Scythian period

Author: J.E. van Lohuizen-de Leeuw (Netherlands), translated by Xu Jianying and Jia Jianfei
Publisher:
Publish Date: 2002-01-01
Features: The origins of Buddhist art in northern and northwestern India, the origins of Buddha statues, the artistic schools that emerged, the relationship between indigenous Indian art and Hellenistic art and its influence on Buddhist art, as well as the relationship between complex ethnic struggles, dynastic changes, and the development of Buddhism—these have long been debated topics in Buddhist studies research! This book takes a unique approach, elaborating on its own perspectives on these issues. In 1945, like Roland, Buchsar proposed a dating based on stylistic comparisons with Roman-era art. His view was that Gandharan art lasted from the 2nd century to the 5th century. Later, in 1946, Gosseman proposed a much shorter period: starting in the 1st century, flourishing in the second half of the 2nd century, followed by a stable period, and finally declining in the second half of the 3rd century. In summary, we can see that several older archaeologists dated the peak of art in northwestern India before the late 2nd century, primarily because this art influenced Amaravati art and possibly due to the king's significant elevation of the traditional status of art during his reign. After discovering the sarcophagus of this king, Fosser changed his views, and most archaeologists now agree with him. As for whether the origins of Gandharan art were due to Greek, Hellenistic, or Roman influence, this discussion has been ongoing for many years and has repeatedly sparked new enthusiasm. Engaging in this debate is of no benefit. The vast amount of literature dedicated to this issue is almost entirely from classical archaeologists, which is quite understandable. It is always interesting to explore the traces of one's own field of study's influence on neighboring countries. Similarly, Indianists are always very interested in India's influence on Southeast Asia and Central Asia. However, the danger associated with this is that people begin to see "messy" influences, which either do not exist or are very minor—this is, of course, the case with most literature on northwestern Indian art. Nevertheless, despite differing views on Western influence on northwestern India, in our opinion, there is no dispute that the ideas in this art often originate from indigenous Indian art, which in turn draws inspiration from earlier phases at Barhut and Sanchi. We do not always trace its development because, compared to each other, either one side or the other lacks comparative material. In Gandhara, Indian ideas always appear in a Hellenistic guise, but there are several examples where not only the ideas but also the design and creation of certain religious scenes are simply copies of ancient ethnic art. As one example, we would like to cite the descent of Buddha from the Trayastrimsa Heaven. The entire design of this scene has been directly copied from Indian art because it looks