advantage 5 B. Target group and targeting strategy 5 C. Overall goal and strategic objectives 6 D. Menu of IFAD interventions 7 V. Innovations and scaling up for sustainable results 9 VI. COSOP implementation 9 A. Financial envelope and cofinancing targets 9 B. Resources for non-lending activities 10 C. Key strategic partnerships and development coordination 10 D. Beneficiary engagement and transparency 10 E. Programme management arrangements 11 F. Monitoring and evaluation 11 VII. Risk management 11 Appendices I. COSOP results management framework II. Transition scenarios III. Agricultural and rural sector issues IV. SECAP background study V. Agreement at completion point VI. COSOP preparation process VII. Strategic partnerships VIII. South-South and Triangular Cooperation strategy IX. Country at a glance X.
    [Show full text]
  • Pahari Miniature Schools
    The Art Of Eurasia Искусство Евразии No. 1 (1) ● 2015 № 1 (1) ● 2015 eISSN 2518-7767 DOI 10.25712/ASTU.2518-7767.2015.01.002 PAHARI MINIATURE SCHOOLS Om Chand Handa Doctor of history and literature, Director of Infinity Foundation, Honorary Member of Kalp Foundation. India, Shimla. [email protected] Scientific translation: I.V. Fotieva. Abstract The article is devoted to the study of miniature painting in the Himalayas – the Pahari Miniature Painting school. The author focuses on the formation and development of this artistic tradition in the art of India, as well as the features of technics, stylistic and thematic varieties of miniatures on paper and embroidery painting. Keywords: fine-arts of India, genesis, Pahari Miniature Painting, Basohali style, Mughal era, paper miniature, embroidery painting. Bibliographic description for citation: Handa O.C. Pahari miniature schools. Iskusstvo Evrazii – The Art of Eurasia, 2015, No. 1 (1), pp. 25-48. DOI: 10.25712/ASTU.2518-7767.2015.01.002. Available at: https://readymag.com/622940/8/ (In Russian & English). Before we start discussion on the miniature painting in the Himalayan region, known popularly the world over as the Pahari Painting or the Pahari Miniature Painting, it may be necessary to trace the genesis of this fine art tradition in the native roots and the associated alien factors that encouraged its effloresces in various stylistic and thematic varieties. In fact, painting has since ages past remained an art of the common people that the people have been executing on various festive occasions. However, the folk arts tend to become refined and complex in the hands of the few gifted ones among the common folks.
    [Show full text]
  • Indian Music
    Indian music The history of India in terms of music can be regarded as one of the oldest in the world. Some of the experts claims the Indian music dates back to the times of Vedas. It doesn’t matters what time and age maybe associated with Indian music there is no doubt that music has been an important part of India’s cultural and traditional heritage. Indian music is basically the combination of vocal and instrumental music with great significance of dance. All these combine to form a Sangeet India’s music is based on the combination of vocal and instrumental music, along with dance. And these three combined is what is known as sangeet. Division of Indian music Indian music can be divided into three parts: Modern music Classical music Folk music Modern Indian music : Large collections of modern music are the songs from Indian cinema which makes up 72% of the music sales in the country. The modern music comprises: Pop Rock n mental music Dance music Indian hip-hop Classical music Instruments like Sitar, sarod, tabla, sarangi or dhrupad, khayal, ghazal or raga, tala, gharana are known by world today. They represent the musical art of India specially the Indian classical music. Indian classical music is based on two types of music further i.e. Classical music prevalent in north India The Carnatic music of south India Hindustani music: A significant amount of Persian influence can be observed in Hindustani music in terms of instruments. It has assimilated several folk tunes. Table players usually keep the rhythm which can be an indicator of time.
    [Show full text]
  • Classical Dances Have Drawn Sustenance
    Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return.
    [Show full text]
  • The Global Connections of Gandhāran Art
    More Gandhāra than Mathurā: substantial and persistent Gandhāran influences provincialized in the Buddhist material culture of Gujarat and beyond, c. AD 400-550 Ken Ishikawa 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]