Running Head: DECORATIVE MOTIFS IN GANDHARA ART 1

Decorative Motifs in Gandhara Art: A Case Study of Peshawar Museum

Students Name

University

Authors Note
DECORATIVE MOTIFS IN GANDHARA ART 2
Undertaking
DECORATIVE MOTIFS IN GANDHARA ART 3
Abstract
DECORATIVE MOTIFS IN GANDHARA ART 4
Acknowledgment
 DECORATIVE MOTIFS IN GANDHARA ART 5
Table of Contents

Undertaking...............................................................................................................................................2
Abstract......................................................................................................................................................3
Acknowledgment.......................................................................................................................................4
List of Tables and Figures.........................................................................................................................8
Introduction...............................................................................................................................................9
Background of the Study.......................................................................................................................9
Establishment of the Archaeological Survey of India, Frontier circle (A.S.I.F.C).....................10
Excavation of Buddhist sites in the Frontier Circles.....................................................................11
The Establishment of the Peshawar Museum in Victoria Memorial Hall...................................11
The Display of Buddhist Sculptures in Peshawar Museum..........................................................12
Research Scope....................................................................................................................................12
Statement of Problem..........................................................................................................................13
The Study of Decorative Motifs in Gandhara Art.............................................................................14
Aims and Objective of the Research..................................................................................................15
The significance of the Study..............................................................................................................16
Research Methodology........................................................................................................................16
Research Design...............................................................................................................................17
Research Instrument.......................................................................................................................17
Source of Data..................................................................................................................................18
Research Strategy............................................................................................................................18
Organization of the Study...................................................................................................................18
Chapter I: Geographical and Historical Profile of Gandhara.............................................................20
Geography.............................................................................................................................................20
Prehistoric and protohistoric period.......................................................................................................20
The advent of Aryans............................................................................................................................20
The occupation of Gandhara by the Achaemenian Empire of Persia.....................................................20
Invasion of Alexander the Great............................................................................................................20
The Mauriyan Period and the advent of Buddhism in Gandhara...........................................................20
The Indo-Greek Period..........................................................................................................................20
Scytho-Parthian.....................................................................................................................................20
The rise of the Kushan Empire..............................................................................................................20
Kushano-Sassanian Period.....................................................................................................................20
The kidarites..........................................................................................................................................20
 DECORATIVE MOTIFS IN GANDHARA ART 6
Huns Period...........................................................................................................................................20
Turks Shahis and Hindu Shahis.............................................................................................................20
The Ghaznavid invasion and the disintegration of the Hindu Shahi Empire..........................................20
Chapter II: Buddhism and Buddhist Art of Gandhara........................................................................21
Advent of Buddhism..............................................................................................................................21
Construction of Buddhist Stupas and Monasteries.................................................................................21
The Sculptural Art of Gandhara.............................................................................................................21
Spread of Buddhism from Gandhara to other countries.........................................................................21
Chinese Pilgrims and their accounts of Gandhara..................................................................................21
Chapter III: History of Exploration and Excavations and the Discovery of Gandharan Sculptures22
The Display of Buddhist sculptures in the Lahore and Peshawar Museums..........................................22
Buddhist Collection of the Peshawar Museum-Sources of Acquisition (Excavations, Donation and Purchase) 22
Classification of Sculptures...................................................................................................................22
1. Relief panels..............................................................................................................................22
2. Statues of Buddha and bodhisattvas...........................................................................................22
3. Monks, Lay worshippers, and donors........................................................................................22
4. Non-Buddhist Sculptures...........................................................................................................22
Chapter IV: Study Decorative Motifs Depicted in the Buddhist Sculptures of Peshawar Museum. 23
Classification.........................................................................................................................................23
Floral.................................................................................................................................................23
Faunal................................................................................................................................................23
Architectural..........................................................................................................................................23
Geometric..........................................................................................................................................23
Anthropomorphic..................................................................................................................................23
Purpose and significance of the depicted Motifs...................................................................................23
Western Influence on Gandhara Art......................................................................................................23
Making techniques.................................................................................................................................23
Chapter V: Analysis, Discussions and Comparison..............................................................................24
Chapter VI: Catalogue............................................................................................................................25
Conclusion and Recommendation..........................................................................................................26
References.................................................................................................................................................27
Appendix...................................................................................................................................................30
DECORATIVE MOTIFS IN GANDHARA ART 7
List of Tables and Figures
 DECORATIVE MOTIFS IN GANDHARA ART 8
Introduction

