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=Hiasan atap berbentuk lonceng angin=
{{Infobox artwork
| title = Rafter finial in the shape of a dragon’s head and wind chime
| image =금동 용머리 모양 처마 끝 장식과 작은 종 고려-金銅龍頭吐首風鐸 高麗-Rafter finial in the shape of a dragon’s head and wind chime MET h1 1999.263ab.jpg
| image_size =
| other_language_1 = [[Korean language|Korean]]
| other_title_1 = 금동 용머리 모양 처마 끝 장식과 작은 종 고려
| artist =
| year = 10th century AD (early [[Goryeo dynasty]])
| catalogue =
| type = [[Sculpture]]
| medium = Gilt [[Bronze|bronze]]
| height_metric =
| width_metric =
| length_metric =
| museum = [[Metropolitan Museum of Art]]
| city = [[New York City|New York]]
| accession = 1999.263a, b
}}
[[File:금동 용머리 모양 처마 끝 장식과 작은 종 고려-金銅龍頭吐首風鐸 高麗-Rafter finial in the shape of a dragon’s head and wind chime MET DT4424.jpg|thumb|250px|right|chime, [[Metropolitan Museum of Art]].]]
[[File:금동 용머리 모양 처마 끝 장식과 작은 종 고려-金銅龍頭吐首風鐸 高麗-Rafter finial in the shape of a dragon’s head and wind chime MET DT4423.jpg|thumb|250px|right|finial in the shape of dragon’s head, [[Metropolitan Museum of Art]].]]
[[File:Treasure No.6 2004-09-05 125301.jpg|thumb|Monument at Godal Temple, showing dragon-tortoise hybrid.]]
The '''dragon's head and wind chime''' is an elaborate type of [[Ormolu|gilt bronze]] [[Korean wind chime]] and [[Korean dragon]] sculpture of [[later Silla]] / early [[Goryeo]] art, probably serving as a [[Imperial roof decoration|roof end tile figure]] on a [[Korean Buddhist temples|Korean Buddhist temple]] or [[Korean palace]]. There are two similar near-complete examples, at the [[Metropolitan Museum of Art]] in New York City,<ref name="MET" /> and at [[Leeum, Samsung Museum of Art]] in Seoul, which is designated [[National Treasure (South Korea)|National Treasure]] No. 781.<ref name=":0" /><ref name=":1" /><ref name="MET" />
Belonging to the 10th century AD, this work would originally have been attached to a corner rafter of a royal palace building or a Buddhist temple hall. The artifact, made of guilt bronze consists of two major parts: the lower wind chime and upper rafter finial with the shape of a dragon head. The dragon head contains various intricate designs and its eyes, opened mouth, horns, ears and elaborate scales convey the fierceness of the mythical creature. A hook in the upper part of the chime might have used to hang the chime in the rafter, as loops can be seen in the chin of the dragon head. The lower part of the wind chime contains decorative panels of a circular platform with lotus motifs in either side. A [[Swastika|''swastika'']] symbol can be observed in the middle of the platform. This is considered as an ancient xymbol related with [[Buddha]].<ref name=MET>{{Cite web|url=https://www.metmuseum.org/art/collection/search/50325 |title=Rafter finial in the shape of a dragon’s head and wind chime |accessdate=2017-11-20 |language=en |publisher=[[Metropolitan Museum of Art]]}}</ref> As the [[dragon]] is considered as a symbol of protection and fierceness in [[Asian culture|Asian tradition]], it is speculated that this chime would have attached as a [[Imperial roof decoration|roof end tile figure]] to a royal palace or a Buddhist temple hall. Dragon finials are significant in Korean art.<ref>{{Cite book|url=https://books.google.com/books?id=3rQEmtdJRiYC&pg=PA140|title=Ancient Art from the Shumei Family Collection|last=N.Y.)|first=Metropolitan Museum of Art (New York|last2=Art|first2=Los Angeles County Museum of|date=1996|publisher=Metropolitan Museum of Art|isbn=9780870997730|language=en}}</ref><ref>{{Cite web|url=http://www.kaikodo.com/index.php/exhibition/detail/welcoming_the_spring/292|title=Korean Gilt-Bronze Dragon-Head Finial 韓國鍍金銅龍首頂飾 {{!}} Kaikodo Asian Art|website=www.kaikodo.com|language=en-US|access-date=2017-11-24}}</ref> The dragon face resembles that at [[Godalsa|Godal Temple]], which is dated to 975.<ref name=":1" /><ref>{{Cite web|url=http://jikimi.cha.go.kr/english/search_plaza_new/ECulresult_Db_View.jsp?VdkVgwKey=12,00060000,31&queryText=*&requery=0&mc=EN_03_02|title=::: Cultural Heritage, the source for Koreans' Strength and Dream :::|last=Administration|first=Cultural Heritage|website=jikimi.cha.go.kr|language=en|access-date=2017-11-25}}</ref>
