Greco-Buddhist art

The series of interactions leading to Gandhara art occurred over time, beginning with Alexander the Great's brief incursion into the area, followed by the Mauryan Emperor Ashoka converting the region to Buddhism.

However, Greco-Buddhist art truly flowered and spread under the Kushan Empire, when the first surviving devotional images of the Buddha were created during the 1st-3rd centuries CE.

It has the strong idealistic realism and sensuous description of Hellenistic art, and it is believed to have produced the first representations of Gautama Buddha in human form, ending the early period of aniconism in Buddhism.

His views as to dates and the crucial period of Western influence came to be widely rejected, but then received considerable support by the discovery of the important deserted city site of Ai-Khanoum (Alexandria on the Oxus), which was excavated in the 1960s and 1970s, where quantities of clearly Greek-influenced art were found, datable to the 3rd and (mostly) 2nd centuries BCE.

[13] Here in the king's domain among the Yavanas (Greeks), the Kambojas, the Nabhakas, the Nabhapamkits, the Bhojas, the Pitinikas, the Andhras and the Palidas, everywhere people are following Beloved-of-the-Gods' instructions in Dharma.After the overthrow of the Maurya Empire by the Shunga Empire, which did not extend to the north-western corners of the Mauryan territories, many of the Greek satrapies continued to practice Buddhism and developed the Greco-Buddhist art.

Furthermore, Mauryan art especially those found on reliefs throughout stupas, depict the life of the Buddha including his birth, royal processions, the Great Departure, enlightenment, and death and entry to Nirvana.

It is considered that the orthodox Buddhists choose not to represent the Shakyamuni Buddha out of respect, as giving him a human form would bound him to this Earth as a living being which contradicts him obtaining his goal of enlightenment and achieving moksha.

Stone palettes for aromatic oils representing purely Hellenistic themes such as a Nereid riding a Ketos sea monster are found.

[26] These early decorative reliefs were apparently the work of craftsmen from the northwest (around the area of Gandhara), since they left mason's marks in Kharoshthi, as opposed to the local Brahmi script.

The presence of stupas at the Greek city of Sirkap, which was built by Demetrius around 180 BC, already indicates a strong syncretism between Hellenism and the Buddhist faith, together with other religions such as Hinduism and Zoroastrianism.

These were absent from earlier strata of Buddhist art, which preferred to represent the Buddha with symbols such as the stupa, the Bodhi tree, the empty seat, the wheel, or the footprints.

Some of the standing Buddhas (as the one pictured) were sculpted using the specific Greek technique of making the hands and sometimes the feet in marble to increase the realistic effect, and the rest of the body in another material.

Since it already displays quite a sophisticated iconography (Brahma and Śakra as attendants, Bodhisattvas) in an advanced style, it would suggest much earlier representations of the Buddha were already current by that time, going back to the rule of the Indo-Greeks (Alfred A. Foucher and others).

Chinese texts and mural paintings in the Tarim Basin city of Dunhuang describe ambassador Zhang Qian traveling to Central Asia, as far as Bactria around 130 BC.

(Boardman) Scenes of cupids holding rich garlands, sometimes adorned with fruits, is another very popular Gandharan motif, directly inspired from Greek art.

Some Greco-Buddhist friezes represent groups of donors or devotees, giving interesting insights into the cultural identity of those who participated in the Buddhist cult.

The origin of these motifs can be found in Greece in the 5th century BC, and later in the designs of Greco-Bactrian perfume trays as those discovered in Sirkap.

As fantastic animals of the sea, they were, in early Buddhism, supposed to safely bring the souls of dead people to Paradise beyond the waters.

The main religion, at least at the beginning, seems to have been Hinduism, although some late Buddhist realizations in Madhya Pradesh as also known, such as some architectural expansions that were done at the stupas of Sanchi and Bharhut, originally started under King Ashoka.

