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Iconography can be one of the ways of studying the sacred across cultures, which should not be limited to a simple synchronic analysis of an exclusive aspect of religious phenomena; rather, it should be an investigation that takes into account the multilinear, disordered, overlapping attributes that characterise divinities. 1","publication_date":"2017,,","conference_end_date":null,"conference_start_date":null,"grobid_abstract_attachment_id":"52018803"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Crowns, Horns and Goddesses Appropriation of Symbols in Gandhāra and Beyond","broadcastable":true,"draft":false,"has_indexable_attachment":true,"indexable":true,"seo_quality":null}}["work"]; window.loswp.workCoauthors = [805282]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "safe_sidebar"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.showExperimentalOverhaulLoginForm = false window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="safe-loswp--grid-container"><div class="safe-work-card--container js-loswp-work-card"><div class="safe-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":52018803,"attachmentType":"pdf"}"><img alt="First page of “Crowns, Horns and Goddesses Appropriation of Symbols in Gandhāra and Beyond”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/52018803/mini_magick20190123-1833-6aw6yw.png?1548304162" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="safe-work-card--work-information"><h1 class="ds-work-card--work-title ds2-5-heading-sans-serif-lg">Crowns, Horns and Goddesses Appropriation of Symbols in Gandhāra and Beyond</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="805282" href="https://iuo.academia.edu/AndreaAngeloAndreaDiCastro"><img alt="Profile image of Andrea (Angelo Andrea) Di Castro" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/805282/276515/326951/s65_andrea.di_castro.jpg" />Andrea (Angelo Andrea) Di Castro</a></div><p class="ds-work-card--detail ds2-5-body-sm">2017</p><div class="ds-work-card--button-container"><div class="primary-buttons"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":52018803,"attachmentType":"pdf","workUrl":"https://www.academia.edu/31704024/Crowns_Horns_and_Goddesses_Appropriation_of_Symbols_in_Gandh%C4%81ra_and_Beyond"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span>See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":52018803,"attachmentType":"pdf","workUrl":"https://www.academia.edu/31704024/Crowns_Horns_and_Goddesses_Appropriation_of_Symbols_in_Gandh%C4%81ra_and_Beyond"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://www.academia.edu/31704024/Crowns_Horns_and_Goddesses_Appropriation_of_Symbols_in_Gandh%C4%81ra_and_Beyond","location":"/31704024/Crowns_Horns_and_Goddesses_Appropriation_of_Symbols_in_Gandh%C4%81ra_and_Beyond","scheme":"https","host":"www.academia.edu","port":null,"pathname":"/31704024/Crowns_Horns_and_Goddesses_Appropriation_of_Symbols_in_Gandh%C4%81ra_and_Beyond","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="CitationButton" data-props="{"entity_id":31704024,"citations":[{"name":"MLA","citation":"Crowns, Horns and Goddesses Appropriation of Symbols in Gandhāra and Beyond. 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Iconography can be one of the ways of studying the sacred across cultures, which should not be limited to a simple synchronic analysis of an exclusive aspect of religious phenomena; rather, it should be an investigation that takes into account the multilinear, disordered, overlapping attributes that characterise divinities. 1</p><div class="toggle-truncation-button js-toggle-truncation-button--abstract"><button class="safe-abstract--toggle-truncation-button"><span>... </span><span class="safe-abstract--toggle-truncation-button-text">Read more</span></button></div></div></div></div><div class="safe-figure-carousel-section--container"><div class="safe-figure-carousel-section--heading">Figures (20)</div><div class="safe-figure-carousel--container"><div class="carousel-container carousel-container--md" id="loswp-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-loswp-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484217/figure-2-map-showing-the-extent-of-the-kusana-empire"><img alt="Figure 2.1: Map showing the extent of the Kusana Empire. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_001.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.1: Map showing the extent of the Kusana Empire. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484223/figure-493-vary-from-goddess-with-mural-crown-associated"><img alt="vary from a goddess with mural crown associated with other gods on an architectural fragment excavated in the Swat Valley (Taddei 1964, 07, pl. CCCXXXVIJ) to a sculpture of the goddess Haritt with mural crown surrounded by children (Kurita 2003b, fig. 493). Additionally we find personal ornaments and jewellery like an elegant gold medallion deco- rated with a turreted female head (Bopearachchi et al. 2003, 191, fig. and a bronze pendant depicting a miniature goddess with cornuco 81) pia. mural crown and towers on her shoulders (Pal 1986, 157-58, cat. S33). Two intriguing stone palettes, or toilet trays, also show mural crowns: one depicts a scene from the Trojan cycle with Achilles and Penthesilea (Di Castro 2012c, 7-12), the other a sacrifice (Siudmak 2013, 57-59, pl. 16). Castro 2012c, 7-12), the other a sacrifice (Siudmak 2013, 57-59, pl. 16). While analysing images of goddesses with mural crowns, Santoro (2002) points to the originality of Gandharan iconography in the Kusana period with its innovative representations in which the divinity is also shown with shoulder towers. Santoro identifies this divinity with the Kusana goddess Ardoksho (ArdokPo). Despite Santoro’s suggestive observations and rele- vant documentation, her hypothesis is not exhaustive because of the aprior- istic attempt to identity the goddess of Kapilavastu with Ardoksho. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_002.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">vary from a goddess with mural crown associated with other gods on an architectural fragment excavated in the Swat Valley (Taddei 1964, 07, pl. CCCXXXVIJ) to a sculpture of the goddess Haritt with mural crown surrounded by children (Kurita 2003b, fig. 493). Additionally we find personal ornaments and jewellery like an elegant gold medallion deco- rated with a turreted female head (Bopearachchi et al. 2003, 191, fig. and a bronze pendant depicting a miniature goddess with cornuco 81) pia. mural crown and towers on her shoulders (Pal 1986, 157-58, cat. S33). Two intriguing stone palettes, or toilet trays, also show mural crowns: one depicts a scene from the Trojan cycle with Achilles and Penthesilea (Di Castro 2012c, 7-12), the other a sacrifice (Siudmak 2013, 57-59, pl. 16). Castro 2012c, 7-12), the other a sacrifice (Siudmak 2013, 57-59, pl. 16). While analysing images of goddesses with mural crowns, Santoro (2002) points to the originality of Gandharan iconography in the Kusana period with its innovative representations in which the divinity is also shown with shoulder towers. Santoro identifies this divinity with the Kusana goddess Ardoksho (ArdokPo). Despite Santoro’s suggestive observations and rele- vant documentation, her hypothesis is not exhaustive because of the aprior- istic attempt to identity the goddess of Kapilavastu with Ardoksho. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484248/figure-3-her-identification-is-based-on-an-assumption-that"><img alt="Her identification is based on an assumption that a goddess, connected to the cult of the Kusana god Pharro,’ must take the symbolic use of shoulder attributes associated with this divinity. Santoro (2002, 227) talks of pleonastic symbolism, where the repetition of the symbols is used to reinforce the notion they are implying. She explains this iconographic innovation by looking at the flaming shoulders of the god Pharro and the Kusana kings depicted on various coins.® " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_003.