Gandhara panel British Museum

Gandhara panel British Museum
225 Épingles124 Abonné(e)s
Seated Buddha in dhyāna. The major drapery folds, chiefly in well-rounded ridges and terraces, are flattened at the knees to form low strips. The neckline, in high relief, is somewhat plunging, a semi-circular edge of the robe overlaps the seat while gathered drapery spreads from the left wrist to lie almost flat beside it and another edge is seen below the right forearm;

Seated Buddha in dhyāna. The major drapery folds, chiefly in well-rounded ridges and terraces, are flattened at the knees to form low strips. The neckline, in high relief, is somewhat plunging, a semi-circular edge of the robe overlaps the seat while gathered drapery spreads from the left wrist to lie almost flat beside it and another edge is seen below the right forearm;

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Carved image base, inscribed with a date in the year 384 of an unknown era. A seated and haloed Bodhisattva, turned slightly to his right and almost bare to the waist, wears his uttarīya in the narrow mode across the lap. The damaged right hand was presumably in abhaya, while the left holds a water pot. He has long hair crowned by a large chignon drawn in by a band at its

Carved image base, inscribed with a date in the year 384 of an unknown era. A seated and haloed Bodhisattva, turned slightly to his right and almost bare to the waist, wears his uttarīya in the narrow mode across the lap. The damaged right hand was presumably in abhaya, while the left holds a water pot. He has long hair crowned by a large chignon drawn in by a band at its

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Panel showing the Death of the Buddha. Lying on his side, head turned to his right and feet away from each other, the Buddha holds his right hand, apparently emerging from the high neckline, as if in abhaya below his head and against the bordered halo. His left hand is covered by the robe, which continues in pleats below it. The hair is wavy into the uṣṇīṣa, the long oval

Panel showing the Death of the Buddha. Lying on his side, head turned to his right and feet away from each other, the Buddha holds his right hand, apparently emerging from the high neckline, as if in abhaya below his head and against the bordered halo. His left hand is covered by the robe, which continues in pleats below it. The hair is wavy into the uṣṇīṣa, the long oval

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Reliquary casket, cylindrical in shape; made of gold and inset with garnets. The casket tapers slightly towards the rim and lacks a lid. The arcading round the side consists of eight pointed caitya-arches resting on pilasters. Each arch has a plain recessed face and the pilaster capitals consist of a plain fillet above a torus and a fillet. The pilaster shafts have each a recessed oblong panel with an outlined border curved at the top and the base mouldings repeat those of the capitals in a

Reliquary casket, cylindrical in shape; made of gold and inset with garnets. The casket tapers slightly towards the rim and lacks a lid. The arcading round the side consists of eight pointed caitya-arches resting on pilasters. Each arch has a plain recessed face and the pilaster capitals consist of a plain fillet above a torus and a fillet. The pilaster shafts have each a recessed oblong panel with an outlined border curved at the top and the base mouldings repeat those of the capitals in a

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Top scene of three on an upright showing the Buddha standing and flanked by Brahmā and Indra. The haloed Buddha stands frontally in slight flexion, his right knee forward, the broken right hand originally in abhaya, the left pendent and covered in the over-robe. The neckline is tight and the drapery folds are mainly ridged. His head is oval and full. To the Buddha's left and

Top scene of three on an upright showing the Buddha standing and flanked by Brahmā and Indra. The haloed Buddha stands frontally in slight flexion, his right knee forward, the broken right hand originally in abhaya, the left pendent and covered in the over-robe. The neckline is tight and the drapery folds are mainly ridged. His head is oval and full. To the Buddha's left and

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Panel showing the Buddha preaching between two standing Bodhisattvas. The haloed and seated Buddha wears the over-robe leaving his right shoulder and feet bare and an undergarment visible below his right shoulder; it lies on the seat beside a fall of gathered drapery from his left wrist which spreads out. The drapery folds are defined mainly by paired grooves separating broad flat strips. The head is a long and regular oval; the hair, representing the Indian snail-shell curl tradition…

Panel showing the Buddha preaching between two standing Bodhisattvas. The haloed and seated Buddha wears the over-robe leaving his right shoulder and feet bare and an undergarment visible below his right shoulder; it lies on the seat beside a fall of gathered drapery from his left wrist which spreads out. The drapery folds are defined mainly by paired grooves separating broad flat strips. The head is a long and regular oval; the hair, representing the Indian snail-shell curl tradition…

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Reliquary casket, cylindrical in shape; made of gold and inset with garnets. The casket tapers slightly towards the rim and lacks a lid. The arcading round the side consists of eight pointed caitya-arches resting on pilasters. Each arch has a plain recessed face and the pilaster capitals consist of a plain fillet above a torus and a fillet. The pilaster shafts have each a recessed oblong panel with an outlined border curved at the top and the base mouldings repeat those of the capitals in a

Reliquary casket, cylindrical in shape; made of gold and inset with garnets. The casket tapers slightly towards the rim and lacks a lid. The arcading round the side consists of eight pointed caitya-arches resting on pilasters. Each arch has a plain recessed face and the pilaster capitals consist of a plain fillet above a torus and a fillet. The pilaster shafts have each a recessed oblong panel with an outlined border curved at the top and the base mouldings repeat those of the capitals in a

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Panel showing the First Sermon. The seated and haloed Buddha, wearing an over-robe over both shoulders and with a curved neckline in relief, touches the seat with his right hand and secures the robe above his lap in his left hand, from which the gathered drapery spreads in the usual way. The folds are defined by grooves. The Buddha's head is oval with sharp-cut features

Panel showing the First Sermon. The seated and haloed Buddha, wearing an over-robe over both shoulders and with a curved neckline in relief, touches the seat with his right hand and secures the robe above his lap in his left hand, from which the gathered drapery spreads in the usual way. The folds are defined by grooves. The Buddha's head is oval with sharp-cut features

The top scene perhaps shows the Invitation of the Śākyas. The haloed Buddha, shown on a larger scale than the other figures, is seated in abhaya, both shoulders covered, the neckline prominent and tight, the over-robe with folds defined by grooves, some paired, and the edge from the right forearm curving in relief down to the gathered drapery on the seat from under the left

The top scene perhaps shows the Invitation of the Śākyas. The haloed Buddha, shown on a larger scale than the other figures, is seated in abhaya, both shoulders covered, the neckline prominent and tight, the over-robe with folds defined by grooves, some paired, and the edge from the right forearm curving in relief down to the gathered drapery on the seat from under the left

Stupa drum panel with two scenes, each showing the Buddha and a couple. In the right-hand scene the Buddha, towering over all other figures, has to his left Vajrapāṇi, and above and between them is a half-length onlooker in a crested turban. The damaged Vajrapāṇi holds his right hand to his hip and the vajra vertically in his left hand and appears to be looking up at the

Stupa drum panel with two scenes, each showing the Buddha and a couple. In the right-hand scene the Buddha, towering over all other figures, has to his left Vajrapāṇi, and above and between them is a half-length onlooker in a crested turban. The damaged Vajrapāṇi holds his right hand to his hip and the vajra vertically in his left hand and appears to be looking up at the

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