In terms of artistic predispositions for the first representations of the Buddha, Greek art provided a very natural and centuries-old background for an anthropomorphic representation of a divinity, while on the contrary "there was nothing in earlier Indian statuary to suggest such a treatment of form or dress, and the Hindu pantheon provided no adequate model for an aristocratic and wholly human deity" (Boardman).

It progressively incorporated a profusion of original Hindu stylistic and symbolic elements however, in contrast with the general balance and simplicity of Buddhist art.

[42] The art of Mathura acquired progressively more Indian elements and reached a very high sophistication during the Gupta Empire, between the 4th and the 6th century AD.

Hellenistic elements are still clearly visible in the purity of the statuary and the folds of the clothing, but are improved upon with a very delicate rendering of the draping and a sort of radiance reinforced by the usage of pink sandstone.

When Buddhism expanded in Central Asia from the 1st century AD, Bactria saw the results of the Greco-Buddhist syncretism arrive on its territory from India, and a new blend of sculptural representation remained until the Islamic invasions.

Most of the remaining art of Bactria was destroyed from the 5th century onward: the Buddhists were often blamed for idolatry and tended to be persecuted by the iconoclastic Muslims.

Buddhist missionaries travelling on the Silk Road introduced this art, along with Buddhism itself, into Serindia, where it mixed with Chinese and Persian influences.

What remains identifiable from Greco-Buddhist art are realism in sculpture, clothing with elaborate folds, curly hairstyles, and winged figures holding wreaths.

Greco-Buddhist influences are found in Chinese Buddhist art, with local and temporal variations depending on the dynasties that adopted Buddhism.

Some Eastern Wei statues display Buddhas with elaborate Greek-style robe folds, and surmounted by flying figures holding a wreath.

After the adoption of Buddhism, items of the Asuka Period display a classical style, with Hellenistic dress and realism characteristic of Greco-Buddhist art.

