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I am a numismatist, art historian and archaeologist. I am the Emeritus Director of Research of the French National Ce... moreI am a numismatist, art historian and archaeologist. I am the Emeritus Director of Research of the French National Centre for Scientific Research (C.N.R.S.-E.N.S. Paris), former Adjunct Professor of Central and South Asian Art, Archaeology, and Numismatics, University of California, Berkeley and former Visiting Professor and Member of the Doctoral School of the Paris-Sorbonne University. B.A. from the University of Kelaniya (Sri Lanka), and B.A. honours, M.A., M.Phil., Ph.D. from the Paris 1 Sorbonne University, and a Higher Doctorate (Habilitation) from the Paris 4 Sorbonne University. edit
This article discusses that the Gandhāra art is characterized by a type of figurative sculpture that originated in this region between the first and fifth centuries A.D. It reflects cross-cultural regional elements, stemming from its... more
This article discusses that the Gandhāra art is characterized by a type of figurative sculpture that originated in this region between the first and fifth centuries A.D. It reflects cross-cultural regional elements, stemming from its close relationship to Buddhism and, to some extent, to Hinduism, due to the fact that both religions flourished in India during the Kuṣāṇ Empire. Compared to other forms of Buddha figurative art, notably at Amarāvatī and Nāgārjunakoṇḍa, Gandhāran art is distinguished by a unique style, the use of schist-which is easily accessible in the region-a naturalism reminiscent of Greek classicism, and a predilection for iconography of episodes from the historical life of Buddha.
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Bopearachchi Osmund. La politique monétaire de la Bactriane sous les Séleucides. In: Topoi. Orient-Occident. Supplément 6, 2004. Le Roi et l'économie. Autonomies locales et structures royales dans l'économie de l'empire... more
Bopearachchi Osmund. La politique monétaire de la Bactriane sous les Séleucides. In: Topoi. Orient-Occident. Supplément 6, 2004. Le Roi et l'économie. Autonomies locales et structures royales dans l'économie de l'empire séleucide
Le premier article aborde les thèmes suivants : la vie du Bouddha, les formes les plus anciennes de l'art bouddhique en Inde ; l’art Andhra (Amarāvatī, Kanaganahalli, Nāgārjunakoṇḍa) ; l’apogée de l’empire kouchan et l’art bouddhique de... more
Le premier article aborde les thèmes suivants : la vie du Bouddha, les formes les plus anciennes de l'art bouddhique en Inde ; l’art Andhra (Amarāvatī, Kanaganahalli, Nāgārjunakoṇḍa) ; l’apogée de l’empire kouchan et l’art bouddhique de Mathura, de Sanghol et du Gandhara ; les bouddhismes theravada (doctrine des anciens) et mahayana (grand véhicule) et la diffusion de l’art bouddhique au Sri Lanka, dans le sud-est asiatique, en Asie Centrale et en chine et au japon.
Le second article examine le symbolisme sous-jacent de la présence de dieux brahmaniques (védiques ou hindous) dans l'art du Gandhara, principalement bouddhiste, à la lumière de l'art plastique et monétaire.
Le second article examine le symbolisme sous-jacent de la présence de dieux brahmaniques (védiques ou hindous) dans l'art du Gandhara, principalement bouddhiste, à la lumière de l'art plastique et monétaire.
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The maritime trade is not limited to exchange of goods alone. In the ancient world deprived of passenger ships, cargoes were the only mode of transportation in the Indian Ocean. Not only traders, but also Buddhist monks, nuns,... more
The maritime trade is not limited to exchange of goods alone. In the ancient world deprived of passenger ships, cargoes were the only mode of transportation in the Indian Ocean. Not only traders, but also Buddhist monks, nuns, philosophers, artists and diplomats as well travelled together; and as a result, not only goods, but also philosophical thoughts and iconographies were exchanged. As a result, Buddhist iconographies developed in a cross-fertilized context, ingenuously incorporating the sentiments and aesthetics of their respective populations. Instead of reproducing stereotypical prototypes, they created new forms of art leaving some traces of the aspirations of the donor-traders, enabling us to understand the growth of the maritime networks.