==Introduction ==
[[Korean peninsula]] has a long history of art. The Korean [[Pottery|pottery]] shows advanced techniques and elaborate jewelry has been found buried in ancient Korean tombs. From 7th to 17th century AD, metal crafting was developed and fine metal works can be observed. Also Korean porcelain and painting was developed with its distinctive style. This Rafter finial in the shape of a dragon's head and wind chime is one of the finest metal works of [[Goryeo]] period.<ref>{{Cite web|url=https://artsdelacoree.hypotheses.org/3299 |title=Exposition : “Splendors of Korean Art”, The Met |publisher=Arts de la Corée |accessdate=2017-11-20 |date=2016-11-27 |language=en}}</ref> In the Korean art and culture, [[dragon]] figure holds a significant place. Specially, dragon is considered as the protector of humans as well as warding off evil spirits. This figure, displaying the fierceness of a dragon, shows how advanced metal work [[Goryeo]] craftsmen had.<ref>{{Cite web|url=https://koreaarthistory.weebly.com/traditional-artifacts.html |title=Traditional Artifacts |publisher=Korea Art History |language=en |accessdate=2017-11-20}}</ref> The bell, which functioned as a ''[[Korean wind chime|punggyeong]]'' ({{lang-ko|풍경|lit=wind bell}}),<ref>{{Cite book|url=https://books.google.com/books?id=qwnQAgAAQBAJ&pg=PT367|title=Things Korean|last=Lee|first=O.-Young|date=2012-08-21|publisher=Tuttle Publishing|year=|isbn=9781462908400|location=|pages=367|language=en}}</ref> originally had a metal-plated clapped inside. Another similar example for the dragon's head and wind chime set can be seen at [[Leeum, Samsung Museum of Art]], [[Seoul]], and the dragon's head element is designated [[National Treasure (South Korea)|National Treasure]] No. 781.<ref name=":0">{{Cite web|url=http://jikimi.cha.go.kr/english/search_plaza_new/ECulresult_Db_View.jsp?VdkVgwKey=12,07810000,11|title=::: Cultural Heritage, the source for Koreans' Strength and Dream :::|last=Administration|first=Cultural Heritage|website=jikimi.cha.go.kr|language=en|access-date=2017-11-21}}</ref><ref name=":1">{{Cite web|url=http://leeum.samsungfoundation.org/html_eng/collection/traditional.asp|title=Traditional Korean Art {{!}} Leeum, Samsung Museum of Art|website=Traditional Korean Art {{!}} Leeum, Samsung Museum of Art|language=en|access-date=2017-11-25}}</ref><ref name=MET/>
==Referensi==
{{reflist|1}}
== Bibliografi==
{{refbegin}}
*{{cite book |author= |title=Recent Acquisitions, A Selection: 1999–2000|url=https://www.metmuseum.org/art/metpublications/Recent_Acquisitions_A_Selection_1999_2000_The_Metropolitan_Museum_of_Art_Bulletin_v_58_no_2 |year=fall, 2000 |volume=58 |issue=2 |location=New York |publisher=The Metropolitan Museum of Art Bulletin |access-date=2017-11-20 |language=en}}
*{{cite book |author= |title=The Arts of Korea: A Resource for Educators |url=https://www.metmuseum.org/art/metpublications/The_Arts_of_Korea_A_Resource_for_Educators |location=New York |publisher=The Metropolitan Museum of Art Bulletin |access-date=2017-11-20 |language=en}}
{{refend}}
[[Kategori:Korea]]
[[Kategori:Patung]]
=Patung keramik luohan Yixian=
[[Image:Flickr - dalbera - Statue de l'Arhat Tamrabhadra (musée Guimet).jpg|thumb|300px|[[Musee Guimet]] example]]
[[File:五百羅漢堂華林寺.Jpeg|thumb|250px|Chinese luohan hall]]
A set of life-size glazed pottery sculptures of [[arhat|luohans]] usually assigned to the period of the [[Liao dynasty]] (907–1125) was discovered in caves at I Chou (I-chou, Yizhou) in Yi xian or [[Yi County, Hebei]] ({{zh|s=易县|t=易縣|p=Yì Xiàn}}), south of [[Beijing]], before World War I.<ref>Sickman, 200; Rawson, 159; Art history sources mostly use "Yixian", though "Yi xian" appears more correct.</ref> They have been described as "one of the most important groups of ceramic sculpture in the world."<ref>Gillman Lecture, 3.20</ref> They reached the international art market, and were bought for Western collections. At least eight statues were originally found, including one large fragment which was long thought to have been destroyed in [[Berlin]] during World War II, but has been sighted in Russia recently.