In this introductory chapter, a detailed assessment has been presented about the topic of research which

evaluates the aspects of decorative motifs in Gandhara Art. The establishment of an archaeological survey has

been done through a case study of Peshawar Museum. The cultural heritage of the subcontinent is evaluated

understanding the excavation of Buddhist sites in the Frontier Circles. The development of the Peshawar

Museum in the Victoria Memorial Hall emphasizes greatly on the display of Buddhist sculptures. On the basis

of these fundamentals, a study of decorative motifs in Gandhara Art shall be assessed throughout the research

developing adequate findings assessing the case of Peshawar Museum.

Background of the Study

The Gandhara Ancient region is mainly located near the Peshawar basins which mark the geographical

foothill of the region in the Himalayas. After the partition of Pakistan in the year 1947 the North West region

became a belonging of Pakistan (Aslam & Bukhari, 2017). The region is considered as one of the wealthiest

regions since centuries as it connects with the Silk route which connects trade with China, South Asia, and the

Mediterranean. This enhances the commercial trade channel of the country with the neighboring countries

making the Gandhara region a center point of Archeological remains (Rienjang & Stewart, 2019). The

significance of the Gandhara Art and decorative motif shows the reflection of importance which is highlighted

in religious texts, ancient inscriptions and explains the role of religious pilgrims of the Chinese. The historical

dominance of the Gandhara region geographically is showing a complex strategic alliance directing high

significance of the Gandhara region (Ray, 2017). The boundaries of the region are defined by the natural

boundaries which show that the west is covered with the Hindu Kush Mountains, foothills of the Himalayas and

Indus River at the east. The setup of boundaries assists in defining temperature and weather of the region which

connects south opening to modern cities of Peshawar (Schneider, 2017). The strategic location of this region in

the past combined to become the Gandhara region which shows that cultural development was enhanced with

the mountain terrain.

 DECORATIVE MOTIFS IN GANDHARA ART 9
Establishment of the Archaeological Survey of India, Frontier circle (A.S.I.F.C)

Before the partition of India and Pakistan in the year 1947, the Archeological Survey of India which is

an Indian government agency till date was responsible for managing the heritage. The control and monitoring of

the region are in the hands of the Ministry of Culture which poses responsibility for archeological research and

allows conserving and preserving the cultural monuments in the country (Inayat & Rafique, 2017). (do you need

it here as it talks about india)In the year 1861, Alexander Cunningham founded the agency becoming the

director general of the agency. The systematic researches of the history of the subcontinent showed a

connection of the Asiatic Society which was founded by William Jones a British Indologist (Dar, 2018). The

historical finding showing a connection was explored in the year 1784 with the foundation developed in

Calcutta. The society was ensured that through learning the ancient Sanskrit and Persian texts and scriptures the

findings shall be published (Stewart, 2016). At that time the Asiatic Researches Journal was developed which

promoted the contributions of the researches such as Charles Wilkins who understood the connection and

contributed towards enlightening the society. The first museum in India was developed and established in the

Asiatic Society in Calcutta in the year 1814 (Brancaccio, 2017). The collection and exploration of the

archeological survey showed that maintaining an own museum under the supervision of director general John

Marshall led to the establishment of new regions in India. The museums are located near the sites so that the

focus is not lost due to transportation (Khan, 2015). The dedicated Museums were established in the year 1946

by Mortimer Wheeler which allowed maintaining a total of forty-four museums which are spread across the

country. ? any refrence?