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Examen d’un plat de facture romaine portant deux inscriptions en langues iraniennes, l’une en bactrien gravee en pointille, l’autre incisee en pārsīg. Trouve dans l’ouest du Pakistan, cet objet souleve plusieurs questions : s’agit-il d’un... more
Examen d’un plat de facture romaine portant deux inscriptions en langues iraniennes, l’une en bactrien gravee en pointille, l’autre incisee en pārsīg. Trouve dans l’ouest du Pakistan, cet objet souleve plusieurs questions : s’agit-il d’un plat fabrique dans l’est de l’empire romain qui a echoue dans l’est de l’empire sassanide par la voie des echanges commerciaux, ou aurait-il ete produit dans un atelier d’orfevres d’Antioche deportes en Iran au IIIe siecle ? Laquelle des deux inscriptions, bactrienne ou pārsīg, est anterieure a l’autre ? Si ces questions restent pour le moment sans reponse ferme et definitive, le merite de cet objet est de les soulever.
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Humanities and Art
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Bopearachchi, Osmund. <em>Seven Weeks After the Buddha's Enlightenment: Contradictions in Text, Confusions in Art</em> (Delhi: Manohar, 2016). <br> Gautama Buddha -- Enlightenment.<br> Gautama Buddha.... more
Bopearachchi, Osmund. <em>Seven Weeks After the Buddha's Enlightenment: Contradictions in Text, Confusions in Art</em> (Delhi: Manohar, 2016). <br> Gautama Buddha -- Enlightenment.<br> Gautama Buddha. <br> Enlightenment (Buddhism)
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Osmund Bopearachchi, “ACHAEMENIDS AND MAURYANS: EMERGENCE OF COINS AND PLASTIC ARTS IN INDIA” , India and Iran in the Longue Durée, Edited by Alka Patel and Touraj Daryaee, UCI, Indian Centre for Persian Studies, 2017, pp. 15-47. In... more
Osmund Bopearachchi, “ACHAEMENIDS AND MAURYANS: EMERGENCE OF COINS AND PLASTIC ARTS IN INDIA” , India and Iran in the Longue Durée, Edited by Alka Patel and Touraj Daryaee, UCI, Indian Centre for Persian Studies, 2017, pp. 15-47. In ancient times the Indian satraps of the Persian Empire manifested their autonomy in multiple ways, for example in monetary policies by issuing their own coinage; thus artistic independence would not have been out of place. At the same time, it is true that ancient Indian art underwent drastic changes as the focus of inspiration changed from one horizon to the other. In many cases, even without precise textual evidence, coin types and artistic expressions show the effects of different cultures. India no doubt was inspired by Persia, but instead of reproducing stereotypical prototypes, it used outside inspiration to create new forms unique to the region. The study of Indian art demands a multi-disciplinary approach, wherein we can clearly trace the interactions between two cultures. Ultimately, this interaction gave birth to an extraordinary form of art which is neither western nor indigenous, but Indian.
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Art, Sculpture, Greek, Interpretation, City, and 7 moreRepresentation, Settlement, Habitat, Roi, Excavation, Coinage, and Grec
International Center for Ethnic Studies, 2008, 32 p.
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ABSTRACT
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Presentation et description d'une piece de monnaie visiblement decouverte au Badakhshan (N-E de la Bactriane) et mentionnant un prince local, Nastēn fils de Xatrannos, dont le regne se situe entre la chute des dirigeants grecs... more
Presentation et description d'une piece de monnaie visiblement decouverte au Badakhshan (N-E de la Bactriane) et mentionnant un prince local, Nastēn fils de Xatrannos, dont le regne se situe entre la chute des dirigeants grecs d'Asie Centrale (v. 130 av. J-C.) et l'avenement de l'empire kouchan (v. 30 apr. J.-C.).
