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Title
1

Late Gandharan Chronology: The 3rd to 6th Century Period, Concluding Discussion

2

On the Chronology of Stupa Relic Practice in Afghanistan and Dharmarajika, Pakistan, and its Implications for the rise of Popularity of Image Cult, How Can We Use Inscriptions to Help us Date Gandhāran Art?

3

Welcome and Introduction, Numismatic Evidence and the Date of Kanishka, Buddhist Art’s Late Bloomer: The Genius and Influence of Gandhara

4

Recent Archaeological Excavations and their Relevance to Chronology

5

The Maker’s Share in the Making of the Greek City

6

Individuality and Innovation in Greek Sculpture: A View from the Athenian Agora

7

Craft Apprenticeships and Multi-Craft Competencies in Classical Antiquity

8

Transmission and Transformation of the Visual Repertoire: The Vase-Painter’s Choices

9

Working the Makers or Making the Workers? Agency and Status in Athenian Sculpture

10

Response

11

Collingwood, Agency, and the Archaeological Imagination: Style as Intention in Late Classical Attic Sculpture

12

The Maker's Share in Ancient Greek Art: Welcome and Introduction

13

The Foundry Cup

14

Beware of Athenians Signing Pots

15

Positioning Gandharan Buddhas in Chronology: Significant Coordinates and Anomalies

16

Is it Appropriate to Ask a Celestial Lady's Age?

17

On Some Similarities between Gandharan Toilet-Trays and the Earliest Buddhist Art of Northern India

18

Style as a Fragment of the Ancient World: A View from the Iron Age Levant and Assyria

19

Treasures of Oxford - Athenian Wine Drinking Cup