Others are now in the following collections: the [[British Museum]] in London, two in the [[Metropolitan Museum of Art]] in New York, [[Royal Ontario Museum]] in Toronto, [[Museum of Fine Arts, Boston]], [[University of Pennsylvania Museum of Archaeology and Anthropology|Penn Museum]], [[Philadelphia]], [[Nelson Gallery of Art]], [[Kansas City]], the [[Musée Guimet]] in Paris, and a Japanese collection. With the example lost in Berlin, this makes a total of ten figures.<!-- Some discrepancies in the sources here --> There are fragments probably from the same set in other collections.<ref>Sickman, p. 483, note 11 for p. 200; updated to include the Paris example ([http://www.guimet.fr/fr/collections/chine/143-statue-du-luohan-tamrabhadra Musée Guimet page]</ref> The circumstances of the find, and the subsequent events as the figures reached the art market, have been the subject of much scholarly investigation, without being entirely clarified.
A luohan (often written luóhàn) is the Chinese term for an [[arhat (Buddhism)|arhat]], one of the historical disciples of the [[Buddha]]. As Buddhist tradition developed, and especially in the East Asian Buddhist countries, the number of arhats or luohans tended to increase, and at least the most important were regarded as, or as almost, [[bodhisattva]]s or fully enlightened beings, with a wide range of supernatural powers.<ref>Rhie and Thurman, 102</ref> According to Buddhist tradition, groups of 16, 18 or 500 luohans awaited the arrival of [[Maitreya]], the Future Buddha,<ref name=toah>{{cite web|title=Arhat (luohan), Liao dynasty (907–1125), ca. 1000|url=http://www.metmuseum.org/toah/works-of-art/21.76|work=Heilbrunn Timeline of Art History|publisher=[[Metropolitan Museum of Art]]|accessdate=2014-02-25}}</ref> and groups were often used in East Asian [[Buddhist art]]. The full set is thought by most scholars to have had figures for the typical Chinese main grouping of [[Sixteen Arhats|Sixteen]] or [[Eighteen Arhats]], although [[William Watson (sinologist)|William Watson]] describes this "usual assumption" as "speculative". These and earlier smaller groupings of six or eight were each given names and personalities in Buddhist tradition.<ref>Rhie and Thurman, 102–116; Wisdom, 112–114; Steinhardt, 7–8; Gillman, 126; Watson, 123, quoted</ref>
This set is exceptional in its quality and the individuality of each figure; it has been suggested that they were also portraits of notable contemporary monks. For Watson they are "outstanding examples of the naturalistic pseudo-portrait of the period, displaying to great perfection an idealization of the face", where "only the elongation of the ear-lobes follows [traditional Buddhist] [[iconography]]".<ref name="Watson, 123">Watson, 123</ref> The green hair of some of the figures is also a departure from naturalism. The findspot in 1912 seems not to have been the original location of the group, which is unknown, and the set of 16 or 18 figures was probably made to be set on platforms along the walls of a "luohan hall" in a temple.<ref>Steinhardt, 7–8; Gillman, 126; Gillman Lecture, 35:00 – 37:00</ref> The openwork bases were intended to suggest mountains; paintings of luohans often show them perched on small peaks, indicating the mountain retreats of the ascetic monk.<ref>Gillman Lecture, 38:30</ref>
==Galeri==
<gallery widths="200px" heights="200px" perrow="4">
File:Luóhàn at British Museum.jpg|British Museum, [[Seated Luohan from Yixian]]
File:遼 三彩羅漢像-Arhat (Luohan) MET DP163962.jpg| Yixian luohan from the [[Metropolitan Museum of Art]], his head turned sharply to his right
File:遼 三彩羅漢像-Arhat (Luohan) MET DP163966.jpg|Another at the Metropolitan from the same set, depicting an older monk
|[[University of Pennsylvania Museum of Archaeology and Anthropology|Penn Museum]], his head turning slightly to his right
|[[Nelson-Atkins Museum]], [[Kansas City]]
Image:Green Luohan, Southeast Asia Gallery, Royal Ontario Museum, front.jpg|Luohan at the [[Royal Ontario Museum]] in Toronto, with later head
|Luohan at the [[Museum of Fine Arts, Boston]] with restored head
</gallery>
==Arkeologi==
[[File:Luohan side.jpg|thumb|The older of the New York figures, from the side]]