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ABSTRACT
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Résumé/Abstract Le plus grand dépôt monétaire connu de l'histoire de la monnaie a été trouvé fortuitement, il ya six ans à Mir Zakah, en territoire afghan, dans une vallée de la province de Pakhtia, non loin de la frontière... more
Résumé/Abstract Le plus grand dépôt monétaire connu de l'histoire de la monnaie a été trouvé fortuitement, il ya six ans à Mir Zakah, en territoire afghan, dans une vallée de la province de Pakhtia, non loin de la frontière pakistanaise. La présente étude est destinée ...
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... l&#x27;île nommée par les Indiens Sielediva et par les Grecs Taprobane». 7 J. Carswell, «The Excavation of Mantai», Ancient Ceylon, 1990. p. 17-28. 8 Pour des renseigments plus détaillés, voir 0. Bopearachchi, «Sea-Borne and ...
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O. Bopearachchi, “Was Indo-Greek Artemidoros the son of Indo-Scythian Maues? Amluk Dara hoard revisited”, Numismatica Chronica, 2008-9, p. 25-46.
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Osmund Bopearachchi, “‘The Well-Farer of the world is not easily led away’: Revisiting the Paintings of the Mahārājaleṇa of the Dambulla Raja Mahāvihāra (Sri Lanka),” This article examines a series of minutely detailed paintings... more
Osmund Bopearachchi, “‘The Well-Farer of the world is not easily led away’: Revisiting the Paintings of the Mahārājaleṇa of the Dambulla Raja Mahāvihāra (Sri Lanka),”
This article examines a series of minutely detailed paintings depicting the seven weeks that the Buddha spent enjoying the bliss of his enlightenment in the vicinity of the Bo tree. The paintings adorn the ceiling of the Mahārājaleṇa, the largest cave of the Dambulla Raja Mahāvihāra complex in Sri Lanka.
This article examines a series of minutely detailed paintings depicting the seven weeks that the Buddha spent enjoying the bliss of his enlightenment in the vicinity of the Bo tree. The paintings adorn the ceiling of the Mahārājaleṇa, the largest cave of the Dambulla Raja Mahāvihāra complex in Sri Lanka.
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... En 1939, quand la France mobilise, l'armée d'Afrique compte 340 000 hommes, dont 90 000 Marocains. Une contribution encouragée par le sultan, le futur Mohammed V, qui a appelé les Marocains à s'engager dès le 3 septembre... more
... En 1939, quand la France mobilise, l'armée d'Afrique compte 340 000 hommes, dont 90 000 Marocains. Une contribution encouragée par le sultan, le futur Mohammed V, qui a appelé les Marocains à s'engager dès le 3 septembre 1939. ...
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On trouvera dans ce volume, du meilleur niveau scientifique : – Bibliographie de Paul Bernard pp. 3-11 ; – « Reflections on the Origins of Indian Stone Architecture » (John Boardman, pp. 13-22), sur les rapports entre les motifs... more
On trouvera dans ce volume, du meilleur niveau scientifique : – Bibliographie de Paul Bernard pp. 3-11 ; – « Reflections on the Origins of Indian Stone Architecture » (John Boardman, pp. 13-22), sur les rapports entre les motifs achemenides et l’art maurya ; – « A Faience Head of a Graeco-Bactrian King from Ai Khanum » (Osmund Bopearachchi, pp. 23-30), examine une tete de 33 cm de haut provenant d’Ai Khanoum et apparue sur le marche de l’art. Elle etait sans doute fixee sur un corps de bois e...
