Early Buddhist art of China and Central Asia. / Volume 1 : Later Han, Three Kingdoms, and Western Chin in China and Bactria to Shan-shan in Central Asia

CONTENTS
ACKNOWLEDGEMENTS
PREFACE
ABBREVIATED LIST OF ILLUSTRATIONS MAPS AND DRAWINGS
INTRODUCTION
PART I THE BEGINNINGS OF BUDDHISM AND BUDDHIST ART IN CHINA
     CHAPTER ONE THE HAN DYNASTY (206 B.C.-220 A.D.)
          I. THE OPENING OF CHINA TO THE WEST
               A. Former (Western) Han (206 B. G.-8 A.D.)
               B. Later (Eastern) Han (25-220 A.D.)
          II. WRITTEN EVIDENCES OF BUDDHISM IN THE HAN PERIOD
          III. TRANSLATORS AND TRANSLATIONS OF BUDDHIST TEXTS
          IV. BUDDHIST ART
               A. K'ung-wang Shan
                    1. Images of Popular Religious Belief
                    2. The Buddhist Images 
                    3. Other Figures
                    4. Technique and Historical Conditions
                    5. Conclusions
               B. Evidences from Tombs in Szechwan and Kansu
                    1. Cave Tomb No. IX at Ma Hao
                    2. Buddha Images from "Money Trees"
                         a. The Ceramic Money Tree Base from P'eng-shan
                         b. The Buddhas on the Money Tree from Mien-yang (Ho-chia shan Tomb HM No.1)
                    3. The Pagoda Relief Tile from Shih-fang
                    4. The Later Han Tomb at Lei-t'ai Wu Wei Kansu
               C. Three-sided Miniature Gilt Bronze Shrine in the Asian Art Museum San Francisco
               D. The Harvard Flame-shouldered Buddha
                    1. Descriptive and Comparative Analysis of Technique and Style
                    2. Considerations of Dating Provenance & Iconography Historical Circumstances& and Interpretation
          V. CONCLUSIONS
     CHAPTER TWO PERIOD OF THE THREE KlNGDOMS AND THE WESTERN CHIN(A.D. 220-317)
          I. POLITICAL SETTING RELATIONS WITH CENTRAL ASIA AND DEVELOPMENTSIN BUDDHISM
               A The Three Kingdoms (220-265)
               B. The Western Chin (265-3l7 A.D.)
          II. BUDDHIST ART
               A. Funerary Art with Buddhist Figures
                    1. Ceramics
                         a. Various Vessels (other than hun-p'ing)
                         b. Hun-p'ing Vessels
                    2. Bronze Mirrors
                         a. The Shen-shou Mirrors with Triangular Rim
                         b. Shen-shou Mirrors with Flat Rim
                         c. K'ueileng Mirrors
                    3. Small Bronze Figures
                         a. Money tree bronze Buddhas from Szechwan
                         b. Gilt bronze belt buckle with Bodhisattva dated 262 A.D.
                    4. Clay Tomb Bricks Tiles and Figurines
                         a. Tomb bricks with Buddhist figures
                         b. Tile from P'ing-an Ch'ing-hai
                         c. Pottery figurine from Chung hsien Szechwan
               B. The Orthodox Icons: Buddhist Bronze Sculptures
                    1. The Seated Buddha in the Tokyo National Museum
                    2. The Seated Bronze Buddha with Circular Halo Formerly in the Fujiki Collection
                    3. The Fujii Yunnkan Bodhisattva
                         a. Technique description and stylistic sources
                         b. Concluding remarks
                    4. Small Standing Bodhisattva
          III. CONCLUSIONS
PART II ART OF THE SILK ROAD IN CENTRAL ASIA: 1ST-4TH CENTURY A.D.
     CHAPTER THREE WESTERN CENTRAL ASIA TRANSOXlANA AND BAMIYAN
          I. INTRODUCTION: BRIEF HISTORICAL BACKGROUND
          II. SITES AND ART OF THE TERMEZ REGION
               A. KHALCHAYAN
               B. AIRTAM
                    1. The Buddhist Temple Site
                    2. The Stupa Complex
               C. KARA-TEPE
                    1. Temple Complexes: Courtyards Caves Stupas Paintings and Sculptures
                         a. Complex A
                         b. ComplexB
                              i. Stupa drawing
                              ii. Buddha group
                         c. Complex C
                         d. ComplexD
                              i. Seated Buddha sculpture
                              ii. Wall paintings
                    2. Some Concluding Remarks
               D. FAYAZ-TEPE
                    1. Monastery Site
                    2. Wall Paintings
                    3. Sculpture
               E. DALVERZJN-TEPE
                    1. Buddhist Temple No. I
                    2. Buddhist Ternple No.2
          III. SITES AND ART OF THE KHOREZM REGION
               A. KOY-K.RYLGAN KALA
               B. TOPRAK KAlA
                    1. Sculptures and Wall Paintings
          IV. BAMIYAN: SOME EARLY CAVES
               A. Introduction
               B. Cave 24
               C. Cave 51
                    1. The Watercolor Drawing byJ. Carl
                    2. Wall Painting Fragments
               D. Caves 129 130 and 152
               E. Cave 140
               F. Cave 165
               G. Cave 155: The Eastern Great Buddha Niche
          V. CONCLUSIONS
               A. Sculpture
               B. Painting
               C. Architecture
     CHAPTER FOUR EASTERN CENTRAL ASIAKASHGAR TO KHOTAN
          I. INTRODUCTION
               A History of the Region: Han-early 5th Century A.D.
