The Geography Of Gandh Ran Art

Eastern philosophy (EP) has often been neglected in mainstream academic discourse. Philosophy is the way of looking at, understanding, interpreting, and fundamentally bringing together love and wisdom (lovism). This study contributes to a wider understanding of international relations and philosophies in a world where the balance of power is shifting and emerging as superpower countries India and China are increasingly growing in importance. The objectives of this state-of-the-art book are four-fold: (1) to understand the fundamentals of the ancient EP; (2) to interpret basic concepts, thoughts, and teachings of classical international relation-related theories or peace spiritual insights of various wisdom within Chinese, Indian, Islamic, and Christian Missionaries; (3) to assist the Master's level students to participate actively in discussions and interpretations and to create insights and critical thinking methods accordingly; and (4) to share the outcomes of philosophy with like-minded actors/institutions globally.

Gandhāran art is usually regarded as a single phenomenon – a unified regional artistic tradition or 'school'. Indeed it has distinctive visual characteristics, materials, and functions, and is characterized by its extensive borrowings from the Graeco-Roman world. Yet this tradition is also highly varied. Even the superficial homogeneity of Gandhāran sculpture, which constitutes the bulk of documented artistic material from this region in the early centuries AD, belies a considerable range of styles, technical approaches, iconographic choices, and levels of artistic skill. The geographical variations in Gandhāran art have received less attention than they deserve. Many surviving Gandhāran artefacts are unprovenanced and the difficulty of tracing substantial assemblages of sculpture to particular sites has obscured the fine-grained picture of its artistic geography. Well documented modern excavations at particular sites and areas, such as the projects of the Italian Archaeological Mission in the Swat Valley, have demonstrated the value of looking at sculptures in context and considering distinctive aspects of their production, use, and reuse within a specific locality. However, insights of this kind have been harder to gain for other areas, including the Gandhāran heartland of the Peshawar basin. Even where large collections of artworks can be related to individual sites, the exercise of comparing material within and between these places is still at an early stage. The relationship between the Gandhāran artists or 'workshops', particular stone sources, and specific sites is still unclear. Addressing these and other questions, this second volume of the Gandhara Connections project at Oxford University’s Classical Art Research Centre presents the proceedings of a workshop held in March 2018. Its aim is to pick apart the regional geography of Gandhāran art, presenting new discoveries at particular sites, textual evidence, and the challenges and opportunities of exploring Gandhāra’s artistic geography.

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Centuries before W. B. Yeats wove Indian, Japanese, and Irish forms together in his poetry and plays, Irish writers found kinships in Asian and West Asian cultures. This book maps the unacknowledged discourse of Irish Orientalism within Ireland's complex colonial heritage.

Networks is a complete graded English course, specially designed for learners of English as a Second Language (ESL). The Networks series aims to make the books user-friendly by using apt-themes, a wealth of stories, factual pieces, plays and poems; graded according to reader appeal to develop English Language skills and their effective usage, and transference of these skills to other curriculum areas. Also available Teacher s Handbooks and web support at www.ratnasagar.co.in

In the New York Times, critic Teju Cole offered this appreciation of the work of Indian–born photographer Raghubir Singh (1942—1999): "Singh gives us photographs charged with life: not only beautiful experiences or painful scenes but also those in–between moments of drift that make up most of our days." This richly illustrated volume, the first in–depth study of Singh's work, situates it at the intersection of Western modernism and traditional South Asian modes of picturing the world. A major practitioner of color street photography, Singh captured images that demonstrate the diverse culture of India. Raghubir Singh features over 100 of his photographs—in counterpoint with the work of such influences as Henri Cartier–Bresson and Lee Friedlander and with images of traditional South Asian artworks that inspired his practice—providing an extensive overview of the artist's career. With its vibrant plates and insightful essays, this publication brilliantly illustrates Cole's assessment that Singh's work draws "breathtaking coherence out of the chaos of the everyday."