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Osmund Bopearachchi, “ACHAEMENIDS AND MAURYANS: EMERGENCE OF COINS AND PLASTIC ARTS IN INDIA” , India and Iran in the Longue Durée, Edited by Alka Patel and Touraj Daryaee, UCI, Indian Centre for Persian Studies, 2017, pp. 15-47. In... more
Osmund Bopearachchi, “ACHAEMENIDS AND MAURYANS: EMERGENCE OF COINS AND PLASTIC ARTS IN INDIA” , India and Iran in the Longue Durée, Edited by Alka Patel and Touraj Daryaee, UCI, Indian Centre for Persian Studies, 2017, pp. 15-47. In ancient times the Indian satraps of the Persian Empire manifested their autonomy in multiple ways, for example in monetary policies by issuing their own coinage; thus artistic independence would not have been out of place. At the same time, it is true that ancient Indian art underwent drastic changes as the focus of inspiration changed from one horizon to the other. In many cases, even without precise textual evidence, coin types and artistic expressions show the effects of different cultures. India no doubt was inspired by Persia, but instead of reproducing stereotypical prototypes, it used outside inspiration to create new forms unique to the region. The study of Indian art demands a multi-disciplinary approach, wherein we can clearly trace the interac...
... collections. Among them are the invaluable ivory plaques excavated at Begram by French archaeologists in 1937. ... admiration. Begram is one of the rare sites that still remains undisturbedand this only because it is littered with... more
... collections. Among them are the invaluable ivory plaques excavated at Begram by French archaeologists in 1937. ... admiration. Begram is one of the rare sites that still remains undisturbedand this only because it is littered with land mines (fig. ...
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Studia Iranica, Cahier 42, 2009, p. 39-50.
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When West Met East: Gandhāran Art Revisited is based on hitherto unpublished or partly published sculptures and artefacts from Gandhāra and Greater Gandhāra dispersed in public and private collections across Asia, Europe and Untied... more
When West Met East: Gandhāran Art Revisited is based on hitherto unpublished or partly published sculptures and artefacts from Gandhāra and Greater Gandhāra dispersed in public and private collections across Asia, Europe and Untied States. Its subject is a form of figurative sculpture that emerged in Gandhāran regions between the second and fifth centuries CE and reflects reginal cross-cultural elements arising from its direct relationship with Buddhism and to a certain extent with Hinduism as both flourished in India at the time of the Kuṣāṇ Empire. The author’s introduction presents the historical foundation of the innovative artistic expressions that characterize the singularity of Gandhāran art. The first chapter covers the cross-fertilized nature of the art and examines how Wesern artistic inspirations were transformed into new forms of art to narrate stories of Indian origin. The second chapter argues that Gandhāran artists followed the chronological sequence established by the Sanskrit Lalitavistara or pre-existing texts which may have inspired this sacred book this sacred book when depicting the scenes of the life of the Blessed One starting with the descent from the future Buddha from Tuṣita Heaven up to the first sermon. Singling out one particular episode in the Buddha’s life the descent from the Trāyastriṃśa Heaven to Sāṃkāśya, the third chapter thus focuses on the literary sources that inspired Gandhāran artists. The fourth chapter addresses the question of the first depictions of Maitreya and Avalokiteśvara in Gandhāran art. And finally, the fifth chapter looks at the symbolism behind the presence of Hindu gods in Gandhāran art. This book received the ‘Hirayama Book Price’ attributed by the French Academy of Inscriptions and Belles-Lettres, on June 2020.