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Her identification is based on an assumption that a goddess, connected to the cult of the Kusana god Pharro,’ must take the symbolic use of shoulder attributes associated with this divinity. Santoro (2002, 227) talks of pleonastic symbolism, where the repetition of the symbols is used to reinforce the notion they are implying. She explains this iconographic innovation by looking at the flaming shoulders of the god Pharro and the Kusana kings depicted on various coins.® </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484270/figure-2-kusana-coin-of-huviska-displaying-the-god-pharro"><img alt="Figure 2.4: Kusana coin of Huviska displaying the god Pharro with flames on the shoulders and holding a receptacle with flames. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_004.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.4: Kusana coin of Huviska displaying the god Pharro with flames on the shoulders and holding a receptacle with flames. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484281/figure-2-hariti-with-children-on-the-shoulder-and-wearing"><img alt="Figure 2.5: Hariti with children on the shoulder and wearing a mural crown (Private collection). As a result, Santoro’s semantic reductionist analysis appears limited, owing to her exclusive focus on a singular feature (Pharro’s flames) which fails to take into account the inherent symbolic value of the children on Hariti’s shoulders, even though the goddess is depicted wearing a mural crown.'° Rather than being preoccupied with making a definitive attri- bution — labels supported by the literary evidence — it is more relevant to consider the variability of these images, their polysemy, and the process by which the appropriation of symbolic elements was determined. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_005.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.5: Hariti with children on the shoulder and wearing a mural crown (Private collection). As a result, Santoro’s semantic reductionist analysis appears limited, owing to her exclusive focus on a singular feature (Pharro’s flames) which fails to take into account the inherent symbolic value of the children on Hariti’s shoulders, even though the goddess is depicted wearing a mural crown.'° Rather than being preoccupied with making a definitive attri- bution — labels supported by the literary evidence — it is more relevant to consider the variability of these images, their polysemy, and the process by which the appropriation of symbolic elements was determined. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484289/figure-2-tyche-of-antiochia-by-eutychides-vatican-museums"><img alt="Figure 2.6: Tyche of Antiochia by Eutychides (Vatican Museums). When we consider the mural crown, it is useful to look at its origins and its association with the Greek goddess Tyche, a goddess who embodies and protects a town by bestowing royal power and fertility. The mural crown symbol was introduced to Bactria and Gandhara during the Greek domination of the region (third—first century BCE). According to Pausanias (Description of Greece IV. 30. 3, 6), in the mid sixth century BCE, Boupalos of Chios made a statue of Tyche wearing a polos and holding the horn of Amalthea for the temple of Smyrna. The association of a mural crown and cornucopia with Tyche, the goddess of Fortune, was likely made by Eutychides in the fourth century BCE. Pausanias (VI. 2. 7) states that Eutychides produced a highly valued image of Fortune for the Syrians on the Orontes. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_006.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.6: Tyche of Antiochia by Eutychides (Vatican Museums). When we consider the mural crown, it is useful to look at its origins and its association with the Greek goddess Tyche, a goddess who embodies and protects a town by bestowing royal power and fertility. The mural crown symbol was introduced to Bactria and Gandhara during the Greek domination of the region (third—first century BCE). According to Pausanias (Description of Greece IV. 30. 3, 6), in the mid sixth century BCE, Boupalos of Chios made a statue of Tyche wearing a polos and holding the horn of Amalthea for the temple of Smyrna. The association of a mural crown and cornucopia with Tyche, the goddess of Fortune, was likely made by Eutychides in the fourth century BCE. Pausanias (VI. 2. 7) states that Eutychides produced a highly valued image of Fortune for the Syrians on the Orontes. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484302/figure-2-detail-from-yazilikaya-relief-displaying-the"><img alt="Figure 2.7: Detail from Yazilikaya relief displaying the Hittite goddess Hepat with mural crown standing on a lion. In a Near Eastern context, the symbolic iconographic value of : mural crown has a long history that can be traced back to late Bronz Age Syrian and Anatolian goddesses. Near Eastern queens were als« represented by this symbol (Metzler 1994, 77), implying that there wa: a close symbolic connection between the values of kingship and th« kingdom itself, along with the possession and protection of cities. Thi: is exemplified by a fourteenth century BCE gold ‘mural crown’ tha was recorded as having being in the inventory of Queen Ahatmilku’ treasure at Ugarit, in northern Syria (Nougayrol 1955, 182-83). Hoffne (1969) demonstrated by combining philological and epigraphic evidenc« that this artefact can be regarded as a mural crown rather than a cit) model. Hoffner also refers to a renowned rock relief at Yazilikaya nea Hattusha/Bogazkoy where the carved Hittite goddess Hepat is wearing a mural crown standing on a lion. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_007.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.7: Detail from Yazilikaya relief displaying the Hittite goddess Hepat with mural crown standing on a lion. In a Near Eastern context, the symbolic iconographic value of : mural crown has a long history that can be traced back to late Bronz Age Syrian and Anatolian goddesses. Near Eastern queens were als« represented by this symbol (Metzler 1994, 77), implying that there wa: a close symbolic connection between the values of kingship and th« kingdom itself, along with the possession and protection of cities. Thi: is exemplified by a fourteenth century BCE gold ‘mural crown’ tha was recorded as having being in the inventory of Queen Ahatmilku’ treasure at Ugarit, in northern Syria (Nougayrol 1955, 182-83). Hoffne (1969) demonstrated by combining philological and epigraphic evidenc« that this artefact can be regarded as a mural crown rather than a cit) model. Hoffner also refers to a renowned rock relief at Yazilikaya nea Hattusha/Bogazkoy where the carved Hittite goddess Hepat is wearing a mural crown standing on a lion. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484306/figure-2-popular-in-late-hellenistic-bactria-detail-of-the"><img alt="popular in late Hellenistic Bactria. Figure 2.8: Detail of the Mesopotamian kudurru of Melishipak with the Sumerian goddess Nana (Louvre Museum, Paris). " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_008.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">popular in late Hellenistic Bactria. Figure 2.8: Detail of the Mesopotamian kudurru of Melishipak with the Sumerian goddess Nana (Louvre Museum, Paris). </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484312/figure-2-achaemenid-seal-with-king-possibly-artaxerxes"><img alt="Figure 2.9: Achaemenid seal with king (possibly Artaxerxes I) worshipping Anahita standing on a lion. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_009.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.9: Achaemenid seal with king (possibly Artaxerxes I) worshipping Anahita standing on a lion. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484315/figure-2-coin-of-andragoras-with-goddess-wearing-mural-crown"><img alt="Figure 2.10: Coin of Andragoras with a goddess wearing a mural crown. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_010.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.10: Coin of Andragoras with a goddess wearing a mural crown. