Buddha in Gandhara is the saga of ancient Buddhist cities of Gandhara--a region that extended from north-western Pakistan to eastern and north-eastern Afghanistan. It tells stories of cities that once dotted the highroad connecting India with Central Asia and China. It traces the network of Asian trade routes that nourished these cities with goods, people and ideas. It also trains the spotlight on the magnificent art of Gandhara that still clings to the ruins of these heritage cities and also those that are showcased in the museums of Asia and Europe.--Amazon.com.

Gandhara is a name central to Buddhist heritage and iconography. It is the ancient name of a region in present-day Pakistan, bounded on the west by the Hindu Kush mountain range and to the north by the foothills of the Himalayas. ‘Gandhara’ is also the term given to this region’s sculptural and architectural features between the first and sixth centuries CE. This book re-examines the archaeological material excavated in the region in the nineteenth and early twentieth centuries and traces the link between archaeological work, histories of museum collections and related interpretations by art historians. The essays in the volume underscore the diverse cultural traditions of Gandhara – from a variety of sources and perspectives on language, ethnicity and material culture (including classical accounts, Chinese writings, coins and Sanskrit epics) – as well as interrogate the grand narrative of Hellenism of which Gandhara has been a part. The book explores the making of collections of what came to be described as Gandhara art and reviews the Buddhist artistic tradition through notions of mobility and dynamic networks of transmission. Wide ranging and rigorous, this volume will appeal to scholars and researchers of early South Asian history, archaeology, religion (especially Buddhist studies), art history and museums.

Gandhāran art is usually regarded as a single phenomenon – a unified regional artistic tradition or 'school'. Indeed it has distinctive visual characteristics, materials, and functions, and is characterized by its extensive borrowings from the Graeco-Roman world. Yet this tradition is also highly varied. Even the superficial homogeneity of Gandhāran sculpture, which constitutes the bulk of documented artistic material from this region in the early centuries AD, belies a considerable range of styles, technical approaches, iconographic choices, and levels of artistic skill. The geographical variations in Gandhāran art have received less attention than they deserve. Many surviving Gandhāran artefacts are unprovenanced and the difficulty of tracing substantial assemblages of sculpture to particular sites has obscured the fine-grained picture of its artistic geography. Well documented modern excavations at particular sites and areas, such as the projects of the Italian Archaeological Mission in the Swat Valley, have demonstrated the value of looking at sculptures in context and considering distinctive aspects of their production, use, and reuse within a specific locality. However, insights of this kind have been harder to gain for other areas, including the Gandhāran heartland of the Peshawar basin. Even where large collections of artworks can be related to individual sites, the exercise of comparing material within and between these places is still at an early stage. The relationship between the Gandhāran artists or 'workshops', particular stone sources, and specific sites is still unclear. Addressing these and other questions, this second volume of the Gandhara Connections project at Oxford University’s Classical Art Research Centre presents the proceedings of a workshop held in March 2018. Its aim is to pick apart the regional geography of Gandhāran art, presenting new discoveries at particular sites, textual evidence, and the challenges and opportunities of exploring Gandhāra’s artistic geography.