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Gujarat lies at the confluence of communities, commerce, and cultures. As the modern Indian state of Gujarat marks its fiftieth year in 2010, this book charts its coalescence into a distinct political and linguistic unit roughly five hundred years ago. From the twelfth to the fifteenth centuries, Gujarat's cosmopolitan coastline and productive hinterland were held together in a contested unity which nurtured the political integration of the region's pastoralists, peasants, soldiers and artisans, and the evolution of the Gujarati language. Forging a Region explores the creation of Gujarat's unified identity, culminating under a lineage of sultans who united eastern Gujarat and Saurashtra by military action and economic pragmatism in the fifteenth century. Delineating the evolution of the Gujarati political order alongside networks of trade and religion, Samira Sheikh examines how Gujarat's renowned entrepreneurial ethos and dominant discourses on pacifism, vegetarianism, and austerity coexisted, then as now, with a martial pastoralist order. She argues that the religious diversity of medieval Gujarat facilitated economic and political cooperation leading to its cosmopolitan ethos. Sifting through Persian, medieval Gujarati, and Sanskrit sources, Sheikh addresses the long-term history of communities and politics in Gujarat to provide an understanding of the past and present of the region.
Gandhāran art is often regarded as the epitome of cultural exchange in antiquity. The ancient region of Gandhāra, centred on what is now the northern tip of Pakistan, has been called the ‘crossroads of Asia’. The Buddhist art produced in and around this area in the first few centuries AD exhibits extraordinary connections with other traditions across Asia and as far as the Mediterranean. Since the nineteenth century, the Graeco-Roman associations of Gandhāran art have attracted particular attention. Classically educated soldiers and administrators of that era were astonished by the uncanny resemblance of many works of Gandhāran sculpture to Greek and Roman art made thousands of miles to the west. More than a century later we can recognize that the Gandhāran artists’ appropriation of classical iconography and styles was diverse and extensive, but the explanation of this ‘influence’ remains puzzling and elusive. The Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre was initiated principally to cast new light on this old problem. This volume is the third set of proceedings of the project’s annual workshop, and the first to address directly the question of cross-cultural influence on and by Gandhāran art. The contributors wrestle with old controversies, particularly the notion that Gandhāran art is a legacy of Hellenistic Greek rule in Central Asia and the growing consensus around the important role of the Roman Empire in shaping it. But they also seek to present a more complex and expansive view of the networks in which Gandhāra was embedded. Adopting a global perspective on the subject, they examine aspects of Gandhāra’s connections both within and beyond South Asia and Central Asia, including the profound influence which Gandhāran art itself had on the development of Buddhist art in China and India.
This volume, a compilation of original papers written to celebrate the outstanding contributions of Jonathan Mark Kenoyer to the archaeology of South Asia over the past forty years, highlights recent developments in the archaeological research of ancient South Asia, with specific reference to the Indus Civilization.