Excavation of Buddhist sites in the Frontier Circles

The artistic beauty of the region along with the development over the years showed a compelling fusion

of style and trends which reflects the role of religious Buddhist ideals in the region of North West Pakistan and

Afghanistan (Hameed, 2017). The comparison of Gandhara to the other regions of South Asia depicts the

presence of highly rich and monumental sculptures. The architectural development of the region provided

services to the religion of Buddhism through which emphasis has been made on reflection of historic culture

produced dominant presence of the historic provisions and execution of poor quality of resources leaving
 DECORATIVE MOTIFS IN GANDHARA ART 10
numerous questions unanswered (Rajput, 2018). The scarcity of antiques and early written archives shows a

connection with the inscriptions on statues and architecture which increases dramatic destruction of the cultural

heritage. The Buddha’s of Bamiyas carry high importance in the Buddhist Art showing small parts of the

enormous heritage to reflect the historical views (Ray, 2017). (any need of this? Where is the number and

location of excavated sites here?)The excavation of the Buddhist sites was a resultant of the destruction of the

giant and large Buddha’s of Bamiyas after the occurrence of the war in Afghanistan in the year 2001 (Pons,

2019).

The Establishment of the Peshawar Museum in Victoria Memorial Hall

The Peshawar Museum is a museum located in Peshawar at the province of Khyber Pakhtunkhwa. The

museum bears a notable dominance based on the collection of the Buddhist artwork which dates in the history

as being a dominating region of the ancient Gandhara Empire (Khan, 2015). The museum was founded in the

year 1907 at Victoria Hall as a memoir of Queen Victoria. The building of the museum is built and developed

using the syncretic architectural style which proposes consistency of British, Hindu, Buddhist and Mughal

Islamic styles (Rienjang & Stewart, 2019). The museum initially had only one exhibition hall in which two

more were added in the year 1969-1970 as an extension. Further expansion was conducted on the museum in

the year 2004 and 20115 which further expanded the construction of a new block and expanded with the

galleries (Hameed, 2015). The halls of the museum are treated as collection storage through which the offices

for the provincial directorate of archaeology was developed as a conservation laboratory and a cafeteria

(Younas, 2018). The historic location of the museum required exhibition halls which allowed renovation and

development of the strong foundations of the museum at that time.

The Display of Buddhist Sculptures in Peshawar Museum

The discovery of sculptures and findings enhanced when the military units and British colonials cleared

the sites of the region. The archeologist cleared the area and found Gandhara coins which raised significant

debates revolving around the chronological development and enhancement of sculptures revealing the artistic

perspective (Ahmad et.al Tahir & Wahab, 2016). The systematic executions significantly carried out the

discovery of the sculptures and Buddhist idols but a significant portion of understanding the people and the
 DECORATIVE MOTIFS IN GANDHARA ART 11
methods using which these people lived still remains a mystery (Muzio, 2018). Gandhara sculptures dated with

the foundations of historic styles based on elegance, decorative motifs and supposition of the shapes which were

used at that time across the region (Hameed, Samad & Kenoyer, 2017). (Hard to understand this)

Research Scope

Peshawar Museum holds significant importance as it counts as being a cultural heritage museum of

Pakistan. The museum is acclaimed due to its uniqueness and collection of Gandhara Art which is

complemented through the extensive collection (Aslam & Bukhari, 2017). The encouragement of new work and

promoting new artwork is extremely essential for sustaining the heritage values which have been left behind.