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Alexander the Great, Kushan empire (Archaeology), Ancient Greek and Roman Art, Mahāvastu, Hellenic Studies, and 12 moreMauryan Empire, Lalitavistara, Gandharan Buddhist Art, Life of the Buddha, Pali and Sanskrit Studies, Indo Greek Culture and History, Kushan and Gandhara, Asoka, Buddhacarita, Indo-Scythian Coins, Indo-Parthian Coins, and Hindu gods
When West Met East: Gandhāran Art Revisted is based on hitherto unpublished or partly published sculptures and artefacts from Gandhāra and Greater Gandhāra dispersed in public and private collections across Asia, Europe and Untied States.... more
When West Met East: Gandhāran Art Revisted is based on hitherto unpublished or partly published sculptures and artefacts from Gandhāra and Greater Gandhāra dispersed in public and private collections across Asia, Europe and Untied States. Its subject is a form of figurative sculpture that emerged in Gandhāran regions between the second and fifth centuries CE and reflects reginal cross-cultural elements arising from its direct relationship with Buddhism and to a certain extent with Hinduism as both flourished in India at the time of the Kuṣāṇ Empire. The author’s introduction presents the historical foundation of the innovative artistic expressions that characterize the singularity of Gandhāran art. The first chapter covers the cross-fertilized nature of the art and examines how Wesern artistic inspirations were transformed into new forms of art to narrate stories of Indian origin. The second chapter argues that Gandhāran artists followed the chronological sequence established by the Sanskrit Lalitavistara or pre-existing texts which may have inspired this sacred book this sacred book when depicting the scenes of the life of the Blessed One starting with the descent from the future Buddha from Tuṣita Heaven up to the first sermon. Singling out one particular episode in the Buddha’s life the descent from the Trāyastriṃśa Heaven to Sāṃkāśya, the third chapter thus focuses on the literary sources that inspired Gandhāran artists. The fourth chapter addresses the question of the first depictions of Maitreya and Avalokiteśvara in Gandhāran art. And finally, the fifth chapter looks at the symbolism behind the presence of Hindu gods in Gandhāran art. This book received the ‘Hirayama Book Price’ attributed by the French Academy of Inscriptions and Belles-Lettres, on June 2020.
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This book examines, in the light of numerous iconographies, the syncretism of three deities associated with the sun, the Indian Sūrya, the Greek Helios, and the Iranian Mithra. The Gandhāran statue of the Bodhisattva Siddhārtha in the... more
This book examines, in the light of numerous iconographies, the syncretism of three deities associated with the sun, the Indian Sūrya, the Greek Helios, and the Iranian Mithra. The Gandhāran statue of the Bodhisattva Siddhārtha in the Royal Ontario Museum in Toronto, wearing a headdress depicting the sun god in the guise of a Bodhisattva, performing the abhayamudrā ("the gesture of fearlessness") standing frontally in a chariot drawn by four horses, was the starting point for this study. This syncretic image of the Greek Helios and the Indian Sūrya with Buddhist overtones is a direct result of the cross-cultural nature of Gandharān art. The evolution of sun-god imagery in central India and in the Great Gandhāra owed much to the worship of the Indian Sūrya and the Greek Helios as creators of the universe and source of all life. Nor is it surprising that this remarkably syncretic image emerged in the Kuṣāṇ period as a Buddhist icon, perhaps even a Buddha. The earliest representations of the sun god in India, Central Asia, and China took place in a Buddhist context. Sūrya in the railing at the Mahābodhi Temple, at the Bhājā Vihāra cave, and in the lintel from the Huviška Vihāra at Jamalpur represent Sūrya synchronised with the Buddha's 'achievement of dispelling the darkness of ignorance.' Likewise, the Sun god dressed similarly to a Bodhisattva but in the guise of Indian Sūrya and Greek Helios in the headdress of the Bodhisattva Siddhārtha in the Royal Ontario Museum and the Sun god taking the form of Iranian Mithra at Bāmiyān also symbolise the Buddha who will 'blaze forth in this world to dispel the darkness of delusion.'
