Vajrapāṇi in the Narrative Reliefs, in: Migration, Trade and Peoples, Part 2: Gandharan Art, ed. C. Fröhlich, The British Association for South Asian Studies, (Proceedings of the 18th International Conference of the European Association of South Asian Archaeologists in London 2005) pp. 73-83. (original) (raw)

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Migration, Trade and Peoples: EASAA Proceedings (2005) Cover Page

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Gandhara & Andhra: Varying Traditions of Narrative Representations (Some observa­tions on the arrangement of scenes citing the example of the Bodhisatva crossing the river Nairañjanā), in: Indo-Asiatische Zeitschrift 22, 2018, pp. 6-17. Cover Page

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Buddhist Art’s Late Bloomer: The Genius and Influence of Gandhara, in: Problems of Chronology in Gandhāran Art Proceedings of the First International Workshop of the Gandhāra Connections Project, University of Oxford, 23rd-24th March, 2017, Oxford: Archaeopress Archaeology, 2018, pp. 103-121. Cover Page

Fruits of Research on the History of Central Asian Art in Berlin (II): The Buddha and the Tree God

In this paper a new interpretation of an iconography common in the art of Gandhara will be proposed. After his enlightenment the Buddha remains seated for a certain period of time. In the art of Gandhara and also in Kizil, Cave 110 (Treppenhöhle) this episode has been represented involving the depiction of a tree deity, the identity of which shall be clearified in this paper. The representation from Kizil has been thought to be lost but luckily the authors were able to rediscover a part of the mural in the State Hermitage Museum; the fragment is published in this paper for the first time. The authors would like to express their gratitude to the staff of the State Hermitag Museum for the very kind permission to publish this photograph for the first time.

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Fruits of Research on the History of Central Asian Art in Berlin (II): The Buddha and the Tree God Cover Page

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Heavenly Relics – The Bodhisatva’s Turban and Bowl in the Reliefs of Gandhāra and Āndhra (including Kanaganahalli) Cover Page

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Some Details from the Representations of the Parinirvāṇa Cycle in the Art of Gandhara and Kucha: The Iconography of the Wandering Ascetics (Parivrājaka, Nirgrantha and Ājīvika), in: Art of the Orient 7, 2018, pp. 137-170. Cover Page

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The Identification of Kizil Paintings III (5. kalamacchedya, 6. Sundarika-Bhāradvāja), in: Indo-Asiatische Zeitschrift, 12, Berlin 2008 Cover Page

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The Identification of Kizil Paintings II (3. Sudāya, 4. Bṛhaddyuti), in: Indo-Asiatische Zeitschrift, 11, Berlin 2007, pp. 43-52 Cover Page

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About Two Rocks in the Buddha’s Life Story Cover Page

The Identification of Kizil Paintings I

2005

Zusammenfassung: Unter den Malereien der buddhistischen Hohlenkloster in Kizil befin- det sich eine ganze Anzahl solcher, deren Darstellungsinhalte immer noch nicht identi- fiziert sind. Vor allem die rautenformigen Abschnitte der Gewolbebemalung, in denen die narrativen Stoffe zu einer einzigen Szene vor dem konventionellen Buddhabild reduziert sind, sind auserst schwer zu deuten. Die sich in mehreren Bildern wiederholende Ikono- graphie ermoglicht jedoch in manchen Fallen eine sichere Identifizierung. In dem vorlie- genden Artikel werden zwei neue Identifizierungen von Kizil-Malereien gegeben, weitere sollen folgen. 1. Die Geschichte von dem Jungling Yaa, die in den alten kanonischen Schriften er- zahlt wird, muss sehr popular gewesen sein, da ihr wichtigstes Ereignis, namlich die Flucht eines jungen Mannes aus dem vaterlichen Haus als Folge der Betrachtung der schlafenden Musikerinnen in die Buddha-Legende ubernommen wurde. Yaa verlasst das reiche Eltern- haus und geht nachts zu ...

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The Identification of Kizil Paintings I Cover Page