Abstract: The subject of this presentation is the Afghan Buddhist sculpture in clay and stucco, a tradition which reached its apex from the 4th/5th century to the 8th century CE. We still have insufficient knowledge about the material and technical aspects of this artistic production, as well as about its iconographic codes and meanings. This is partly due to the fact that there is still limited research on the cultural background of this tradition, but also because the fragility of the materials is responsible for the poor preservation of the artworks. Despite the difficulties, however, new and more inclusive studies, which take into account all fragments of any size, even the most minute ones, are now significantly expanding our knowledge. The fundamental role played by ornaments and jewels in the characterization of both images and their settings is well-known. What is more, recent excavations at Mes Aynak (Logar province) have brought to light real jewellery that shows the same forms documented in plastic art in important archaeological sites such as Tapa Sardar (Ghazni area). Colour must have also played a significant part, especially when it reflects a non-naturalistic use, which in turn suggests some sort of symbolic value. However, the pigments used to paint the sculptures were often obtained from the same precious materials (such as gems and gold, or materials that resemble them) that were used to produce jewels. Viewed from this perspective, pigments can be considered as “precious substances” that adorned the figures. After a brief overview combining jewellery, precious substances and pigments, the presentation will focus on how the choice of colours may not only conceal a high symbolic meaning but may also reflect commonly accepted beauty standards and customs, such as the use of specific pigments for specific body parts.
eartHeritage – PRIN 2022JL5HLY
