The book begins by discussing the general concepts behind Gandharan art, including the preconceptions many people may have about its nature and development. Just as the physical exhibition challenges the viewer to think more deeply about the about the degree to which Gandharan art developed from a solely Western influence on Indian culture, the catalogue asserts that one “cannot boil down Gandhara’s art to these two components only.”1Additionally, in discussing the history of the region (which is firmly labeled as belonging to what is now North Western Pakistan), the author of this essay, Luczantis, proposes that the Kushan ruler Kaniska, who’s cultural tolerance is proposed to have integrated Buddhism into ancient Gandhara, “cannot be described as Buddhist without criticism.”1By challenging the notions of these influences as the sole drive behind Gandhara’s artistic flowering, Luczantis opens the door to discuss various other possible influences to the region, such as the area’s former Brahmanic roots and the influences of Hinduism even within the peak of Gandharan art. Other proposed influences include the Persian Empire. In sum total, Luczantis’ work informs the reader from the first few pages of the book that the conventional and simplistic view of Gandharan art they’ve been told is not the whole truth. Instead, the text is not afraid to offer theories and new ideas to the readers, a trend that continues through this section as the authors describe the basics of Buddhism as a religion, the function of stupas, and the development of the Buddhist image. Furthermore, a chronological account of Gandharan art plainly reveals the missing potions of knowledge and states that “research suffers due to circumstances of discovery” in which the British colonial administration “concentrated on [collecting] what they considered essential.” With “about half of the objects currently in museums [being] of insecure provenance…their origins may at best, be reconstructed through painstaking work with historical photographs.”1This move to transparency regarding the dubious nature of collecting is becoming a trend among museums as of late, but with many worried about the possibly of repatriation or fines, phrasing of this issue may become deflective or purposefully vague in order to preserve the individual museum’s security. With this collection being sourced from the apparent country of origin, however, there is less fear of provenance insecurity and therefore a greater willingness to promote the issue, especially if such measures may eventually lead to repatriation to Pakistan. For a nation whose cultural history and independence even now are doubted, this assertion of transparency proves especially important.
- Ed. Proser, Adriana. The Buddhist Heritage of Pakistan: Art of Gandhara.