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,