The decoration presented in the Peshawar Museum along with the artifacts shows the dominance of Gandhara

Art which engraves Gandhara sculptural art, relief panels, individual structures and sculptures and many other

things which promotes art (Rienjang & Stewart, 2019). Understanding the significance of Gandhara Art in the

region is critically important as it enables the representation of artifacts in an attractive manner without

changing the natural and original perspective of the representation (Ray, 2017). The changing trends and

evolving practices of networking through social media requires promoting Gandhara. This region of Pakistan

has been highly neglected over the years and has failed to attract travelers towards this miracle of human art

(Schneider, 2017). The core focus of this research and study is to evaluate the decorative motifs used in

Gandhara art and understanding the meaning of motifs which have been used for the depiction. The lotus

flower, acanthus leaves, geometrical designs, and borders are mere designs which provide a connection to the

ideology of the people and formation of Gandhara Art (Inayat & Rafique, 2017).

Statement of Problem

The statement of the problem which is sought to be resolved through this study is the area of negligence

and failure to attract travelers towards understanding Gandhara as a popular region of the subcontinent (Dar,

2018). Peshawar Museum is one of the most popular museums in the world based on the extensive collection of

Gandhara Artifacts. The dominating problem which has been identified in this area of research is that Pakistan

is a culturally rich region due to the massive history of the subcontinent and yet very little research has been

conducted on the Gandhara Art representation (Stewart, 2016). The research study evaluates exploration of the
 DECORATIVE MOTIFS IN GANDHARA ART 12
decorative motifs on the Gandhara Art which constructs and aesthetic purpose connecting the religious and

symbolic meaning of representation. This research aims at documenting the motifs and interpreting the meaning

of the motifs which had been used by the Gandharan people (Brancaccio, 2017).

The Study of Decorative Motifs in Gandhara Art

The worldly distinction of motifs shows the representation of elements of the theme, image, and pattern

using which certain traits and culture is represented. The motifs are a composition of repeated designs which are

represented in the form of artistic work (Khan, 2015). The particular depiction shows the aspects of decorative

artwork patterned and categorized as a repeated representation of imaging an element representation. The

representation of the motifs is designed on the walls of mosques, various scrolls of work, historical buildings

and other related structures (Hameed, 2017). The core purpose of applying the motifs is to make the structures

appear beautiful and at the same time reflect artistic view which prevails in the culture. The decorative motifs of

Gandhara Art comprised mainly of design, borders, and patterns which engraved depiction of flora and fauna

representation (Rajput, 2018). The carvings which have been applied align with the aspects of the decorative

motifs through which eye-catching artistic values are portrayed (Ray, 2017).

The motifs of the Gandhara region depicts a strong sense of art, culture, and architecture used

specifically of r enhancing the beauty and reflecting cultural heritage as embedded over the years. In this study,

the decorative motifs have been evaluated from the perspective of Peshawar Museum in the light of the artifacts

which have been displayed (Pons, 2019). The aspects of understanding the main features of the study are

highlighted in the domain of origin through symbolic variations and influencing parameters which are

interlinked with the environment and its situation (Khan, 2015). The specific point of discussion of this study

shall be the analysis of geometric designs which are engraved on the architectural structures and jewelry as used

by the people of Gandhara. The evaluation of structures allows understanding the significance of the region and

artistic heritage which has been stored and displayed at the Peshawar Museum (Rienjang & Stewart, 2019).

Aims and Objective of the Research

This research aims at understanding the features of Gandhara Art through which artifacts have been

developed. Based on this study an evaluation shall be made on factors due to which travelers and archeologists
 DECORATIVE MOTIFS IN GANDHARA ART 13
have not developed a significant interest in the region over the years (Hameed, 2015). The strategic location and

significance of the Peshawar Museum is highly critical and requires the attention of the management for

promoting the cultural, social and religious significance of the region at large (Younas, 2018).

The core research objectives of the study are developed on the basis of the following:

1. Evaluating the classification of decorative designs which have been used in Gandhara Art as placed in

the Peshawar Museum.