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484316/figure-2-goddess-with-lotus-palm-and-mural-crown-on-coin-of"><img alt="Figure 2.11: Goddess with lotus, palm and mural crown on a coin of Peucolaos. On coins issued by Greek rulers various goddesses with mural crowns can be seen carrying a palm leaf, a symbol of victory, and a lotus flower, a typical Indian attribute. The coins of Eucratides I show the city goddess of Kapisa enthroned wearing a mural crown and flanked by the head of an elephant and a conical object; she holds a palm in her left hand, her right hand outstretched towards the elephant.”! Hippostratos too adopted a victory palm for his Tyche.” It was only under the Indo-Greek king Peucolaos, who lived at beginning of the first century BCE, that the poli- adic, or city goddess, departed from this model taking a lotus in her hand in addition to the palm (Mitchiner 1975-1976, no. 370; Bopearachchi 1991, 106, pl. 48.R). " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_011.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.11: Goddess with lotus, palm and mural crown on a coin of Peucolaos. On coins issued by Greek rulers various goddesses with mural crowns can be seen carrying a palm leaf, a symbol of victory, and a lotus flower, a typical Indian attribute. The coins of Eucratides I show the city goddess of Kapisa enthroned wearing a mural crown and flanked by the head of an elephant and a conical object; she holds a palm in her left hand, her right hand outstretched towards the elephant.”! Hippostratos too adopted a victory palm for his Tyche.” It was only under the Indo-Greek king Peucolaos, who lived at beginning of the first century BCE, that the poli- adic, or city goddess, departed from this model taking a lotus in her hand in addition to the palm (Mitchiner 1975-1976, no. 370; Bopearachchi 1991, 106, pl. 48.R). </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484319/figure-2-coin-of-puskalavati-with-the-bull-and-the-goddess"><img alt="Figure 2.12: Coin of Puskalavati with the bull and the goddess holding a lotus From evidence found on a coin with a better preserved inscription, the name of the goddess can be read as drupasaya, which may correspond to the Sanskrit dusprasahya, meaning ‘hard to conquer’. Therefore, a poss- ible reading can be ‘the invincible deity of Puskalavati’ (Senior and Babar 1998, 13; Senior 2001, vol. II, 116).?° The attribute drupasaya or ‘uncon- querable’ could be appropriate both for a warrior goddess and a town; it alludes to the warrior goddess Durga that may have a direct relationship in the Saivite milieu (Di Castro 2012c, 15). In the Kusana period Durga is generally represented on a lion and armed with a trident (see Srinivasan 1997, 285-286, pls. 20.1, 20.2, 20.9; Di Castro 2015, 277). " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_012.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.12: Coin of Puskalavati with the bull and the goddess holding a lotus From evidence found on a coin with a better preserved inscription, the name of the goddess can be read as drupasaya, which may correspond to the Sanskrit dusprasahya, meaning ‘hard to conquer’. Therefore, a poss- ible reading can be ‘the invincible deity of Puskalavati’ (Senior and Babar 1998, 13; Senior 2001, vol. II, 116).?° The attribute drupasaya or ‘uncon- querable’ could be appropriate both for a warrior goddess and a town; it alludes to the warrior goddess Durga that may have a direct relationship in the Saivite milieu (Di Castro 2012c, 15). In the Kusana period Durga is generally represented on a lion and armed with a trident (see Srinivasan 1997, 285-286, pls. 20.1, 20.2, 20.9; Di Castro 2015, 277). </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484323/figure-13-he-obverse-of-the-puskalavati-coin-there-is-bull"><img alt="he obverse of the Puskalavati coin there is a bull with Greek anc Kharosthi legends (tauros — ushabe), both terms meaning bull. Here he bull most likely indicates a reference to the Indian god Siva. In the Lexicon of Hesychius of Alexandria (fifth century CE), there is a men- ion of Gandhara and the cult of the bull: Gandaros: o taurokrates pai Indois (Tavéapoc: 6 tavpoKpdtyno map TIvdoic, ‘the Gandharan god he Indian lord of the bull’). Tucci (1963, 159, 160) asserts that ‘Siva is called Gandhara’; the name Gandaros can mean the ‘lord of the bull’ thai is Siva’s vehicle; consequently Gandaros — the god of Gandhara — can be identified with Siva. It is reasonable, therefore, to consider a Saivite con- nection for the goddess of Puskalavati. Moreover, it is logical to questior whether Peucolaos was representing the Tyche of the Greek Peukelaitis AS an interpretatio graeca of a local goddess (also called the ‘uncon. querable’, drupasaya), or another goddess associated with the lotus, lik« Laksmi, if not a local Yaksini (dryad or nymph). Whether an Indian god- Jess was appropriating classical attire or, conversely, a classical tutelary divinity appropriated an Indian name, hence assuming an Indian identity is still uncertain. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_013.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">he obverse of the Puskalavati coin there is a bull with Greek anc Kharosthi legends (tauros — ushabe), both terms meaning bull. Here he bull most likely indicates a reference to the Indian god Siva. In the Lexicon of Hesychius of Alexandria (fifth century CE), there is a men- ion of Gandhara and the cult of the bull: Gandaros: o taurokrates pai Indois (Tavéapoc: 6 tavpoKpdtyno map TIvdoic, ‘the Gandharan god he Indian lord of the bull’). Tucci (1963, 159, 160) asserts that ‘Siva is called Gandhara’; the name Gandaros can mean the ‘lord of the bull’ thai is Siva’s vehicle; consequently Gandaros — the god of Gandhara — can be identified with Siva. It is reasonable, therefore, to consider a Saivite con- nection for the goddess of Puskalavati. Moreover, it is logical to questior whether Peucolaos was representing the Tyche of the Greek Peukelaitis AS an interpretatio graeca of a local goddess (also called the ‘uncon. querable’, drupasaya), or another goddess associated with the lotus, lik« Laksmi, if not a local Yaksini (dryad or nymph). Whether an Indian god- Jess was appropriating classical attire or, conversely, a classical tutelary divinity appropriated an Indian name, hence assuming an Indian identity is still uncertain. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484324/figure-2-gold-pendant-depicting-goddess-and-floral"><img alt="Figure 2.15: Gold pendant depicting a goddess and floral cornucopia (Cleveland Museum of Art). already started before the Gupta period.*® A similar development can also be ascertained on two gold repoussé pendants depicting a goddess regarded as Hariti holding a lotus and stem-like cornucopia, dating from the third— fourth century CE (Czuma 1985, 157-158, no. 75; Errington et al. 1992, 143, no. 143). Modifications and substitutions of Laksmi’s cornucopia with a floral symbol (lotus) are discernible in a number of numismatic and sculp- tural artefacts of both the Gupta and post-Gupta periods.*? " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_014.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.15: Gold pendant depicting a goddess and floral cornucopia (Cleveland Museum of Art). already started before the Gupta period.*® A similar development can also be ascertained on two gold repoussé pendants depicting a goddess regarded as Hariti holding a lotus and stem-like cornucopia, dating from the third— fourth century CE (Czuma 1985, 157-158, no. 75; Errington et al. 1992, 143, no. 143). Modifications and substitutions of Laksmi’s cornucopia with a floral symbol (lotus) are discernible in a number of numismatic and sculp- tural artefacts of both the Gupta and post-Gupta periods.*? </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484334/figure-2-seal-with-lajjagauri-from-kashmir-smast-who-covered"><img alt="Figure 2.16: Seal with Lajjagauri from Kashmir Smast. who covered their bodies with ashes and performed sacrifices (Beal 1884, I, 113-114). On a number of seals from Kashmir Smast, Bhimadevi is gen- erally depicted as Lajjagauri, the ‘shameless’ goddess with legs spread, exposing her vulva next to a trident and a liga (Rahman and Falk 2011, 24-25, cat. nos. 07.04.01, 07.04.02, 07.04.04, 07.04.07, 07.04.09, 07.04.11- 07.04.13, 07.04.15).