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Gandhara (Ga) Gandhara (Sanskrit: गान्धार, romanized: Gāndhāra) is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. [1] Gandhara is the long form of the syllable ग. [2] For simplicity in pronouncing while singing the syllable, Gandhara is pronounced as Ga (notation - G).
Swara (Sanskrit: स्वर) or svara [1] is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or saptanka.
Vrishabha Sen was the Ganadhara of Tīrthankara Rishabhanatha.According to Jain legends, after the nirvana of Rishabhanatha, Bharata was in grief. Ganadhara Vrisabha Sen saw him and spoke to him:
Gandhara (IAST: Gandhāra) was an ancient Indo-Aryan [1] civilization centred in present-day north-west Pakistan and north-east Afghanistan. [2] [3] [4] The core of the region of Gandhara was the Peshawar and Swat valleys extending as far east as the Pothohar Plateau in Punjab, though the cultural influence of Greater Gandhara extended westwards into the Kabul valley in Afghanistan, and ...
According to Prebish, "this episode corresponds well with one Sarvāstivādin tradition stating that Madhyantika converted the city of Kasmir, which seems to have close ties with Gandhara." [ 12 ] A third tradition says that a community of Sarvāstivādin monks was established at Mathura by the patriarch Upagupta . [ 12 ]
In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya was the most popular figure to be represented along with Gautama Buddha. Numerous sculptures of Maitreya have been found in Greater Gandhara from the Kushan Empire period (30–375 CE). He also appears in Mathura to a lesser extent. [20]
Gandhari is introduced in the Adi Parva of the Mahabharata as the daughter of King Subala, the ruler of the Gandhara kingdom and a descendant of Turvasu (son of Yayati) of the Lunar Dynasty. This region spanned from the Sindhu River to Kabul in Afghanistan. [1] Gandhari is regarded as an incarnation of a goddess named Mati ('intellect'). [5]
Johanna Hanink has attributed the concept of "Greco-Buddhist art" to a European scholarly inability to accept that natives could have developed "the pleasing proportions and elegant poses of sculptures from ancient Gandhara", citing Michael Falser and arguing that the entire notion of "Buddhist art with a Greek 'essence'" is a colonial ...