In their first years in the West the figures were usually assigned to the [[Tang Dynasty]] (618–907), with some proposing various later dates in the [[Ming dynasty]] period and those of the dynasties in between. But a date in the regional [[Liao Dynasty]] (916–1125 CE) came to be preferred, although in recent years they are increasingly, partly because of the results of scientific dating methods, placed in the early 12th century, which is mostly in the following [[Jin dynasty (1115–1234)]] period.<ref>Bulletin and Hobson's titles; Hobson, 69–70; Watson, 123</ref>
[[Thermoluminescence dating]] tests of the statues in Philadelphia and New York (younger figure) produced a midpoint date of 1210, ± 100 and 200 years respectively, the midpoint being during the period of the following Jin dynasty. Derek Gillman tentatively suggests the specific date of 1159, to match the recorded renovation of a large temple in the region, which he proposes as a candidate for their original location.<ref>Steinhardt, 8; Gillman Lecture, 53:10, for some minutes; Wisdom, 116 (Technical note).</ref> An early 12th-century coin was also found inside the Boston figure.<ref name="Watson, 123"/>
==Teknik==
The dimensions of the figures vary somewhat; taking the younger of the two in New York as an example, they are: height of the figure along 50 in. (127 cm); including the base the height is 92 in. (233.7 cm). The base is 41 in. (104.1 cm) wide and 38 in. (96.5 cm) deep. The whole piece weighs 450 lbs (204.1 kg).<ref>[http://www.metmuseum.org/collections/search-the-collections/42722 Metropolitan object page]</ref>
The statues are assembled from several pieces of glazed [[terracotta]] (not [[stoneware]] as sometimes said),<ref>Gillman Lecture, 21:00</ref> with their bases made separately, and using a combination of moulded and freely formed "slab-constructed" sections. They use the difficult [[sancai]] three-colour glazing process (here in fact often including four colours), which requires two firings. This was widely used for vessels and figures found in [[T'ang dynasty]] (618–907) tombs ([[Tang Dynasty tomb figures of Liu Tingxun|this set in London is a good example]]), but from the mid-8th century is rarely found in most of China. However the regional Liao dynasty, founded by the semi-nomadic [[Khitan people]], continued to use the style, although normally for vessels rather than figures, and Beijing and Yixian were on the southern edge of their state, with Beijing (as "Nanjing") their southern capital.<ref name="Wisdom, 115–116">Wisdom, 115–116</ref>
The figures, variously described as life-size or "slightly over life-size",<ref>Wisdom, 115; Sickman, 200 quoted</ref> are among the largest made with the technique and are agreed to be outstanding examples from the technical as well as the artistic point of view.<ref>Sickman, 201; Wisdom, 115–116</ref> According to one scholar "it would tax the best-equipped modern pottery to build up and fire such massive objects without sinkage or warping or loss of pose",<ref>Hobson, 70</ref> though he was probably unaware that because of their exceptional size the figures have iron rods inserted internally before firing to support the structure, a very unusual element.<ref name="Gillman Lecture, 21:10"/>
Because of their high quality it is often believed that they may have been made at one of the imperial kilns, which were home to the most highly skilled craftsmen.<ref name=toah/><ref>Rawson; Sickman and Soper</ref> Remains of a kiln have been excavated since 1983 at Longquan (not [[Longquan]]), between Beijing and the findspot, which seems a plausible site for their manufacture, with fragments of figures with similar characteristics found,<ref name="Wisdom, 115–116"/> although Gillman is unconvinced by this suggestion.<ref>Gillman Lecture, long passage beginning 41:00</ref>
==Referensi==
{{Reflist|2}}
==Bibliografi==
{{refbegin}}
*"Bulletin", "[https://archive.org/details/jstor-3254268 A Large Pottery Lohan of the T'ang Period]" by "S.C.B.R." (S.C. Bosch Reitz per Wisdom, 221), ''Bulletin of the Metropolitan Museum of Art'', vol. xvi (1921), pp. 15–16
* Gillman, Derek, ''The Idea of Cultural Heritage'', 2010, Cambridge University Press, {{ISBN|0521192552}}, 9780521192552, [https://books.google.com/books?id=84JfIlFA0_kC&pg=PA126#v=onepage&q&f=false google books]