               B. The Routes from China Through Eastern Central Asia
          II. THE SITES AND THEIR BUDDHIST ART REMAINS
               A. Kashgar
                    1. Stupas of the Kashgar Area
               B. Yarkand and Karghalik
               C. Khotan
                    1. Buddhism and Buddhist Art in Khotan from Literary Sources
                    2. Sculpture from Khotan
                         a. Figurines of western deities
                         b. Two bronze Buddha heads
                         c. A small bronze Bodhisattva
                         d. A small clay Buddha head
                         e. Small steatite fragment of a stupa
                         f. Large clay Buddha head
                         g. Conclusions
                    3. Textiles from Tombs at Shampula
                         a. Woolen fragment with design of a man's head
                         b. Woolen Jragment with design of centaur in a circle of rosettes
                         c. Cotton fabric with rosette pearl and wave design
                         d. Chinese warped-faced compound tabby silk fragment
                    4. The Site of Rawak
                         a. The stupa
                         b. The sculptures
                              i. Style I
                              ii. Style II (Composite Fold Type)
                              iii. Style III (Incised Line Type)
                              iv. Style IV (String Fold Type)
                              v. Style V (Small Buddha Figures)
                              vi. Style VI (Combed Line Type)
                         c. Painting from Rawak
                         d. Conclusions: Rawak
                    5. Ak-terek and Siyelik
                    6. Kara-dong (near Kenya)
          III. CONCLUSIONS: SOUTHERN ROUTE (KASHGAR TO KHOTAN/KERIYA)
     CHAPTER FIVE EASTERN CENTRAL ASIA THE KINGDOM OF SHAN-SHAN: NIYA TO LOU-LAN
          I. INTRODUCTION: THE SHAN-SHAN KINGDOM
               A. Early History (The Han Dynasty Period in China: 206 B. C.-220 A.D.)
               B. Period of the Kharosthi Documents (Three Kingdoms Western Chin and Former Liang in China: 220- 376 A.D.)
                    1. Chinese Sources
                    2. The Kharosthi Inscriptions
                    3. The Shan-shan Kings: Regnal Years and Chronology
               C. Shan-shan from the Late 4th Century-early 6th Century (Contemporaneous with the FormerCh'in Northern Liang and Northern Wei)
                    1. Concluding Remarks
          II. SITES AND THEIR ART REMAINS
               A. Niya Endere Cherchen and Charklik
                    1. The Stupa at Niya
                    2. Art from Niya
                         a. Woodwork
                         b. Clay seals
                         c. Painting and textiles
                    3. Endere Cherchen and Charklik
               B. Miran
                    1. The Stupas and Structure of Shrines M III and M V
                    2. The Paintings of Shrines M III and M V
                         a. Brief description
                         b. Style technique and stylistic sources
                         c. Conclusions and dating
                    3. The Structures and Sculptures of MIl
                    4. Sites M XIII XIV and XV
                    5. Conclusions: Miran
               C. Lou-lan
                    1. The L.A. Area
                         a. Stupas of the L.A. area
                         b. Wooden lintel of Buddha niches
                              i. The niches
                              ii. The Buddha images
                    2. The L.B. Area
                         a. The L.B. I II and III complex
                              i. The Buddhist shrine L.B.II
                              ii. Figural sculptures from L.B. II
                                   a. Jamb with niches of standing Bodhisattvas
                                   b. Standing guardian
                                   c. Panel with the lower part of a cross-ankled figure
                         b. L.B. Iv, Vand W
                              i. Carved panel with cross-ankled and standing figures
                    3. Remains from Grave Sites
                         a. Textiles from the L. C. area
                              i. Woolen fragments
                              ii. Silk fragments
                    4. Conclusions: The Lou-lan Site
          III. CONCLUSIONS: ART FROM SITES OF THE SOUTHERN SILK ROUTE INEASTERN CENTRAL ASIA
     CONCLUSIONS
     BIBLIOGRAPHY
     INDEX
     PLATES