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From Bactria to Taprobane is divided into two major volumes, the first on ‘Central Asian and Indian Numismatics’ and the second on ‘Art History and Maritime Trade’. The first volume is grouped into four sections: ‘Pre-Bactrian... more
From Bactria to Taprobane is divided into two major volumes, the first on ‘Central Asian and Indian Numismatics’ and the second on ‘Art History and Maritime Trade’. The first volume is grouped into four sections: ‘Pre-Bactrian Numismatics’ (chapters 1-6); ‘Bactrian and Indo-Greek Numismatics’ (chapters 8-28); ‘Indo-Scythian, Indo-Parthian and Kushan Numismatics’ (chapters 29-36); and Cultural Heritage of Afghanistan’ (chapters 37-39). This choice was made deliberately to isolate the Central Asian and Indian numismatic studies which constitute the main corpus of my studies. Within the thematic sections the articles are arranged in a chronological sequence. These two volumes received the "George Perrot Medal” attributed by the French Academy of Inscriptions and Belles-Lettres, on January 23rd 2015, http://www.aibl.fr/prix-et-fondations/palmares-461/
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Art History, Greek Epigraphy, Sri Lanka, Ancient Greek Numismatics, Buddhist art and architecture, and 9 moreKushans, Hindu Mythology, Bactria, Hellenism, Indo-Greeks, Indian Epigraphy, Art, Iconography and Religion (Hindu and Buddhist)., Indian Ocean Maritime Trade, Indian Numismatics, Indo-Scythians, and Indo-Parthians
The present book is the first of five volumes that I wish to publish in the near future on Śrī Laṅkān art. The next book will be on the sculptures of the Classical Period (5th-10th century CE). The third book will cover Buddhist and Hindu... more
The present book is the first of five volumes that I wish to publish in the near future on Śrī Laṅkān art. The next book will be on the sculptures of the Classical Period (5th-10th century CE). The third book will cover Buddhist and Hindu sculptures of the Polonnaruwa period (11th-13th century). The fourth one will be on the Yapahuwa and Kandiyan periods (13th-20th century). The final volume will focus on the mural paintings extending from the 2nd century to the 20th century CE.
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The exhibition: Beyond Boundaries: Gandharan Buddhist Art is organized by Osmund Bopearachchi, adjunct faculty in the Department of South and Southeast Asian Studies at UC Berkeley, and Julia M. White, senior curator for Asian art,... more
The exhibition: Beyond Boundaries: Gandharan Buddhist Art is organized by Osmund Bopearachchi, adjunct faculty in the Department of South and Southeast Asian Studies at UC Berkeley, and Julia M. White, senior curator for Asian art, with Lucia Olubunmi Momoh, curatorial assistant. The exhibition is supported in part by the Asian Art Endowment Fund.
For the virtual tour of the exhibition:
https://www.youtube.com/watch?v=8pazBSBN6yk
For the virtual tour of the exhibition:
https://www.youtube.com/watch?v=8pazBSBN6yk
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The present study is based on a hitherto unpublished relief most probably sculpted in Sri Lanka by an artist of the Nāgārjunakoṇa School, using a hard lime slab from Andhra. It was found accidentally in the premises of the Rankirimada... more
The present study is based on a hitherto unpublished relief most probably sculpted in Sri Lanka by an artist of the Nāgārjunakoṇa School, using a hard lime slab from Andhra. It was found accidentally in the premises of the Rankirimada Rajamahā Vihāra, Doluwa, Kumbukwewa (Kurunagala District) in Sri Lanka. This relief is the most ancient document, attested to date, depicting the events that took place during the first seven weeks that follow the Sambodhi (Perfect Awakening) of the Buddha and its unique iconography led us to closely examine the contradictions contained in some Buddhist texts when describing these seven weeks. There is some confusion and a number of contradictions in the texts as to the first seven days of the Buddha’s activity. These flaws in the textual narrations have caused confusion not only in the minds of visual artists of the past, but also in the interpretations proposed by art historians of the present day.
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The present book explores a revelatory Andharan style relief recently discovered in Sri Lanka. This groundbreaking work adds to the growing body of archaeological evidence of important exchanges between the Buddhists of Sri Lanka and... more
The present book explores a revelatory Andharan style relief recently discovered in Sri Lanka. This groundbreaking work adds to the growing body of archaeological evidence of important exchanges between the Buddhists of Sri Lanka and their co-religionists in the Krishna Valley. This relief is the most ancient document attested to date depicting the events that took place during the first seven weeks following the enlightenment of the Buddha. Its unique iconography leads the author to closely examine contradictions between literary evidence and visual representations of what is known as the sambodhi, or “perfect awakening” of the Buddha. According to the classic Buddhist texts the Mahāvastu and the Lalitavistara, the Buddha spent seven weeks after his enlightenment near the Bodhi tree. By contrast, the Buddhist canonical text the Vinaya-Piṭaka describes this period as only four weeks long. Sri Lankan and Burmese artists have preferred to depict the seven-week account. Furthermore, the “seven-week” motif depicted in this Andharan relief follows the chronological order given in the important Pāli texts the Nidānakathā and the Mahābodhi-Vaṁsa. The textual confusions and artistic contradictions excavated by this book uncover a bigger picture of the complex ways in which the story of the Buddha’s story was imagined in the earliest period of recorded Buddhist history. The present study is the first in a series of books by this author on Buddhist art.