2. Understanding the cultural, social and religious significance of the decorative motifs in Gandhara Art.

3. Highlighting the aesthetic aspects of Gandhara Art.

4. Understanding the foreign influence on Gandhara Art which links with the adapted decorative designs.

5. The cultural depiction and decorative continuity in Gandhara Art have been developed on the basis of

several ethnic archaeological factors which shall be assessed through this study.

6. The establishment of the chronology of art features based on decorative designs is required to be

assessed through Gandhara Art.

All these aspects of research shall be assessed through the study for understanding the scope of usage of

decorative motifs in Gandhara Art and explanation of the perspectives which prevailed in the subcontinent

(Ahmad et al., 2016).

The significance of the Study

The core focus of this study is towards understanding the essential exploration of the decorative motifs

in Gandhara Art. The depiction of designs such as the lotus flowers, acanthus leaves, geometrical designs, and

floral designs lead to an examination that whether the purpose associated with a carving of these structures,

items and materials fall under the aspects of decoration or not (Muzio, 2018). The applicative usage of

decorative motifs varies based on specific presence in Gandhara Art. The Peshawar Museum is very rich and

consists of a large collection of different styles and types of motifs. A relationship is developed between the

people of the Gandhara region and the motifs which are depicted in the Art representation (Hameed et al.,

2017). The Gandhara culture is considered as one of the most famous cultures across the world. Pakistan is the

cradle of this civilization and portrays itself as a custodian of the cultural heritage (Aslam & Bukhari, 2017).
 DECORATIVE MOTIFS IN GANDHARA ART 14
The research study is highly significant as it documents the cultural significance of Gandhara region and at the

same time developed awareness of the strategic and cultural significance of the region amongst the scholars and

archeologists (Rienjang & Stewart, 2019).

Research Methodology

Selection of the most suitable research methodology is highly critical for the study. The research study

which is required to be evaluated aims at understanding the scope of Decorative Motifs in Gandhara Art. The

research strategy which is adopted is qualitative in nature based on the descriptive analysis (Ray, 2017). The

qualitative information pertaining to the study is extracted through the past researches and information acquired

in the form of a case study from the Peshawar Museum. The information which is contextual is mainly

extracted from the textbooks and other relevant information emphasizing on the domain of Gandhara Art

(Schneider, 2017). The critical aspects which are aimed to be covered seek to unravel the aspects of motifs,

carvings, and history of the Gandhara region.

Research Design

The research design comprises of critical phases and steps through which analysis is conducted. The

research design which is adopted is developed after critical analysis of the foundations of the topic based on

which research and exploration referring to the past researches are sought to be targeted (Inayat & Rafique,

2017). The research strategy adopted for this research is descriptive analysis using which information extracted

through findings and research is aligned. The discussion is posted based on critical information which allows

selecting research instruments, sources of data and procedures based on which research is conducted (Dar,

2018).

Research Instrument

The theoretical information pertaining to the study is gathered using qualitative research techniques. The

research instrument which is used for extracting the data and analyze it is the case study method (Stewart,

2016). Descriptive analysis and assessment technique are used for the study using which the data and heritage

information pertaining to the Peshawar Museum shall be extracted. The information shall be consolidated

through visiting and investigating the museum evaluating the motifs and carvings as in the Gandharan Art
 DECORATIVE MOTIFS IN GANDHARA ART 15
(Brancaccio, 2017). The Gandharan sculpture as displayed in Peshawar Museum is studied and evaluated based

on data extracted. The information which is noted and highlighted shall be further interlinked based on past

research studies using which findings, conclusion, and recommendations shall be prepared (Khan, 2015).

Source of Data

The qualitative information which pertains to the study is required to be developed using the secondary

sources. The secondary information shall be consolidated using journals, articles, newspapers, research studies

and textbooks (Hameed, 2017). The research data which is integrated for the study is required to be extracted

from past information and historical data of Gandhara Arts. The evaluation of the carvings and motifs are found

through research using which extraction and identification of variables assist in the formulation of the research

questions which are critical for the study (Rajput, 2018).

