Art historians writing of the origins of Buddhist art mark its birth at Gandhara, Pakistan, part of Indus Valley Civilization. This art, partly characterized by “the grape cluster coiffure” topped with a bun, is attributed to Gandharan artists. But in so doing, they have failed to see NE African traditions that emerged in Persepolis, Iran during the reign of Darius that found their way to Gandhara. The fact simplifies the movement of people and culture as picture 7 is of a Nubian in Persepolis; but pictures 8 – 12 show Negro Buddhists all with a style that found its way throughout SE Asia and China (28). In this way, we can trace NE African Negro culture through Africa, the Middle East, Central Asia, and the Far East. This captures two other lines of research: genetic and archeological. Genetic research records the movement of agriculture heralding the Neolithic and sounding the death-knell of the Paleolithic with the movement from NE Africa to the Middle East and on the Indus Valley Civilization in the Neolithic where we find the Negro Neolithic figurine among a people who were ancestral to the Dravidians. Comparing the African and Indian, look at the “wire” coiffure in 3 and 4. Comparing the ancient corn-roll plaits, see India (5) and Africa (6). The early gods were Negro (15 – 24); and Negro pilgrims went to China (26 – 30); most notable among them being the black Dravidian, Bodhidharma (30) who there introduced Zen Buddhism and the Shaolin School of Kung fu to China. Kanisha (26), shown on coffin detail (so, undeniably authentic; one coin depicts another individual - Caucasian - some call Kanisha), was the founder of Buddhist art, in a sense, and was its all-time greatest promotor. In this way (one of many), the Negro has played a significant role in the formation of civilization across the Near East, Central and SE Asia, and the Far East. (and from there to South Pacific cultures and civilizations). , Paul Marc Washington, paleoneolithic@yahoo.com

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