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The aim of this paper is to examine the emergence of the Viṣṇu and Vaiṣṇava imagery in north India, with special focus on the Gandhāra region. It will be shown, that earliest numismatic evidence on the Viṣṇu and Vaiṣṇava imagery goes back... more
The aim of this paper is to examine the emergence of the Viṣṇu and Vaiṣṇava imagery in north India, with special focus on the Gandhāra region. It will be shown, that earliest numismatic evidence on the Viṣṇu and Vaiṣṇava imagery goes back to the 3rd century BCE and by the 2nd century BCE a well-developed iconography was in vogue in the North-West Frontier of India. As coins are metal objects, these images have survived, but images made of perishable material like wood and clay have perished due to the rough climatic conditions. It will also be argued that most of the images depicted on the coins were most probably engraved following existing prototypes. Although not as popular as Brahmā and Indra who were directly integrated into Gandhāran Buddhist art, Viṣṇu images made of stone, mainly schist, emerged independently going through a transitional period leading to an elaborate codification. The iconography of hitherto to unpublished sculptures will be discussed in relation to the already existing numismatic and plastic imagery.
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One of the talks presented at the workshop on “From Alexander the Great to Kanishka: Numismatic Evidence in Constructing Early Central Asian and Indian History With Osmund Bopearachchi” at the Education Studios, Asian Art Museum, San... more
One of the talks presented at the workshop on “From Alexander the Great to Kanishka: Numismatic Evidence in Constructing Early Central Asian and Indian History With Osmund Bopearachchi” at the Education Studios, Asian Art Museum, San Francisco, May 14th 2016.
https://www.societyforasianart.org/programs/study-groups/alexander-great-kanishka-numismatic-evidence-constructing-early-central-asian
https://www.societyforasianart.org/programs/study-groups/alexander-great-kanishka-numismatic-evidence-constructing-early-central-asian
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The Pleasure Gardens of Sigiriya. A New Approach At the request of many readers, I am producing the Powerpoint presentation entirely based on Osmund Bopearachchi, The Pleasure Gardens of Sigiriya. A New Approach, Godage Book Emporium,... more
The Pleasure Gardens of Sigiriya. A New Approach
At the request of many readers, I am producing the Powerpoint presentation entirely based on
Osmund Bopearachchi, The Pleasure Gardens of Sigiriya. A New Approach, Godage Book Emporium, Colombo, 2006. 80 pages, 26 plates (Sinhalese translation, Godage Emporium, Colombo, 2008).
See https://berkeley.academia.edu/OsmundBopearachchi
Also based on the talk given at the University of Cambridge, Cambridge
“Pleasure Gardens of Sigiriya”, Sidney Sussex College, May 29th 2013.
At the request of many readers, I am producing the Powerpoint presentation entirely based on
Osmund Bopearachchi, The Pleasure Gardens of Sigiriya. A New Approach, Godage Book Emporium, Colombo, 2006. 80 pages, 26 plates (Sinhalese translation, Godage Emporium, Colombo, 2008).
See https://berkeley.academia.edu/OsmundBopearachchi
Also based on the talk given at the University of Cambridge, Cambridge
“Pleasure Gardens of Sigiriya”, Sidney Sussex College, May 29th 2013.