Research Strategy

The research strategy which shall be used for this research shall accommodate the qualitative analysis

through which primary and secondary information pertaining to the topic can be structured (Ray, 2017). The

heritage values, perspectives, and parameters are required to be assessed which shows the essentials of motifs

placed at Peshawar Museum. The mixed approach of using primary and secondary information shall be used

which aligns the information of a case study for understanding the use of decorative motifs in Gandhara Art

(Pons, 2019).

Organization of the Study

This research shall be aligned in eight segments through which the aim and objectives of this research

shall be assessed aligning with the historical perspectives of the study. The chapter classification and

organization of the study will be the following:

 Introduction

 Chapter I: Geographical and Historical Profile of Gandhara

 Chapter II: Buddhism and Buddhist Art of Gandhara

 Chapter III: History of Exploration and Excavations and the Discovery of Gandharan Sculptures

 Chapter IV: Study Decorative Motifs Depicted in the Buddhist Sculptures of Peshawar Museum
 DECORATIVE MOTIFS IN GANDHARA ART 16
 Chapter V: Analysis, Discussions, and Comparison

 Chapter VI: Catalogue

 Conclusion and Recommendations

These chapters will align the research information by assessing historical perspectives and its depiction

in the present day scenario. This study shall allow assessing the study of Peshawar Museum which shall allow

assessment of profile and art heritage of Gandhara region (Khan, 2015). The organization of the study is crucial

for the analysis as it develops a structure of the research through which findings have been developed for the

study.
 DECORATIVE MOTIFS IN GANDHARA ART 17
Chapter I: Geographical and Historical Profile of Gandhara

Geography

Prehistoric and protohistoric period

The advent of Aryans

The occupation of Gandhara by the Achaemenian Empire of Persia

Invasion of Alexander the Great

The Mauriyan Period and the advent of Buddhism in Gandhara

The Indo-Greek Period

Scytho-Parthian

The rise of the Kushan Empire

Kushano-Sassanian Period

The kidarites

Huns Period

Turks Shahis and Hindu Shahis

The Ghaznavid invasion and the disintegration of the Hindu Shahi Empire
 DECORATIVE MOTIFS IN GANDHARA ART 18
Chapter II: Buddhism and Buddhist Art of Gandhara

Advent of Buddhism

Construction of Buddhist Stupas and Monasteries

The Sculptural Art of Gandhara

Spread of Buddhism from Gandhara to other countries

Chinese Pilgrims and their accounts of Gandhara

 DECORATIVE MOTIFS IN GANDHARA ART 19
Chapter III: History of Exploration and Excavations and the Discovery of Gandharan Sculptures

The Display of Buddhist sculptures in the Lahore and Peshawar Museums

Buddhist Collection of the Peshawar Museum-Sources of Acquisition (Excavations, Donation and Purchase)

Classification of Sculptures

1. Relief panels

2. Statues of Buddha and bodhisattvas

3. Monks, Lay worshippers, and donors

4. Non-Buddhist Sculptures
 DECORATIVE MOTIFS IN GANDHARA ART 20
Chapter IV: Study Decorative Motifs Depicted in the Buddhist Sculptures of Peshawar Museum

Classification

Floral

Faunal

Architectural

Geometric

Anthropomorphic

Purpose and significance of the depicted Motifs

Western Influence on Gandhara Art

Making techniques
DECORATIVE MOTIFS IN GANDHARA ART 21
Chapter V: Analysis, Discussions and Comparison
DECORATIVE MOTIFS IN GANDHARA ART 22
Chapter VI: Catalogue
DECORATIVE MOTIFS IN GANDHARA ART 23
Conclusion and Recommendation
 DECORATIVE MOTIFS IN GANDHARA ART 24
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 DECORATIVE MOTIFS IN GANDHARA ART 25
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Appendix