Escolar Documentos
Profissional Documentos
Cultura Documentos
46
48
the collection can be assigned to the second stage of art of the Jambil
sub-valley, we observe advancement in the degree of carving. The artist
could show at this point flexibility and mobility of figure. Figure of the
Buddha is depicted without any hesitation. Hand gestures depicted at
this stage are abhaymudra and anjalimudra.
The reliefs of the collection classified to the third stage of the
'Zonal Workshop of the Jambil sub-valley' achieve more refinement in
execution of the figures. Frontality of the first stage is now developed
into three dimensional view and side poses are easily accomplished
(Pl.13). The carving of round fleshy faces still continues. Enlarged flat
us nis a of the Buddha became smart and higher. At this stage
terracotta figure of the Buddha with strong Indian influence, i.e., round
fleshy face, voluptuous lips and hair with snail-shell curls are found
(Pls.14). The Buddha seated in padmsana bare footed on an inverted
lotus throne is found in the collection (Pl-15). The size of hallo became
larger. Moustaches worn by figures still continue at this stage of the
'Zonal Workshop'. A variety of headdresses carved by sculptor depicts
his ability to portray things from his environment. The artist got
mastery over how to carve complex scenes. The same gestures of
hands, that is, dhaynamudra, abhyamudra and anjalimudra are found.
The drapery folds became paired parallel grooves (Pl-13).
At the first stage of the 'Zonal Workshop' of the Illum Khwar
sub-valley, caitya arches of the Indian fashion with Persepolitan
pilasters and flying amorino is depicted (Pl. 16). The drawing-like
attention of the figures is more visible in this zonal workshop (Pl-2).
Hand gestures of the Buddha are dhaynamudra and abhyamudra.
Stupa pegs or nagadanta with crude workmanship and western
influence are still visible (Pl-17). At this stage of the zonal workshop,
we see depiction of western scenes (Pl.18). The depiction of various
episodes from the life story of the Buddha is also a prominent feature
of this stage.
At the second stage of the 'Zonal Workshop of the Illum
Khawar sub-valley episodes from the life of the Buddha increase in
number. Carving of the figures became more refined (Pl-19). The
stiffness of the early stage disappears and mobility and flexibility in
figures are observed. Besides seated figures, standing figure of the
Buddha is also found in this workshop. Cult of Bodhisattva started in
50
52
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Pl-3
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Pl-6
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Pl-9
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Pl-16
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Pl-19
Pl-20
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Pl-24
Pl-25
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Ghani-ur-Rahman
Muhammad Ashraf
Khan
Tahira Tanweer
Imtiyaz Shah
Waheed I. Chaudhry
Tooba Rafi
M. Naeem Qazi
Sadeed Arif
iv
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