*° On the seals, the figure of Lajjagauri is also replaced by an enthroned matronly goddess with cornucopia similar to the Ardoksho images found on various Kusana coins (Rahman and Falk 2011, 99, cat. nos. 07.04.13, 07.04.17; G6bl 1985, nos. 538, 541, 555, 780). " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_015.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.16: Seal with Lajjagauri from Kashmir Smast. who covered their bodies with ashes and performed sacrifices (Beal 1884, I, 113-114). On a number of seals from Kashmir Smast, Bhimadevi is gen- erally depicted as Lajjagauri, the ‘shameless’ goddess with legs spread, exposing her vulva next to a trident and a liga (Rahman and Falk 2011, 24-25, cat. nos. 07.04.01, 07.04.02, 07.04.04, 07.04.07, 07.04.09, 07.04.11- 07.04.13, 07.04.15).*° On the seals, the figure of Lajjagauri is also replaced by an enthroned matronly goddess with cornucopia similar to the Ardoksho images found on various Kusana coins (Rahman and Falk 2011, 99, cat. nos. 07.04.13, 07.04.17; G6bl 1985, nos. 538, 541, 555, 780). </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484338/figure-2-seal-with-matronly-goddess-holding-cornucopia-from"><img alt="Figure 2.17: Seal with matronly goddess holding a cornucopia from Kashmir Smast. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_016.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.17: Seal with matronly goddess holding a cornucopia from Kashmir Smast. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484341/figure-17-syncretic-transformation-can-be-traced-down-to-the"><img alt="syncretic transformation can be traced down to the composite votive statu- The goddess and the lion " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_017.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">syncretic transformation can be traced down to the composite votive statu- The goddess and the lion </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484356/figure-2-coin-of-agathocles-with-yaksini-and-lion"><img alt="Figure 2.19: Coin of Agathocles with Yaksini and lion. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_018.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.19: Coin of Agathocles with Yaksini and lion. </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484369/figure-2-coin-of-sapadbizes-with-lion-and-the-legend-nanaia"><img alt="Figure 2.20: Coin of Sapadbizes with lion and the legend Nanaia. moon crescent over a lion with the legend ‘Nanaia’ (Mitchiner type 509) According to the evidence derived from the Kusana inscription of Rabatak, Nana was the supreme goddess of the Kusana kingdom who onferred royal power upon Kaniska. On many Kusana coins and seals Nana is typically represented as holding a sceptre with a lion finial and a sowl. However, on a number of coins and seals she is also represented as riding a lion — and it is certainly not by a mere coincidence that during his period the Indian goddess Durga was also represented either riding " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_019.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.20: Coin of Sapadbizes with lion and the legend Nanaia. moon crescent over a lion with the legend ‘Nanaia’ (Mitchiner type 509) According to the evidence derived from the Kusana inscription of Rabatak, Nana was the supreme goddess of the Kusana kingdom who onferred royal power upon Kaniska. On many Kusana coins and seals Nana is typically represented as holding a sceptre with a lion finial and a sowl. However, on a number of coins and seals she is also represented as riding a lion — and it is certainly not by a mere coincidence that during his period the Indian goddess Durga was also represented either riding </figcaption></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/11484374/figure-2-silver-disc-with-cybele-from-ai-khanum-national"><img alt="Figure 2.21: Silver disc with Cybele from Ai Khanum (National Museum, Kabul). is the origin of the diffusion of this important symbolic feature of the Hindu goddess Durga. " class="figure-slide-image" src="https://figures.academia-assets.com/52018803/figure_020.jpg" /></a><figcaption class="figure-slide-caption ds2-5-body-xs">Figure 2.21: Silver disc with Cybele from Ai Khanum (National Museum, Kabul). is the origin of the diffusion of this important symbolic feature of the Hindu goddess Durga. </figcaption></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-loswp-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div></div><div class="safe-right-rail--container"><div class="safe-right-rail--related-works"><h2 class="safe-related-content--heading">Related papers</h2><div class="safe-related-content--container"><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work " data-collection-position="0" data-entity-id="65518164" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/65518164/_Masters_Dissertation_Patterns_of_Hybridity_and_Culture_Contact_as_seen_in_the_Iconography_of_the_Gandhara_Palettes">(Master's Dissertation) Patterns of Hybridity and Culture Contact as seen in the Iconography of the Gandhara Palettes</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="94289239" href="https://cambridge.academia.edu/CNicolaou">Christos Nicolaou</a></div><p class="ds2-5-body-sm ds-related-work--abstract hide-on-large">In this dissertation, I investigate the relationships between Greek, Sanskrit, and local religious practices in the Gandhara region of Northwest India as expressed in a set of the so-called Gandharan palettes (also known as cosmetic or toilet trays, Falk, 2012, 89-92). I will specifically look at how different artistic and religious tropes were utilised in the palettes’ imagery, which traditions they drew from, and how the balance between said tropes changed over the timespan of the palettes’ use from the 2nd Century BCE to the 2nd Century CE. I will then use these insights to show how specifically these tropes were re-appropriated or mixed to create a truly local tradition. My main questions revolve around what the palettes were used for and how their iconography borrowed and re-interpreted tropes from other cultural spheres. I use these to understand how these tropes were mixed together to bring forth a new symbolic vocabulary.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"(Master's Dissertation) Patterns of Hybridity and Culture Contact as seen in the Iconography of the Gandhara Palettes","attachmentId":77078899,"attachmentType":"pdf","work_url":"https://www.academia.edu/65518164/_Masters_Dissertation_Patterns_of_Hybridity_and_Culture_Contact_as_seen_in_the_Iconography_of_the_Gandhara_Palettes","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/65518164/_Masters_Dissertation_Patterns_of_Hybridity_and_Culture_Contact_as_seen_in_the_Iconography_of_the_Gandhara_Palettes"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work " data-collection-position="1" data-entity-id="9087881" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/9087881/A_neglected_Aspect_of_Vishnu_Iconography_and_other_Gods_and_Goddesses_Journal_of_the_Indian_Society_of_Oriental_Art_New_Series_vols_XXVIII_and_XXIX_2011_2013_pp_81_92">A neglected Aspect of Vishnu Iconography and other Gods and Goddesses, Journal of the Indian Society of Oriental Art , New Series, vols XXVIII & XXIX, 2011-2013, pp. 81-92.</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1979939" href="https://cnrs.academia.edu/ClaudineBautzePicron">Claudine Bautze-Picron</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"A neglected Aspect of Vishnu Iconography and other Gods and Goddesses, Journal of the Indian Society of Oriental Art , New Series, vols XXVIII \u0026 XXIX, 2011-2013, pp. 81-92.","attachmentId":38801906,"attachmentType":"pdf","work_url":"https://www.academia.edu/9087881/A_neglected_Aspect_of_Vishnu_Iconography_and_other_Gods_and_Goddesses_Journal_of_the_Indian_Society_of_Oriental_Art_New_Series_vols_XXVIII_and_XXIX_2011_2013_pp_81_92","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/9087881/A_neglected_Aspect_of_Vishnu_Iconography_and_other_Gods_and_Goddesses_Journal_of_the_Indian_Society_of_Oriental_Art_New_Series_vols_XXVIII_and_XXIX_2011_2013_pp_81_92"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work " data-collection-position="2" data-entity-id="36234060" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/36234060/Winter_I_J_2000_Opening_the_Eyes_and_Opening_the_Mouth_The_Utility_of_Comparing_Images_in_Worship_in_India_and_the_Ancient_Near_East_Ethnography_and_Personhood_Notes_from_the_Field_M_W_Meister_ed_Jaipur_and_New_Delhi_Rawat_Publications_129_162">Winter, I. J. (2000). Opening the Eyes and Opening the Mouth: The Utility of Comparing Images in Worship in India and the Ancient Near East. Ethnography and Personhood: Notes from the Field. M. W. Meister (ed.). Jaipur and New Delhi, Rawat Publications: 129-162.