* "Gillman Lecture" [https://www.youtube.com/watch?v=2T-EG7Bjcig Lecture by Derek Gillman at the Penn Museum, on their example and the group. From YouTube]
*Gridley, Marilyn Leidig, ''Chinese Buddhist Sculpture Under the Liao: Free Standing Works In Situ and Selected Examples from Public Collections'', 1993, International Academy of Indian Culture and Aditya Prakashan, {{ISBN|8185689040}}, 9788185689043
*Hobson, R.L. “A New Chinese Masterpiece in the British Museum.” ''The [[Burlington Magazine]] for Connoisseurs, Vol. 25, No. 134 (May, 1914) , pp. 68–70, 73, [https://www.jstor.org/stable/859579 JSTOR]
*Rhie, Marylin and Thurman, Robert (eds):''Wisdom And Compassion: The Sacred Art of Tibet'', 1991, Harry N. Abrams, New York (with 3 institutions), {{ISBN|0810925265}}
*[[Laurence Sickman|Sickman L]] & Soper A, ''The Art and Architecture of China'', Pelican History of Art, 3rd ed 1971, Penguin (now Yale History of Art), LOC 70-125675, pp. 200–201
*[[Jessica Rawson|Rawson, Jessica]] (ed). ''The British Museum Book of Chinese Art'', 2007 (2nd edn), British Museum Press, {{ISBN|9780714124469}}, pp. 158–160.
*Steinhardt, Nancy Shatzman, [http://penn.museum/documents/publications/expedition/PDFs/52-3/research%20notes.pdf "The Luohan that Came from Afar" (PDF)], [[University of Pennsylvania Museum of Archaeology and Anthropology]], [[Philadelphia]]
*[[William Watson (sinologist)|Watson, William]], ''The Arts of China: 900–1620'', Pelican history of art, 2000, Yale University Press, {{ISBN|0300098359}}, 9780300098358, [https://books.google.com/books?id=T-v5jUKaCxYC&pg=PA123&lpg=PA123 google books]
*"Wisdom": Leidy, Denise Patry; Strahan, Donna K.; Becker, Lawrence, ''Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art'', pp. 112–116, 2010, [[Metropolitan Museum of Art]], {{ISBN|1588393992}}, 9781588393999, [https://books.google.com/books?id=GFa0uSleDNwC&pg=PA112 google books], or [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/62659 fully available online as PDF, from the Metropolitan Museum of Art]
*Smithies, Richard, "The Search for the Lohans of I-chou (Yixian)", ''Oriental Art'', vol. 30, no. 3 (1984): pp 260–274
*Smithies, Richard (2001), "A Luohan from Yizhou in the University of Pennsylvania Museum", ''Orientations'' 32, no.2, pp. 51–56
*Wolf, Marion (1969), "The Lohans from I-chou", ''Oriental Art'' 15, no. 1, pp. 51–57
*R.E. Fisher, ''Buddhist art and architecture'' (London, Thames & Hudson, 1993)
*S.J. Vainker, ''Chinese pottery and porcelain'', (London, The British Museum Press, 1991)
*W. Zwalf (ed.), ''Buddhism: art and faith'' (London, The British Museum Press, 1985)
==Lihat juga==
{{commons category|Group of glazed pottery luohans from Yixian}}
[[Kategori:Patung Buddha]]
[[Kategori:Tiongkok]]
[[Kategori:Keramik Cina]]
[[Kategori:Patung Cina]]
=Patung Buddha Duduk dari Gandhara=
{{Use dmy dates|date=July 2017}}
{{Use Pakistani English|date=July 2017}}
{{Infobox artifact
|image = [[File:Seated Buddha, British Museum 1.jpg|220px]]
|name = Seated Buddha from Gandhara
|image_caption = Seated Buddha from Gandhara on display in the [[British Museum]]
|material = schist (stone)
|size = Height: 95 cm<br>
Width: 53 cm<br>
Depth: 24 cm
|writing =
|created =
|period = c. 2nd - 3rd Century AD
|place = [[Jamal Garhi]], [[Gandhara]], [[Pakistan]]
|location = Room 33, [[British Museum]], London
|id =
|registration =
}}
The '''Seated Buddha from Gandhara''' is an early statue of the [[Buddha]] discovered at the site of [[Jamal Garhi]] in ancient [[Gandhara]] in modern-day [[Pakistan]], that dates to the 2nd or 3rd century AD. It is now in room 33 of the [[British Museum]].<ref name=bm>[https://www.britishmuseum.org/explore/highlights/highlight_objects/asia/s/seated_buddha_from_gandhara.aspx Seated Buddha from Gandhara], [[British Museum]] Highlights, accessed July 2010</ref> Statues of the "enlightened one" were not made until the 1st century CE, before that Buddha was represented by [[Aniconism in Buddhism|aniconic symbols such as his footprint]].<ref name="bbc"/> Like other Gandharan, or [[Greco-Buddhist art]], the statue shows influence from [[Ancient Greek art]], as the region had been part of the [[Greco-Bactrian Kingdom]] established by [[Alexander the Great]].
