THE IMPACT OF ANCIENT NEAR EASTERN & CLASSICAL ART
	UPON THE ART OF INDIA


PROF. ELIZABETH STONE	FALL 1997
ARTH 514	WEDNESDAY 3 - 5 P.M.


SYLLABUS
Course Description

	Traditionally, the art of ancient India has been viewed as having 
two main stylistic trends: an indigenous style, and a style heavily 
influenced by the West.  The western influenced works have been 
considered as those from the region of Gandhara in modern Pakistan, while 
peninsular India has been seen in splendid isolation.  

	Trade contacts with the Greco-Roman world formed the economic 
basis for the patronage of the early Buddhist monuments throughout the 
entire Indian sub-continent, not only in Gandhara.  In fact, a large 
amount of literary and archaeological evidence found in the South attests 
to this.  While contacts with the West produced an obvious visual impact 
on the art of Gandhara, the impact of the Western world can be seen, in a 
more subtle way, throughout the entire development of Indian art through 
the 5th century A.D.  This impact has been observed in ancient terracotta 
techniques, the occasional appearance of figural types which were copied 
from western examples, and the development of building techniques adapted 
from Roman examples.  In areas where this occurred, goods imported from 
the West have been found in archaeological contexts, confirming Indian 
textual sources.

	This course will seek to examine both the art of Gandhara, with 
its more obvious dependency on the western tradition, as well as the 
so-called indigenous style of the Indian subcontinent. Students will 
become aware that there was no great division between India and the West, 
and that India occupied a pivotal position on the Silk Route between Rome 
and China, and benefitted both economically and artistically from the 
West, just as it transmitted a major religion to the Far East.


Course Requirements
	
	Each student will be required to give an oral and a written 
report on a jointly selected topic. There is no single textbook available 
for this course.  The most important readings are marked with an 
asterisk.  Suggested readings are listed throughout the syllabus, and in 
the bibliography.  (Many of the works listed in the bibliography will be 
helpful for you term paper; you are not expected to read the entire 
bibliography.)  

PART A: NORTH AND CENTRAL INDIA

	THE BEGINNINGS OF INDIAN ART 
	(c. 3,000 - B.C. - 4th c. B.C.) 

1 -  Introduction

	"The Man in the Well": From Nagarjunakonda to the Confessions of Tolstoy

	*	Vogel, "The Man in the Well", pp. 109-113.
		*	Rowland, Art in the East and West, pp. 7-20.

2 - Art of the Indus Civilization

	Evidence for trade with the Ancient Near East.

		*	Huntington, pp. 5-25.
	*	Allchin, The Rise of Civ..., pp. 187-190.
		Wheeler, Civilizations of the Indus Valley and Beyond.

	3 -  Vedic culture and the spread of the Aryans throughout 
Europe, Iran, and India.

	The puzzle of the Diamadabad bronzes.

		*	Wheeler, Civilizations of the Indus Valley and Beyond.
		Chs. 3 & 4.
		*	Allchin, The Rise of Civ..., pp. 271-286.
		Basham, Ch. 2.

4 - Vedic religion and attitudes toward permanence.
	
	The heterodox sects:  Buddhism and Jainism.

		*	Huntington, pp. 26-32.


	THE INVASION OF ALEXANDER THE GREAT AND ITS AFTERMATH

	5 -  The burning of Persepolis and Alexander's subsequent march 
to India.

	The founding of the Greek city-states in Bactria: Kandahar, Ai 	
Khanoum, Charsadda.

	*	Smith, R.R.R.  Hellenistic Sculpture. Browse the entire 		
book, and read especially Ch. 12.
	*	Wheeler, Flames Over Persepolis, pp. 11-91.
		Rapin, C. "Greeks in Afghanistan: Ai Khanoum".
		Bernard, Paul, Fouilles d'Ai Khanoum.  (see plates).
		The Crossroads of Asia, 1.3, pp. 8-10.
	* 	Boardman, pp. 28 - 48.

6 - The Mauryan Dynasty.
	
	The palace at Pataliputra.

	Megasthenes, Ambassador to the Mauryan Court.
	
	Ashoka as a Buddhist king.
	
	The simultaneous occurrence of a rural and an international 	
sculptural style.

	The beginnings of rock cut architecture.

	*	Huntington, Ch. 4.
	*	Wheeler, R.E.M.  Flames Over Persepolis, pp. 128 - 145. 
	*	The Crossroads of Asia, 2.3, pp.38-39.
		Allchin, The Archaeology..., Ch. 11.
	*	Smith, R.R.R.  Hellenistic Sculpture, Ch. 6.

	7 - The Shunga Period and the beginnings of Buddhist narrative.

	The Heliodorus Pillar at Vidisha.

	Stupa 2 at Sanchi: The palmette and the lotus; The pilgrimage 	sites.

	*	Huntington, pp. 56 - 58 and 61 - 63.
	*	Unseen Presence, pp. 75 - 91.


	8 - The Bharhut Stupa and the development of a Buddhist 
iconography.  

	Rock-cut architecture and the caves at Bhaja and 			
Pitalkhora 

	The early phase at Bodhgaya.

	*	Huntington, pp. 63 - 85.
	* 	Boardman, pp. 109 - 114.
	*	Coomaraswamy, Ananda K.  La sculpture de Bharhut.
	*	Pollitt, J.J. Art in the Hellenistic Age, pp. 175 - 184.
	





	PRE-KUSHAN AND KUSHAN ART OF THE NORTHWEST

	9 - The Pre-Kushan Sites in Bactria and Gandhara.  The 
Archaeological and literary evidence.

