Identifying Several Visual Types in Gandhāran Buddha Images

hairstyle of the Type V images was derived from the similar, yet more naturalistic, hairstyles of Type III. Rather than reaching a conclusion in haste, however, I prefer to leave this question open, as a useful starting point for future research. In any case, examples that show close affinities to the Peshawar Buddha are few, and even among them visual consistency is not so marked. Another Buddha in Peshawar has similar coiffure and drapery, but its face and its bodily proportions are considerably different (Fig. 57). Another image in Peshawar deserves to be noted in regard to the connection between Type III and Type V images (Figs. 58, 59). The significance of this image, once lauded by Alfred Foucher as ‘‘the most beautiful, and probably also the most ancient of the Buddhas, which it has ever been granted to me to encounter,’’ was bluntly dismissed by John Marshall, who remarked, ‘‘It cannot be pretended that there is anything particularly spiritual in its expression, nor, as regards the rest of the statue, does it show any superiority over many other images of this period, either in the general proportions of the figure or in the technical skill displayed in the draping and finishing of the monk’s robe. Indeed, the modeling of the ankles and feet is more than usuFig. 54. Buddha. Jamalgar hi. H. 41 cm. Indian Museum, Kolkata. From Majumdar, A Guide to the Sculptures in the Indian Museum, vol. 2, pl. IIb. JUHYUNG RHI Identifying Several Visual Types in Gandhāran Buddha Images 73