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“Maritime Diffusion of Buddhist Thought and Art” Osmund Bopearachchi Inaugural Talk, Tang Centre for Silk Road Studies Thursday, September 21st 2017 Maude Eife Room, 315, Wheeler Hall University of California, Berkeley Video... more
“Maritime Diffusion of Buddhist Thought and Art”
Osmund Bopearachchi
Inaugural Talk, Tang Centre for Silk Road Studies
Thursday, September 21st 2017
Maude Eife Room, 315, Wheeler Hall
University of California, Berkeley
Video Conference. Link: https://youtu.be/7Bk9Tdo45ZM
Osmund Bopearachchi
Inaugural Talk, Tang Centre for Silk Road Studies
Thursday, September 21st 2017
Maude Eife Room, 315, Wheeler Hall
University of California, Berkeley
Video Conference. Link: https://youtu.be/7Bk9Tdo45ZM
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“From Alexander the Great to Imperial Kuṣāns: Iconography and Language of their Monetary Issues in Relation to Diverse Ethnic and Religious Populations in Central Asia and India” Talk given on Oct 11, 2017 12:00pm at “AHMA Noon... more
“From Alexander the Great to Imperial Kuṣāns: Iconography and Language of their Monetary Issues in Relation to Diverse Ethnic and Religious Populations in Central Asia and India”
Talk given on Oct 11, 2017 12:00pm at “AHMA Noon Colloquium”
Ancient History and Mediterranean Archaeology, Graduate Group, Noon Colloquium.
Dwinelle Hall, University of California, Berkeley.
Talk given on Oct 11, 2017 12:00pm at “AHMA Noon Colloquium”
Ancient History and Mediterranean Archaeology, Graduate Group, Noon Colloquium.
Dwinelle Hall, University of California, Berkeley.
This power-point presentation is based on the following publication available in the Academia.edu: https://berkeley.academia.edu/OsmundBopearachchi O. Bopearachchi, Seven Weeks after the Buddha’s Engligtenment: Contradictions in Text,... more
This power-point presentation is based on the following publication available in the Academia.edu:
https://berkeley.academia.edu/OsmundBopearachchi
O. Bopearachchi, Seven Weeks after the Buddha’s Engligtenment: Contradictions in Text, Confusions in Art, Manohar Publishers, New Delhi, 2016.
https://berkeley.academia.edu/OsmundBopearachchi
O. Bopearachchi, Seven Weeks after the Buddha’s Engligtenment: Contradictions in Text, Confusions in Art, Manohar Publishers, New Delhi, 2016.
Research Interests:
This power-point presentation is based on the following article in the Academia.edu: https://berkeley.academia.edu/OsmundBopearachchi O. Bopearachchi, “Sri Lanka and the Maritime Trade. Bodhisattva Avalokiteśvara as the Protector of... more
This power-point presentation
is based on the following article in the Academia.edu:
https://berkeley.academia.edu/OsmundBopearachchi
O. Bopearachchi, “Sri Lanka and the Maritime Trade. Bodhisattva Avalokiteśvara as the Protector of Mariners” in Asian Encounters exploring connected histories, ed. P. Dhar & U. Singh, New Delhi, oxford University Press, 2014, pp. 161-87.
and also the research paper:
O. Bopearachchi, “The Avalokiteśvara Survey Project: Buddhism and Maritime Trade in Ancient Sri Lanka”, 23rd International Conference of the European Association of South Asian Archaeologists, 4-8 July 2016, Cardiff University, Cardiff. http://www.easaa.org/
is based on the following article in the Academia.edu:
https://berkeley.academia.edu/OsmundBopearachchi
O. Bopearachchi, “Sri Lanka and the Maritime Trade. Bodhisattva Avalokiteśvara as the Protector of Mariners” in Asian Encounters exploring connected histories, ed. P. Dhar & U. Singh, New Delhi, oxford University Press, 2014, pp. 161-87.
and also the research paper:
O. Bopearachchi, “The Avalokiteśvara Survey Project: Buddhism and Maritime Trade in Ancient Sri Lanka”, 23rd International Conference of the European Association of South Asian Archaeologists, 4-8 July 2016, Cardiff University, Cardiff. http://www.easaa.org/