Wannaporn Rienjang is Lecturer in Archaeology, Museum and Heritage Studies at the Faculty of Sociology and Anthropology, Thammasat University and a project consultant for the Gandhara Connections project at the Classical Art Research Centre, Oxford. She completed her doctoral degree in Archaeology at the University of Cambridge in 2017, and has been involved in research projects focusing on the art and archaeology of Greater Gandhara, Indian Ocean Trade and ancient working technologies of stone beads and vessels. ;Peter Stewart is Director of the Classical Art Research Centre and Professor of Ancient Art at the University of Oxford. He has worked widely in the fields of Graeco-Roman sculpture and ancient world art. His publications include Statues in Roman Society: Representation and Response (2003), The Social History of Roman Art (2008), and A Catalogue of the Sculpture Collection at Wilton House (2020).

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• Editors’ note ; Preface – by Wannaporn Rienjang and Peter Stewart ; Part 1 Artistic Geographies ; Gandhāran art(s): Methodologies and preliminary results of a stylistic analysis – by Jessie Pons ; Geographical differences and similarities in Gandhāran sculptures – by Satoshi Naiki ; Part 2 Provenances and Localities ; Sources of acquisition for the Gandhāran Buddhist sculptures in the former S.R.O. collection of the Department of Archaeology and Museums, Government of Pakistan, in the light of ar¬chival documents – by Zarawar Khan ; Fresh discoveries at the Buddhist Monastic Complex Bādalpur, Taxila valley – by Muhammad Ashraf Khan ; Fresh research on the Buddhist monastic complex of Takht-i-Bāhī – by M.H. Khan Khattak ; The scope of the Buddhist 'workshops' and artistic 'centres’ in the Swat Valley, ancient Uḍḍiyāna, in Pakistan – by Abdul Ghafoor Lone ; Regional workshops and small stūpas in the Swat Valley: an analysis of the evidence from Gumbat, Saidu Sharif, and Pānṛ – by Pia Brancaccio and Luca Maria Olivieri ; Differences and similarities in Gandhāran art production: the case of the modelling school of Haḍḍa (Afghanistan) – by Alexandra Vanleene ; Part 3 Geography and Text ; A survey of place-names in Gāndhārī inscriptions and a new oil lamp from Malakand – by Stefan Baums ; Making places for Buddhism in Gandhāra: stories of previous births in image and text – by Jason Neelis

Wannaporn Rienjang is Lecturer in Archaeology, Museum and Heritage Studies at the Faculty of Sociology and Anthropology, Thammasat University and a project consultant for the Gandhara Connections project at the Classical Art Research Centre, Oxford. She completed her doctoral degree in Archaeology at the University of Cambridge in 2017, and has been involved in research projects focusing on the art and archaeology of Greater Gandhara, Indian Ocean Trade and ancient working technologies of stone beads and vessels. ;Peter Stewart is Director of the Classical Art Research Centre and Professor of Ancient Art at the University of Oxford. He has worked widely in the fields of Graeco-Roman sculpture and ancient world art. His publications include Statues in Roman Society: Representation and Response (2003), The Social History of Roman Art (2008), and A Catalogue of the Sculpture Collection at Wilton House (2020).

Select Guide Rating

• Editors’ note ; Preface – by Wannaporn Rienjang and Peter Stewart ; Part 1 Artistic Geographies ; Gandhāran art(s): Methodologies and preliminary results of a stylistic analysis – by Jessie Pons ; Geographical differences and similarities in Gandhāran sculptures – by Satoshi Naiki ; Part 2 Provenances and Localities ; Sources of acquisition for the Gandhāran Buddhist sculptures in the former S.R.O. collection of the Department of Archaeology and Museums, Government of Pakistan, in the light of ar¬chival documents – by Zarawar Khan ; Fresh discoveries at the Buddhist Monastic Complex Bādalpur, Taxila valley – by Muhammad Ashraf Khan ; Fresh research on the Buddhist monastic complex of Takht-i-Bāhī – by M.H. Khan Khattak ; The scope of the Buddhist 'workshops' and artistic 'centres’ in the Swat Valley, ancient Uḍḍiyāna, in Pakistan – by Abdul Ghafoor Lone ; Regional workshops and small stūpas in the Swat Valley: an analysis of the evidence from Gumbat, Saidu Sharif, and Pānṛ – by Pia Brancaccio and Luca Maria Olivieri ; Differences and similarities in Gandhāran art production: the case of the modelling school of Haḍḍa (Afghanistan) – by Alexandra Vanleene ; Part 3 Geography and Text ; A survey of place-names in Gāndhārī inscriptions and a new oil lamp from Malakand – by Stefan Baums ; Making places for Buddhism in Gandhāra: stories of previous births in image and text – by Jason Neelis