</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7397563" href="https://harvard.academia.edu/IreneWinter">Irene Winter</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Winter, I. J. (2000). Opening the Eyes and Opening the Mouth: The Utility of Comparing Images in Worship in India and the Ancient Near East. Ethnography and Personhood: Notes from the Field. M. W. Meister (ed.). Jaipur and New Delhi, Rawat Publications: 129-162.","attachmentId":56137800,"attachmentType":"pdf","work_url":"https://www.academia.edu/36234060/Winter_I_J_2000_Opening_the_Eyes_and_Opening_the_Mouth_The_Utility_of_Comparing_Images_in_Worship_in_India_and_the_Ancient_Near_East_Ethnography_and_Personhood_Notes_from_the_Field_M_W_Meister_ed_Jaipur_and_New_Delhi_Rawat_Publications_129_162","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/36234060/Winter_I_J_2000_Opening_the_Eyes_and_Opening_the_Mouth_The_Utility_of_Comparing_Images_in_Worship_in_India_and_the_Ancient_Near_East_Ethnography_and_Personhood_Notes_from_the_Field_M_W_Meister_ed_Jaipur_and_New_Delhi_Rawat_Publications_129_162"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work " data-collection-position="3" data-entity-id="50174601" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/50174601/Ritual_As_Icon_In_India">Ritual As Icon In India</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="88485170" href="https://sbsuny.academia.edu/DSrinivasan">Doris Srinivasan</a></div><p class="ds2-5-body-sm ds-related-work--abstract hide-on-large">Ritual as Icon in India he history of Indian art opens with a well-acknowledged puzzle. \tVhiie the earliest artistic phase, religious in nature, is archaic in style, the iconography is not primitive. Hindu stone images first appearing in the centuries around the Christian era demonstrate an iconographic ianguage which is direct, stable, artd mature. This phenomenon can be illustrated by images of Siva and Visnu, two major gods in the Hindu pantheon. The earliest-known Vaisnava multi-armed icon is dated by inscription to the first century nc (Fig. 3.1).i Wearing a cylindrical crown, the god holds the wheel and mace in the upper left and right hands. The natural hands clasp an object akin to a conch close to the chest. This image, like the one of Visnu eleven hundred years later (Fi9.3.2), stems from central India. In the later image, the same basic iconographic vocabulary is now imbued with majesty, and the icon is carved with perfected skill; the wheel and mace achieve greater elegance in shape, and there is greater clarity in the arrangement of the four arms. The tenth-century image is not an anachronism. The point is that this medieval sculpture depicts a characteristic mode of representing Visnu, and that mode had been worked out in its essentials in the first century ec. An even earlier image, from Uttar Pradesh and dated by inscription to the second century ac, has already solved a characteristic form s)rmbolic of the god Siva. The form is of a phallus with five heads (Fig. 3.3). The phallus is the sign of Siva, heralding the god's capacity for cosmic creation. The Sanskrit term for this Originally published in World Art, Thernes of Unity in Diversity. Acts of the XXVIth lntemational Congress of the History of Art. Irving Lavin (ed.), Vol. III. Univeristy Park and London, 7989; pp.557-62. Reprinted with stylistic changes, and with permission by the National Committee for the Historv of Art.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Ritual As Icon In India","attachmentId":68259167,"attachmentType":"pdf","work_url":"https://www.academia.edu/50174601/Ritual_As_Icon_In_India","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/50174601/Ritual_As_Icon_In_India"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work " data-collection-position="4" data-entity-id="25867720" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/25867720/OUT_OF_HISTORY_THEMES_AND_SYMBOLS_IN_THE_HINDUKUSH_AT_THE_FRINGES_OF_THE_MAIN_CULTURAL_TRADITIONS">OUT OF HISTORY: THEMES AND SYMBOLS IN THE HINDUKUSH AT THE FRINGES OF THE MAIN CULTURAL TRADITIONS</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="49654289" href="https://independent.academia.edu/MarcoFerrandi">Marco Ferrandi</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"OUT OF HISTORY: THEMES AND SYMBOLS IN THE HINDUKUSH AT THE FRINGES OF THE MAIN CULTURAL TRADITIONS","attachmentId":46233765,"attachmentType":"pdf","work_url":"https://www.academia.edu/25867720/OUT_OF_HISTORY_THEMES_AND_SYMBOLS_IN_THE_HINDUKUSH_AT_THE_FRINGES_OF_THE_MAIN_CULTURAL_TRADITIONS","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/25867720/OUT_OF_HISTORY_THEMES_AND_SYMBOLS_IN_THE_HINDUKUSH_AT_THE_FRINGES_OF_THE_MAIN_CULTURAL_TRADITIONS"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work hidden" data-collection-position="5" data-entity-id="108718336" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/108718336/Archaeology_of_Sacred_Symbols_The_Lost_Meaning_and_Interpretations">Archaeology of Sacred Symbols: The Lost Meaning and Interpretations</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="250696261" href="https://independent.academia.edu/RicoTolentino4">Rico Tolentino</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2019</p><p class="ds2-5-body-sm ds-related-work--abstract hide-on-large">Sacred symbols are seen as the representation of culture and beliefs of people which describe how they interact with their environment and spiritual being. Some of these symbols represent luck, some represent spiritualities, some represents powers, and some are just an emblem. The topic I shall discuss in this essay are: when and how do sacred symbols become part of a culture; why do the meaning of sacred symbols misperceive over time; how archaeology interprets sacred symbols; and how astrology and sacred geometry contribute to the sacred symbol interpretations? The concepts come to my consciousness are the sacred – spiritual/religious symbols which have been used by many groups of people within and across cultures for ritual practices or simple expressions through an iconic figure of geometrical patterns or human other-than-human form. It is interlaced with the fundamental values and beliefs associated with the strange, mystical and unexplained meaning of astrology. A sacred symbo...