The Festschrift published in 2006 by Pierfrancesco Callieri to celebrate Domenico Faccenna’s eightieth birthday (Callieri 2006), represented an important novelty amongst the studies on Gandhāra and Hellenistic Asia. In fact, for ancient Indian art and architecture, and Gandhāra in particular, studies on stone-processing techniques, organization of building sites, guilds of craftsmen (apart from epigraphic and textual documentation), were (and still are) rare. This is why I attempted to present a reconstruction of the working process at Saidu Sharif I in a recent study (Olivieri 2022a). The latter, I hope, will be considered more as a practical working model for future studies than for the hypotheses it contains. That study is based on Faccenna’s (1995; 2001) data, to which I have added other, new data, from the excavations I directed at the Buddhist sanctuary of Saidu Sharif I from 2011 to 2014 (henceforth abbreviated as Saidu). From that study originates much of what follows, which focuses on the early phases of the Saidu sanctuary (c. second half of the first century AD, period Ia).

Early Gandhāran art: artists and working processes at Saidu Sharif I

Luca Maria Olivieri
2023-01-01

Abstract

The Festschrift published in 2006 by Pierfrancesco Callieri to celebrate Domenico Faccenna’s eightieth birthday (Callieri 2006), represented an important novelty amongst the studies on Gandhāra and Hellenistic Asia. In fact, for ancient Indian art and architecture, and Gandhāra in particular, studies on stone-processing techniques, organization of building sites, guilds of craftsmen (apart from epigraphic and textual documentation), were (and still are) rare. This is why I attempted to present a reconstruction of the working process at Saidu Sharif I in a recent study (Olivieri 2022a). The latter, I hope, will be considered more as a practical working model for future studies than for the hypotheses it contains. That study is based on Faccenna’s (1995; 2001) data, to which I have added other, new data, from the excavations I directed at the Buddhist sanctuary of Saidu Sharif I from 2011 to 2014 (henceforth abbreviated as Saidu). From that study originates much of what follows, which focuses on the early phases of the Saidu sanctuary (c. second half of the first century AD, period Ia).
2023
Gandhāran Art in Its Buddhist Context
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/5017561
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