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1

Looking at Gandhāra

100%

ABHIJEET K.

Historia i Świat

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2015

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issue 4

439-447

EN

Gandhāran artifacts serve as memory of the two millennium past aesthetics, art, culture and norms of the people of Gandhāra. The modern scholarship was started with the archaeological excavations, it’s interest in the western world with its link up, peculiar with classical forms. The intellectual society’s urge to learn from Buddhist visuals and collectionism had grown to its peak from last two centuries. The Kushan empire was into contact with the Mediterranean Rome, Egypt & Iran, one of the world’s best cultural centers of the era that burgeoned the local centers of Art and it was obvious that assimilations of forms of making artifacts were based on the demand of the patron. By these exchanges, Gandhāran Art also influenced Roman Art with introduction of Jewelry and Flower garlands etc. as it was going both ways; with exporting goods to the western society. Buddhism was also going westward, the prime time was second century CE when it saw its finest flowering and prominence on the gateway of the Silk Road. The quest for divinity through seeing art was the one way to attract lay people and theirs donation could accelerate the monastic activities from writing religious codes (Sutta in Pali, Sutra in Sanskrit) to making new Viharas (monasteries) and Chaityas (temples) .

2

Milindapañha and the Role of Buddhism as a Catalyst for Public Communication and Discussion

75%

Kubica O.

Academic Journal of Modern Philology

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2021

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issue 14

237–245

EN

As Amartya Sen has rightly noticed (Sen 2005: 182), one of Buddhist main principles was attaching special importance to discussions and dialogue. This argumentative tradition, which is traceable in Buddhism from the very beginning, for example in the texts of the Sutta Piṭaka or the so-called “Buddhist councils,” especially the third of them in the time of Aśoka, who in his edicts advocated respect for dissenting views, finds its exemplification in the Milindapañha — a Pāli Buddhist text, missing original version of which was probably written in Gāndhārī. The analysis of this text, taking into account a variety of possible influences in a multicultural environment of the region of its origin – Gandhāra and during its transmission, as well as the applied artistic means, will give us the opportunity to reconsider the crucial questions regarding the religious and ethnic identity of the Indo-Greek ruler and the attractiveness of Buddhism to the Greeks living in the region of Gandhāra in the second and first century BC. These questions, in a broader perspective, relate to the matters of the dialogue on its many levels: socio-political, intercultural, interpersonal and intrapersonal. Analysis of these levels enables us to notice the essence of the dialogue and its importance.

3

Mesopotaamia jumalanna Nanāia mõjudest Kesk- ja Lõuna-Aasias

45%

Schumann A., Sazonov V.

Mäetagused

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2023

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vol. 85

121-136

EN

In this paper we have traced some basic attributes belonging to the Mesopotamian goddess Nanāia, from their origin in the period of Ur III (2112–2004 BC) in ancient Mesopotamia up to the period of the Kuṣāṇas and Kūšānšāhs (from the 1st century AD to the late 4th century AD) in Central and South Asia, and up to the period of their successors – the Kidarites and Hephthalites. We have shown that there was a smooth transformation of these attributes of Nanāia to the standard Indian iconographic motif of Durgā.

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1 Academic Journal of Modern Philology

1 Historia i Świat

1 Mäetagused

1 ABHIJEET K.

1 Kubica O.

1 Sazonov V.

1 Schumann A.

1 2023

1 2021

1 2015

Looking at Gandhāra

Milindapañha and the Role of Buddhism as a Catalyst for Public Communication and Discussion

Mesopotaamia jumalanna Nanāia mõjudest Kesk- ja Lõuna-Aasias