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Archaeology of Sacred Symbols: The Lost Meaning and Interpretations","attachmentId":107029469,"attachmentType":"pdf","work_url":"https://www.academia.edu/108718336/Archaeology_of_Sacred_Symbols_The_Lost_Meaning_and_Interpretations","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/108718336/Archaeology_of_Sacred_Symbols_The_Lost_Meaning_and_Interpretations"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work hidden" data-collection-position="6" data-entity-id="93140410" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/93140410/Iconography_and_Images_Ancient_Concepts">Iconography and Images. Ancient Concepts</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="64238476" href="https://cnrs.academia.edu/G%C3%A9rardColas">Gérard Colas</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Le Centre pour la Communication Scientifique Directe - HAL - Université de Nantes, 2010</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Iconography and Images. Ancient Concepts","attachmentId":98454746,"attachmentType":"pdf","work_url":"https://www.academia.edu/93140410/Iconography_and_Images_Ancient_Concepts","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/93140410/Iconography_and_Images_Ancient_Concepts"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work hidden" data-collection-position="7" data-entity-id="42785306" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/42785306/Raudra_and_Saumya_Aspects_of_the_Goddess_A_Study_of_Two_Icons_from_the_Camb%C3%A0_Valley">Raudra and Saumya Aspects of the Goddess A Study of Two Icons from the Cambà Valley</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4718597" href="https://du-in.academia.edu/SeemaBawa">Seema Bawa</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Cult of the Goddess: Past and Present in Indian Art, ed. Arputharani Sengupta, 2015</p><p class="ds2-5-body-sm ds-related-work--abstract hide-on-large">Two icons in metal that are enshrined in magnificent wooden temples still under active worship and the foci of local pilgrimages and rituals. Part of a group of four: Lakshana Devi, , Shakti Devi, Ganesha and Nandi that have the name of the donor, Meruvarmana and the craftsman, Gugga, engraved on the pedestals. A fifth image of Narasimha from the same area probably belongs to the same group but without a legible inscription that could aid a firm attribution. These oft-published icons have attracted scholarly attention due to their singular beauty and their uniqueness in that the name of the artist/craftsman of these images is given in pedestal epigraphs. Their study is also in consonance with the projects of documenting western Himalayan art during the twentieth century. The scholarly attentions the images have elicited have principally been from historical,1 iconographic2 and gender perspectives.3 In this paper I seek to study these images from a formalist iconographic perspective and delve further into the correlation between the epigraphs and the icons while locating them within their contemporary politico-religious milieu.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Raudra and Saumya Aspects of the Goddess A Study of Two Icons from the Cambà Valley","attachmentId":63010358,"attachmentType":"pdf","work_url":"https://www.academia.edu/42785306/Raudra_and_Saumya_Aspects_of_the_Goddess_A_Study_of_Two_Icons_from_the_Camb%C3%A0_Valley","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/42785306/Raudra_and_Saumya_Aspects_of_the_Goddess_A_Study_of_Two_Icons_from_the_Camb%C3%A0_Valley"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work hidden" data-collection-position="8" data-entity-id="9855541" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/9855541/Iconography_of_Deities_and_Demons_Electronic_Pre_Publication_1_29_Last_Revision_THE_ICONOGRAPHY_OF_RELIGION_IN_THE">Iconography of Deities and Demons: Electronic Pre-Publication 1/29 Last Revision: THE ICONOGRAPHY OF RELIGION IN THE</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="23892485" href="https://independent.academia.edu/GokceOzturk5">Gokce Ozturk</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Iconography of Deities and Demons: Electronic Pre-Publication 1/29 Last Revision: THE ICONOGRAPHY OF RELIGION IN THE","attachmentId":36019781,"attachmentType":"pdf","work_url":"https://www.academia.edu/9855541/Iconography_of_Deities_and_Demons_Electronic_Pre_Publication_1_29_Last_Revision_THE_ICONOGRAPHY_OF_RELIGION_IN_THE","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/9855541/Iconography_of_Deities_and_Demons_Electronic_Pre_Publication_1_29_Last_Revision_THE_ICONOGRAPHY_OF_RELIGION_IN_THE"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card js-safe-related-work-related-work hidden" data-collection-position="9" data-entity-id="27590820" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/27590820/Richness_of_Indian_Symbolism_and_Changing_Perspectives">Richness of Indian Symbolism and Changing Perspectives</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="722320" href="https://du-in.academia.edu/BalaganapathiDevarakonda">Balaganapathi Devarakonda</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2009</p><p class="ds2-5-body-sm ds-related-work--abstract hide-on-large">It was the exercise of the symbolic faculty that brought culture into existence and it is the use of symbols that makes the perpetuation of culture possible. Without the symbol there would be no culture and man would be merely and animal, not a human being.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Richness of Indian Symbolism and Changing Perspectives","attachmentId":47853198,"attachmentType":"doc","work_url":"https://www.academia.edu/27590820/Richness_of_Indian_Symbolism_and_Changing_Perspectives","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/27590820/Richness_of_Indian_Symbolism_and_Changing_Perspectives"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" 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href="https://www.academia.edu/Documents/in/Archaeology_of_the_Silk_Road">Archaeology of the Silk Road</a><button class="ds-pill-button ds-pill-button--small safe-related-topics--pill js-swp-download-button" data-signup-modal="{"location":"related-topics--follow","work_url":"https://www.academia.edu/Documents/in/Archaeology_of_the_Silk_Road"}"><span class="material-symbols-outlined" style="font-size: 16px" translate="no">add</span>Follow</button></li><li class="safe-related-topics--list-item"><a class="ds2-5-body-sm ds2-5-body-link js-related-research-interest" data-entity-id="575775" href="https://www.academia.edu/Documents/in/Cultural_appropriation">Cultural appropriation</a><button class="ds-pill-button ds-pill-button--small safe-related-topics--pill js-swp-download-button" data-signup-modal="{"location":"related-topics--follow","work_url":"https://www.academia.edu/Documents/in/Cultural_appropriation"}"><span class="material-symbols-outlined" style="font-size: 16px" translate="no">add</span>Follow</button></li></div></div></div></div><div class="safe-below-fold--container"><div class="safe-below-fold--related-works"><h2 class="safe-related-content--heading">Related papers</h2><div class="safe-related-content--container"><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="0" data-entity-id="40527870" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/40527870/Wings_and_Horns_Sacred_Symbols_from_the_West_Asia_and_Western_Central_Asia_1">Wings and Horns - Sacred Symbols from the West Asia and Western Central Asia 1</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4523532" href="https://miho.academia.edu/HajimeInagaki">Hajime Inagaki</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2019</p><p class="ds2-5-body-sm ds-related-work--abstract ">Since ancient times, humans would have found the expression of mysterious power in powerful animals such as beasts with their own strength, beasts with horns or fangs, and raptors with wings and claws. The image of these animals was also given to the symbol of an unbearable natural phenomenon. And ancient people, including Mesopotamia, expressed symbolic forms including various "fantastic animals" that combine animals and humans. They are the appearances of gods and spirits, and it can be said that people were in an overwhelming natural providence, confronting their own destiny, and a strong expression of prayer that always pursued bliss. Even in such a form, important signs common to a certain period and region are observed. This essay is an attempt to approach the expression of prayer that embraces these sacred symbols that can be glimpsed through a series of works of MIHO MUSEUM (hereinafter "MM") from ancient West Asia and western Central Asia.