{"id":118,"date":"2018-12-14T03:52:47","date_gmt":"2018-12-14T03:52:47","guid":{"rendered":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/?page_id=118"},"modified":"2018-12-18T15:15:03","modified_gmt":"2018-12-18T15:15:03","slug":"classical-compositions","status":"publish","type":"page","link":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/classical-compositions\/","title":{"rendered":"Classical Compositions"},"content":{"rendered":"
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Classical Compositions Gallery, The Buddhist Heritage of Pakistan, circa 2011<\/figcaption><\/figure>\n

Beginning with Classical Composition, <\/em>the visitor is treated to Gandharan art placed parallel to select works (from the MET, the Asia Society\u2019s own collection, and private donors) originating in India and Rome to \u201chighlight the stylistic and iconographic links and distinctions between these cultures.\u201d1<\/sup>In this manner, the presentation puts direct emphasis on \u201cthe region\u2019s location on the silk road, where traders from many parts of the world congregated, bringing with them not only goods, but also religion, philosophy, and art\u201d and invites the active viewer not only to acknowledge these influences, but to directly explore them within the work.2<\/sup>This exploration is directly aided by the museum\u2019s use of the most recent academia, which suggests that the art style and subject matters of Gandhara were influenced not only by Indo-Greeks and Indian culture, but Romans and the Parthians.1<\/sup><\/p>\n

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Classical Compositions Gallery, The Buddhist Heritage of Pakistan, circa 2011<\/figcaption><\/figure>\n

The tone set by this first section may perhaps be most accurately judged by the opening artifact: So-Called Athena. <\/em>Made in the second century CE, the schist statue has most often been identified as a representation of Athena due to her iconography, specifically her helmet, yet the very nature of her tittle presents doubt.3<\/sup>It has been concluded that she most likely would \u201crepresent some regional genius loci [protective spirit],\u201d but by keeping her name, in placing her beside and among figures of Buddhist, Hindu, and Greco subject matter alike, the Asia Society invites visitors to more closely examine the figure and draw their own conclusions.4<\/sup>To create a specific comparison, for example, The Goddess Hariti with Three Children <\/em>is placed in close proximity. This figure, which has been also called Athena in the past, bears clear resemblance to So-Called Athena.<\/em>Her identification as the Buddhist deity Hariti, however, casts this assumption into doubt. In comparing the two, the influences of colliding cultures may be compared, contrasted, and used to weigh identity.<\/p>\n

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So-Called Athena, Lahore Museum<\/figcaption><\/figure>\n
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The Goddess Hariti with Three Children, Lahore Museum<\/figcaption><\/figure>\n

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  1. \u201cThe Buddhist Heritage of Pakistan: Art of Gandhara.\u201d Asia Society.<\/li>\n
  2. Berman, Greta. \u201cGandharan Art \u2013 The Great Synthesis.\u201d The Julliard Journal.<\/em><\/li>\n
  3. Ed. Proser, Adriana. The Buddhist Heritage of Pakistan: Art of Gandhara.<\/em><\/li>\n
  4. Cotter, Holland. \u201cWhen East Met West Under the Buddha\u2019s Gaze.\u201d The New York Times.<\/em><\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Beginning with Classical Composition, the visitor is treated to Gandharan art placed parallel to select works (from the MET, the Asia Society\u2019s own collection, and private donors) originating in India and Rome to \u201chighlight the stylistic and iconographic links and distinctions between these cultures.\u201d1In this manner, the presentation puts direct emphasis on \u201cthe region\u2019s location on the silk road, where traders from many parts of the world congregated, bringing with them not only goods, but also religion, philosophy, and art\u201d and invites the active viewer not only to acknowledge these influences, but to directly explore them within the work.2This exploration is directly aided by the museum\u2019s use of the most recent academia, which suggests that the art style and subject matters of Gandhara were influenced not only by Indo-Greeks and Indian culture, but Romans and the Parthians.1 The tone set by this first section may perhaps be most accurately judged by the opening artifact: So-Called Athena. Made in the second century CE, the schist statue has most often been identified as a representation of Athena due to her iconography, specifically her helmet, yet the very nature of her tittle presents doubt.3It has been concluded that she most likely would \u201crepresent some regional genius loci [protective spirit],\u201d but by keeping her name, in placing her beside and among figures of Buddhist, Hindu, and Greco subject matter alike, the Asia Society invites visitors to more closely examine the figure and draw their own conclusions.4To create a specific comparison, for example, The Goddess Hariti with Three Children is placed in close proximity. This figure, which has been also called Athena in the past, bears clear resemblance to So-Called Athena.Her identification as the Buddhist deity Hariti, however, casts this assumption into doubt. In comparing the two, the influences of colliding cultures may be compared, contrasted, and used to weigh identity.                           \u201cThe Buddhist Heritage of Pakistan: Art of Gandhara.\u201d Asia Society. Berman, Greta. \u201cGandharan Art \u2013 The Great Synthesis.\u201d The Julliard Journal. Ed. Proser, Adriana. The Buddhist Heritage of Pakistan: Art of Gandhara. Cotter, Holland. \u201cWhen East Met West Under the Buddha\u2019s Gaze.\u201d The New York Times.<\/p>\n","protected":false},"author":1064,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"templates\/full-width.php","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"class_list":["post-118","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/wp-json\/wp\/v2\/pages\/118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/wp-json\/wp\/v2\/users\/1064"}],"replies":[{"embeddable":true,"href":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/wp-json\/wp\/v2\/comments?post=118"}],"version-history":[{"count":6,"href":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/wp-json\/wp\/v2\/pages\/118\/revisions"}],"predecessor-version":[{"id":200,"href":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/wp-json\/wp\/v2\/pages\/118\/revisions\/200"}],"wp:attachment":[{"href":"https:\/\/commons.mtholyoke.edu\/gandharanreliefsfinalproject\/wp-json\/wp\/v2\/media?parent=118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}