	Hellenistic and Shaka-Parthian cities: Taxila, Begram (Old 	
City), Charsadda and the possible survival of Ai Khanoum.

	The "Plaquettes."

	*	Wheeler, Flames Over Persepolis, 90-123.
		Francfort, H.P.  Les Palettes du Gandhara.
	*	Lerner and Kossak, pp. 60-68.
	*	Boardman, pp. 99 - 108; 116 - 122.

	10 - The arrival of the Kushans and the temple at Surkh Kotal: 
Greek and Iranian elements.

	*	Schlumberger, "The Excavations at Surkh Kotal and the 		
Problem of Hellenism in Bactria and India".
		Schlumberger, Surkh Khotal en Bactriane.
	*	See plates in Ghrishman for Parthian prototypes.

	11 - The Origin of the Buddha Image. 
	
	The Greek gods take Indian form.

	Introduction to Begram - Bronzes, plaster casts, and glass 	
from the West.

	*	Coomaraswamy, "The Origin of the Buddha Image". 
		Roberts, "Greek Deities in the Buddhist Art of India".
		Strong, pp. 188 - 196.
	*	The Crossroads of Asia, pp. 74 - 164 for plates.
	*	Boardman, pp. 122 - 138.

	12 - Modes of Narrative in the Northwest and the development of a 
Greco-Roman Buddhist tradition.

	The expansion of the narrative mode.

	The arrival of Roman craftsmen.

	*	Harle, The Art and Architecture of the Indian Sub-		
Continent, Ch. 4.
	*	Karetzky, P.E., "Western Influences on the Formation of 		
an Illustration of the Life of the Buddha".
		Soper, "The Roman Style in Gandhara".
	*	Ramage and Ramage, 99 - 106; 144 - 147
		Nehru, Lolita.  Origins of the Gandharan Style: A Study 		
of Contributory Influences.

	KUSHAN ART OF MATHURA

1	13 - The Buddha, yakshas and the concept of the Maha-purusha.

	Evidence of Dionysiac Cults.

	Heraklean imagery.

	Western Asiatic motifs.	

	*	Harle, The Art and Architecture of the Indian Sub-		
Continent, Ch. 4.
	*	Kramrisch, "Emblems of Universal Being".
	*	Carter, " Dionysiac Aspects of Kushan Art".
	*	See again The Crossroads of Asia, pp. 74 - 164 for 		plates.		



PART B: CENTRAL INDIA AND THE DECCAN

	
	THE SPICE TRADE WITH ROME

	14 - The Great Stupa at Sanchi and the humanization of Indian 
narrative under the Satavahana Dynasty.

	The Early caves at Ajanta.

	The Periplus of the Erythrean Sea and the implications of 	
direct trade with Rome.

	The rise of the Indian merchant class.

	The Pompeii ivory and its possible origins at Bhokardin.

	*	Huntington, pp. 90 - 100.
		Marshall, John and Alfred Foucher. The Monuments of 		
Sanchi. 
	*	Casson, The Periplus, pp. 21 - 29, and read through 		
translation of the text, pp. 51 - 91.
	*	Holliday, "Roman Triumphal Painting:...

14 - Brahmapuri and Ter

	The bronzes.

	The development of Deccani terracotta techniques.

	Again, the Periplus.

	Tamil literary evidence.

	The Metropolitan  Museum "Agni".

	*	Khandalavala, "Brahmapuri", see plates.
	*	Deshpande, "Classical Influence on Indian Terracotta 		Art".
	*	Casson, The Periplus, 51.17.11 and commentary.
		Lerner, Enigmas and Masterpieces, pp. 37 - 38.
		Begley, pp. 82 - 109.

15 - Jaggayapeta, Early Amaravati and the Western Indian Caves at       
Karla.
	The local style.

	The donors and Karla pillars.
	
	*	Huntington, 85-88; 163-165.

16 - Satavahana innovations at Amaravati.

	Spatial Conventions

	Imports from the Roman world.

	*	Harle , 34-38.
	*	Huntington, 174-178.
	*	Knox, Amaravati, for plates.
	*	Brendel, Prolegomena to the Study of Roman Art, Part II - 		
Roman Art in Modern Perspective".)   
		Pollitt, Ch. 9.

17 - Early works from Nagarjunakonda.

	Relation to the Mathura and the West.

	Site 6

	The coins and bullae.

	*	Stone, The Buddhist Art of Nagarjunakonda, 21-51.

18 - Later Nagarjunakonda

	Revival of the indigenous style.
	
	The narrative reliefs and Kavya poetry.	

	Evidence of Roman trade: The Sri Lanka connection, the Stadium 
and the Periplus.

	The Manimekhalai, the Memorial Pillars, and the Palace 	Pillars.
	
	*	Huntington, 179-183.
	*	Stone, The Buddhist Art of Nagarjunakonda, 19-20, 51-82.
		Ratnayake, Hema,  "The Jetavana Treasure".
	*	Ramage and Ramage, pp. 168 - 178; 202 - 207; 226 - 231.

19 - The Begram Ivories

	A composite of Kushan, Deccani and Western themes.

 	*	Rosen [Stone], "The Begram Ivories".
	*	Stone, The Buddhist Art of Nagarjunakonda, Ch. 4.
		Hackin, Nouvelles recherches archéologique à Begram.
		Hackin, Recherches archéologique à Begram.		



	THE FINAL PHASE OF CLASSICAL INFLUENCE

20 - Last survivals of classicism.
		
	Ajanta, Sanchi Temple 17 and Bhitargaon.	

	*	Huntington, 198-200, 213-215, 239-260.
	*	Harle, James C. Gupta Sculpture. See entries on 
Bhitargaon and Gadhwa.




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