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Wings and Horns - Sacred Symbols from the West Asia and Western Central Asia 1","attachmentId":64244168,"attachmentType":"pdf","work_url":"https://www.academia.edu/40527870/Wings_and_Horns_Sacred_Symbols_from_the_West_Asia_and_Western_Central_Asia_1","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40527870/Wings_and_Horns_Sacred_Symbols_from_the_West_Asia_and_Western_Central_Asia_1"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="1" data-entity-id="123679015" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/123679015/Substrate_Continuity_in_Indo_European_Religion_and_Iconography_Seals_and_Figurines_of_the_Indus_Valley_Culture_and_Historic_Indic_Female_Figures">Substrate Continuity in Indo-European Religion and Iconography: Seals and Figurines of the Indus Valley Culture and Historic Indic Female Figures</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="21375" href="https://chavez-ucla.academia.edu/MiriamRobbinsDexter">Miriam Robbins Dexter</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Archaeology and Language: Indo-European Studies Presented to James P. Mallory, 2012</p><p class="ds2-5-body-sm ds-related-work--abstract ">This paper looks at possible religious and other continuity with regard to female figures and their accompanying iconography, found in the artifacts of the Indus Valley cultures (whose mature phase is dated to ca. 2600 BC-or 2500 with a transition phase between 2600 and 2500 BC) compared with texts and iconography found in the later cultures of India, whose Indo-European superstrate arrived in South Asia no earlier than 2000 BC. I discuss the iconography of female and feline found in the Indus Valley seals and in Indic texts such as the Dev¥måhåtmyam, as well as female "display figures" of the Indus Valley and Indic "Lajjå Gaur¥" figures, dating from the early centuries of this era, found in temples throughout India.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Substrate Continuity in Indo-European Religion and Iconography: Seals and Figurines of the Indus Valley Culture and Historic Indic Female Figures","attachmentId":118054387,"attachmentType":"pdf","work_url":"https://www.academia.edu/123679015/Substrate_Continuity_in_Indo_European_Religion_and_Iconography_Seals_and_Figurines_of_the_Indus_Valley_Culture_and_Historic_Indic_Female_Figures","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/123679015/Substrate_Continuity_in_Indo_European_Religion_and_Iconography_Seals_and_Figurines_of_the_Indus_Valley_Culture_and_Historic_Indic_Female_Figures"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="2" data-entity-id="54754907" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/54754907/Contested_Emotionality_Religious_Icons_in_Ancient_India">Contested Emotionality, Religious Icons in Ancient India</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="49269632" href="https://cnrs.academia.edu/gerardcolas">Gérard Colas</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Historicizing Emotions: Practices and Objects in India, China, and Japan</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Contested Emotionality, Religious Icons in Ancient India","attachmentId":70967295,"attachmentType":"pdf","work_url":"https://www.academia.edu/54754907/Contested_Emotionality_Religious_Icons_in_Ancient_India","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/54754907/Contested_Emotionality_Religious_Icons_in_Ancient_India"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="3" data-entity-id="44908686" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/44908686/Hinduism_and_its_Symbols">Hinduism and its Symbols</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="64969069" href="https://independent.academia.edu/SrinivasPublication">Srinivas Publication</a></div><p class="ds-related-work--metadata ds2-5-body-xs">International Journal of Management, Technology and Social Sciences (IJMTS), 2016</p><p class="ds2-5-body-sm ds-related-work--abstract ">Man has succeeded very much in going outside of himself and has made many achievements. He has travelled through the space, found out many machines, many stars etc.But man has not succeeded as he must have done in one field except a very few who have really searched within and transformed themselves and others into great self-realised,contented human beings, who are not moved by the pleasures and pains of life The epic character Nachikethas is a best example of this field's best motivator.India's epics are the greatest recorded epics known to man.It has been said that nothing exists that cannot be found in the epics of India. Bhagavat Geetha is the song of God.This literature continues to enchant readers and scholars the world over. This paper is an effort to search in a very limited way the spirit of this culture and its treasures.I bow down to the great power which is the power behind the entire existence.This power is smaller than the smallest and bigger than the biggest. Symbology is very common in all the ancient literature and epics. This paper is an effort to inculcate more interest in the present generation about the beauty and highly esteemed principles and values of the characters of the epics and the reality of life.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Hinduism and its Symbols","attachmentId":65430015,"attachmentType":"pdf","work_url":"https://www.academia.edu/44908686/Hinduism_and_its_Symbols","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/44908686/Hinduism_and_its_Symbols"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="4" data-entity-id="11952396" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/11952396/2008_Ga%E1%B9%87e%C5%9Ba_with_a_Dagger_in_Religion_and_Art_New_Issues_in_Indian_Iconography_and_Iconology_Proceedings_of_the_18th_conference_of_the_EASAA_London_2005_ed_by_C_Bautze_Picron_London_2008_pp_141_152">2008 - "Gaṇeśa with a Dagger," in: Religion and Art: New Issues in Indian Iconography and Iconology. Proceedings of the 18th conference of the EASAA, London 2005, ed. by C. Bautze-Picron, London 2008, pp. 141-152.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="29374113" href="https://independent.academia.edu/GouriswarBhattacharya">Gouriswar Bhattacharya</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"2008 - \"Gaṇeśa with a Dagger,\" in: Religion and Art: New Issues in Indian Iconography and Iconology. Proceedings of the 18th conference of the EASAA, London 2005, ed. by C. Bautze-Picron, London 2008, pp. 141-152.","attachmentId":37310506,"attachmentType":"pdf","work_url":"https://www.academia.edu/11952396/2008_Ga%E1%B9%87e%C5%9Ba_with_a_Dagger_in_Religion_and_Art_New_Issues_in_Indian_Iconography_and_Iconology_Proceedings_of_the_18th_conference_of_the_EASAA_London_2005_ed_by_C_Bautze_Picron_London_2008_pp_141_152","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/11952396/2008_Ga%E1%B9%87e%C5%9Ba_with_a_Dagger_in_Religion_and_Art_New_Issues_in_Indian_Iconography_and_Iconology_Proceedings_of_the_18th_conference_of_the_EASAA_London_2005_ed_by_C_Bautze_Picron_London_2008_pp_141_152"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="5" data-entity-id="12204182" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/12204182/Goat_Heads_and_Goddesses_in_Sw%C4%81t_Gandh%C4%81ra_and_Kashmir_and_Connected_Problems">Goat Heads and Goddesses in Swāt, Gandhāra and Kashmir and Connected Problems</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="805282" href="https://iuo.academia.edu/AndreaAngeloAndreaDiCastro">Andrea (Angelo Andrea) Di Castro</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Asian Horizons. Giuseppe Tucci's Buddhist, Indian, Himalayan and Central Asian Studies. Serie Orientale Roma CVI. Edited by A.A. Di Castro & D. Templeman., 2015</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Goat Heads and Goddesses in Swāt, Gandhāra and Kashmir and Connected Problems","attachmentId":37488222,"attachmentType":"pdf","work_url":"https://www.academia.edu/12204182/Goat_Heads_and_Goddesses_in_Sw%C4%81t_Gandh%C4%81ra_and_Kashmir_and_Connected_Problems","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/12204182/Goat_Heads_and_Goddesses_in_Sw%C4%81t_Gandh%C4%81ra_and_Kashmir_and_Connected_Problems"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="6" data-entity-id="2277899" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/2277899/Hestia_a_Tabula_Iliaca_and_Poseidons_trident_Symbols_adaptations_of_some_Bactrian_and_Gandh%C4%81ran_divinities">Hestia, a Tabula Iliaca and Poseidon's trident: Symbols' adaptations of some Bactrian and Gandhāran divinities</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="805282" href="https://iuo.academia.edu/AndreaAngeloAndreaDiCastro">Andrea (Angelo Andrea) Di Castro</a></div><p class="ds-related-work--metadata ds2-5-body-xs">ASCS Conference Proceedings. Refereed