==Deskripsi==
The statue was carved in [[schist]], allowing very fine detail, even down to showing the fingernails. The pose, which was to become one of a number of standard ones, shows Buddha as a teacher setting the wheel of [[Dharma]] in motion ([[Iconography of Gautama Buddha in Laos and Thailand#Hand gestures|Dharmachakra Mudrā]]). Buddha did this following his enlightenment and after delivering his first sermon at the deer park at [[Sarnath]]<ref name=bm/> near [[Varanasi]] in [[Uttar Pradesh]]. The statue was made in the 2nd or 3rd century and although Buddha lived in the 4th century before Christ this is still a quite early statue. Statues of the "enlightened one" were not made until the 1st century AD. For the first four hundred years after his death Buddha was represented by symbols alone such as his footprint.<ref name="bbc">[http://www.bbc.co.uk/ahistoryoftheworld/objects/lp9wEwU9RrC4De5WrDawtg Seated Buddha], History of the World in 100 Objects, BBC, accessed July 2010</ref>
This statue was used as the inspiration of a [[BBC Radio 4]] programme in the series called ''[[A History of the World in 100 Objects]]'' in May 2010. The programme discussed the change that allowed Buddha to be represented by a statue instead of as previously by symbols alone.<ref>[http://www.bbc.co.uk/programmes/b00shk95 Seated Buddha from Gandhara], BBC Radio 4, accessed July 2010</ref>
The figure of the Buddha is shown on a cushion on a throne or platform. On the front of the throne there are much smaller figures of a ''[[bodhisattva]]'' with a [[Peshawari pagri|turban]] and [[halo (religious iconography)|halo]], flanked by kneeling figures of a male and female probably representing [[donor portraits]] of a couple who paid for the statue.<ref>[https://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=225497&partid=1&searchText=RRI5353&fromADBC=ad&toADBC=ad&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx¤tPage=1 Collection database, British Museum]</ref>
==Patung yang sama==
There is a similar statue carved from black schist at [[Yale University Art Gallery]]<ref>[http://instructional1.calstatela.edu/bevans/art101/art101b-0-india/WebPage-Info.00036.html Seated Buddha], CalStateLA.edu, accessed July 2010</ref> Another comparable statue was sold by [[Christie's]] in September 2009 for $218,500. That statue dated from the same time and place and was 26 inches high.<ref>[http://www.christies.com/lotfinder/lot_details.aspx?intObjectID=5229822 A gray schist figure of a seated Buddha], Christies.com, 2009, accessed July 2010</ref> These Buddhas are widely considered to be the rarest of all Buddhist sculptures and despite [[iconoclasm]], they can be found in the museums of France, Germany, Japan, Korea, China, India, and Afghanistan as well as those still remaining in Pakistan.<ref>[http://www.heritage.gov.pk/html_Pages/gandhara.html Gandhara Civilization], Heritage.gov.pk, accessed July 2010</ref>
==Galeri==
<gallery>
File:Seated Buddha, British Museum.jpg|Another view of the seated Buddha in the British Museum
File:Gandhara Buddha Berlin Museum.jpg|Seated Buddha, Gandhara, Berlin Museum.
</gallery>
== Referensi==
{{Reflist}}
{{British Museum}}
{{Buddhism topics}}
{{British-Museum-100|41|Empress Pepper Pot|Gold coin of Kumaragupta I}}
{{DEFAULTSORT:Buddha, Gandhara}}
[[Kategori:Pakistan]]
[[Kategori:India]]
[[Kategori:Gandhara]]
=Pichangatti=
[[File:Dagger (Pichangatti) with Sheath MET 31.58ab 002june2014.jpg|thumb|right|Pisau belati (''pichangatti'') dengan sarungnya dari abad ke-19.]]
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