papers from the 33rd Annual Conference of the Australasian Society for Classical Studies http://www.ascs.org.au/news/ascs33/ , 2012</p><p class="ds2-5-body-sm ds-related-work--abstract ">This paper investigates cultural adaptations of ancestral traditions between the Hellenistic and local elites in Western and Central Asia from an iconographic and symbolic point of view. It is recognized that the hegemonic Greek population made use of symbols such as the cornucopia and the mural crown (together with those emerging from the local background) in order to reiterate their control over resources. This can be also maintained from a merely symbolic perspective where the divinities legitimize the power of the new rulers and grant a fortunate, wealthy rule over a fertile rich-producing land. In considering select examples of material culture, this paper will look at the diffusion of some “western” symbols and their popularity in various later artefacts of the Indo-Iranian borderlands. Following the introduction of Hellenistic elements in the eastern regions the religious imagery was subject to a series of adaptations that in some cases had a longer life in local variations. This can be exemplified by the appropriation of “adapted symbols” by subsequent waves of conquerors that ended up in controlling the land that formerly was under the rule of Seleucus I.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Hestia, a Tabula Iliaca and Poseidon's trident: Symbols' adaptations of some Bactrian and Gandhāran divinities","attachmentId":30524494,"attachmentType":"pdf","work_url":"https://www.academia.edu/2277899/Hestia_a_Tabula_Iliaca_and_Poseidons_trident_Symbols_adaptations_of_some_Bactrian_and_Gandh%C4%81ran_divinities","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/2277899/Hestia_a_Tabula_Iliaca_and_Poseidons_trident_Symbols_adaptations_of_some_Bactrian_and_Gandh%C4%81ran_divinities"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="7" data-entity-id="50839613" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/50839613/GREEK_HELIOS_OR_INDIAN_S%C5%AARYA_THE_SPREAD_OF_THE_SUN_GOD_IMAGERY_FROM_INDIA_TO_GANDH%C4%80RA">GREEK HELIOS OR INDIAN SŪRYA? THE SPREAD OF THE SUN GOD IMAGERY FROM INDIA TO GANDHĀRA</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="32420429" href="https://berkeley.academia.edu/OsmundBopearachchi">Osmund Bopearachchi</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Connecting the Ancient West and East. Studies presented to Prof. Gocha R. Tsetskhladze,edited by J. Boardman, J. Hargrave, A. Avram and A. Podossinov, Monographs in Antiquity, , 2021</p><p class="ds2-5-body-sm ds-related-work--abstract ">This paper examines a hitherto unpublished toilet tray found most probably in Begram in Afghanistan depicting a syncretic image of the Greek Helios and the Indian Sūrya. In the light of this document, two more toilet trays whose iconography was misunderstood by the art historian who published them are also reexamined. The origin of the Greek Sun God, Helios, and the diffusion of his iconography from Greece to Central Asia and Gandhāra, as well as the origin and development of the Sūrya or Āditya iconography in India are briefly studied. The present study also shows that the iconography of the three toilet trays does not appear in a Buddhist or Vedic milieu, but in an Indo-Greek context, demonstrating the diversity and syncretism that characterizes the cultural, religious, and artistic heritage of the former Greek and Indian political supremacies in Greater Gandhāra.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"GREEK HELIOS OR INDIAN SŪRYA? THE SPREAD OF THE SUN GOD IMAGERY FROM INDIA TO GANDHĀRA","attachmentId":68707695,"attachmentType":"pdf","work_url":"https://www.academia.edu/50839613/GREEK_HELIOS_OR_INDIAN_S%C5%AARYA_THE_SPREAD_OF_THE_SUN_GOD_IMAGERY_FROM_INDIA_TO_GANDH%C4%80RA","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/50839613/GREEK_HELIOS_OR_INDIAN_S%C5%AARYA_THE_SPREAD_OF_THE_SUN_GOD_IMAGERY_FROM_INDIA_TO_GANDH%C4%80RA"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="8" data-entity-id="93399671" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/93399671/The_Symbolism_of_the_Divine_An_Assessment_of_the_Deities">The Symbolism of the Divine: An Assessment of the Deities</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1327839" href="https://independent.academia.edu/DeepakSinkar">Deepak Sinkar</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2020</p><p class="ds2-5-body-sm ds-related-work--abstract ">The language of Symbols has a deep configuration behind the manifestations of ritual and worship in the Indian context. A symbol is particularly adopted in Indian art and culture concerning its religious significance but sometimes it has been adopted through indirect appearances. This kind of manipulation has been used through a particular shape, object, animal, and other related things. Numerous things are directly or indirectly associated with a particular folk or religious form. In this way, the artistic representations have been channelized through such kind of identity of a particular religious icon, as all artists are connected with the surroundings and beliefs of people. The symbols are so deeply rooted in the mind of creative genius and accepted universally by the followers. The present study deals with the symbolic assessment of deities through a critical analysis of some particular forms of deities. Some realistic and abstract forms have been taken as a medium to explore t...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Symbolism of the Divine: An Assessment of the Deities","attachmentId":96147701,"attachmentType":"pdf","work_url":"https://www.academia.edu/93399671/The_Symbolism_of_the_Divine_An_Assessment_of_the_Deities","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/93399671/The_Symbolism_of_the_Divine_An_Assessment_of_the_Deities"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card js-safe-related-work-wsj " data-collection-position="9" data-entity-id="110226051" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/110226051/FRANCFORT_H_P_2022_A_Blessing_Hand_Gesture_in_Images_of_Deities_and_Kings_in_the_Arts_of_Bactria_and_Gandh%C4%81ra_2nd_Century_B_C_E_1st_Century_C_E_The_Sign_of_the_Horns">FRANCFORT, H.-P. 2022. A “Blessing” Hand Gesture in Images of Deities and Kings in the Arts of Bactria and Gandhāra (2nd Century B.C.E.–1st Century C.E.): The Sign of the Horns.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2638575" href="https://mae.academia.edu/FrancfortHenriPaul">Henri-Paul Francfort</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Bulletin of the Asia Institute, 2022</p><p class="ds2-5-body-sm ds-related-work--abstract ">A specific hand gesture of deities and rulers in Bactria and Gandhara is examined. From Tychè to water beings, and to Graeco-Bactrian and Indo-Greek kings and more, this gesture is observed on coins and on art productions. A link with water, vegetation, and concepts of fertility/fecundity is suggested, in relation with the rulers powers.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"FRANCFORT, H.-P. 2022. A “Blessing” Hand Gesture in Images of Deities and Kings in the Arts of Bactria and Gandhāra (2nd Century B.C.E.–1st Century C.E.): The Sign of the Horns.","attachmentId":108108522,"attachmentType":"pdf","work_url":"https://www.academia.edu/110226051/FRANCFORT_H_P_2022_A_Blessing_Hand_Gesture_in_Images_of_Deities_and_Kings_in_the_Arts_of_Bactria_and_Gandh%C4%81ra_2nd_Century_B_C_E_1st_Century_C_E_The_Sign_of_the_Horns","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/110226051/FRANCFORT_H_P_2022_A_Blessing_Hand_Gesture_in_Images_of_Deities_and_Kings_in_the_Arts_of_Bactria_and_Gandh%C4%81ra_2nd_Century_B_C_E_1st_Century_C_E_The_Sign_of_the_Horns"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="safe-sticky-ctas--container js-loswp-sticky-ctas hidden"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":52018803,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":52018803,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_52018803" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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