The Buddha and a naked Vajrapani in a frieze at Jamal Garhi , Gandhara .
Buddhist expansion in Asia : Mahayana Buddhism first entered the Chinese Empire ( Han dynasty ) through Silk Road during the Kushan Era . The overland and maritime "Silk Roads" were interlinked and complementary, forming what scholars have called the "great circle of Buddhism". [ 4 ]
The Indo-Greek Kingdoms in 100–150 BCE. [ 5 ] [ 6 ] [ 7 ] [ 8 ]
Silver coin depicting Demetrius I of Bactria (200-180 BC) wearing an elephant scalp, symbol of his conquest of India, and reverse Herakles, holding a lion skin and a club
Silver coin depicting the Greco-Bactrian king Demetrius I (200–180 BC) wearing an elephant scalp, symbol of his conquest of India. Back: Herakles , holding a lion skin and a club resting over the arm. The text reads: ΒΑΣΙΛΕΩΣ ΔΗΜΗΤΡΙΟΥ – BASILÉŌS DĒMĒTRÍOU "of King Demetrius".
stone relief carving Wine-drinking and music from Chakhil-i-Ghoundi stupa, Hadda, Afghanistan
Wine-drinking and music (Detail from Chakhil-i-Ghoundi stupa , Hadda , 1st–2nd century AD).
At Bharhut , the gateways were made by northern (probably Gandharan ) masons using Kharosthi marks, while the railings were made by masons exclusively using marks in the local Brahmi script, now in Indian Museum . [ 29 ] [ 30 ] 150-100 BC.
Statues on the architraves of the torana gateway, associated with Kharosthi marks. 100-75 BC.
The story of the Trojan horse was depicted in the art of Gandhara . British Museum .
he Titan Atlas supporting a Buddhist monument, from Hadda, Afghanistan
The Titan Atlas , supporting a Buddhist monument, Hadda .
Seated Buddha in Hellenistic style, Tapa Shotor , 2nd century AD. [ 34 ] [ 35 ]
Seated Buddha, 300-500 AD, from near Jamal Garhi , Pakistan , now Asian Art Museum in San Francisco .
Buddha teaching. Kushan period. National Museum, Delhi
An Indo-Corinthian capital from the Butkara Stupa from the Turin City Museum of Ancient Art
An Indo-Corinthian capital from the Butkara Stupa under which a coin of Azes II was found. Dated to 20 BC or earlier ( Turin City Museum of Ancient Art ).
Vajrapani-Heracles as the protector of the Buddha, 2nd century AD, from Gandhara
Heracles depiction of Vajrapani as the protector of the Buddha, 2nd century AD, Gandhara , British Museum .
bronze figure The Bodhisattva Maitreya, 2nd century, Gandhara
The Bodhisattva Maitreya , 2nd century AD, Gandhara .
stone fragment The Buddhist gods Pancika (left) and Hariti (right), 3rd century, Takht-i Bahi
The Buddhist gods Pancika (left) and Hariti (right), 3rd century, Takht-i Bahi, Gandhara , British Museum .
Winged Cupids holding a wreath over the Buddha from Hadda, Afghanistan
Winged Cupids holding a wreath over the Buddha (left:detail), Hadda , 3rd century. Musée Guimet .
Gandhara frieze with devotees, holding Plantain leaves 1st-2nd century AD.
Gandhara frieze with devotees, holding plantain leaves, in purely Hellenistic style, inside Corinthian columns , 1st-2nd century AD. Buner , Swat , Pakistan . Victoria and Albert Museum .
stone fragment An Ichthyo-Centaur, 2nd century Gandhara
An Ichthyo-Centaur, 2nd century Gandhara, Victoria and Albert Museum .
An early Mahayana Buddhist triad. From left to right, a Kushan devotee, the Bodhisattva Maitreya, the Buddha, the Bodhisattva Avalokitesvara, and a Buddhist monk. from the 2nd-3rd century AD
An early Mahayana Buddhist triad. From left to right, a Kushan devotee, the Bodhisattva Maitreya , the Buddha, the Bodhisattva Avalokitesvara , and a Buddhist monk. 2nd-3rd century AD, Gandhara .
A Buddhist coin of Kanishka I , with "Boddo" (= Buddha ) in Greek script.
Balustrade-holding Yaksh with Corinthian columns, from Madhya Pradesh
Balustrade-holding Yaksa with Corinthian columns, Madhya Pradesh (?), Shunga period (2nd-1st century BC). Musee Guimet .
Indian relief of possible Indo-Greek king, with Buddhist triratana symbol on his sword
Indian relief of probable Indo-Greek king, with Buddhist triratana symbol on his sword. Bharhut, 2nd century BC. Indian Museum , Calcutta .
The Bodhisattva Maitreya, 2nd century,
The Bodhisattva Maitreya , 2nd century, Mathura , 2nd-century AD.
stone fragment A Bodhisattva, 2nd century, Mathura
A Bodhisattva, 2nd century, Mathura
Greek scroll supported by Indian Yaksas
Greek scroll supported by Indian Yaksas, Amaravati , 3rd century AD
A terracotta head of Buddha Shakyamuni, inspired by Greco-Buddhist art, Devnimori , Gujarat (375-400 AD).
The Buddha in long, heavy robe, a design derived from the art of Gandhara, Ajanta Caves , 5th century AD. [ 40 ]
terracotta Head of a Bodhisattva, 6th-7th century Tumshuq
Head of a Bodhisattva, 6th-7th century terracotta , Tumshuq (Xinjiang).
three terracotta figures "Heroic gesture of the Bodhisattva", 6th-7th century
"Heroic gesture of the Bodhisattva ", 6th-7th century terracotta , Tumshuq (Xinjiang).
bronze Northern Wei Buddha Maitreya, AD 443
Buddha Maitreya, Northern Wei dynasty , AD 443
Fresco describing Emperor Han Wudi (156–87 BC) worshipping two statues of the Buddha
Fresco describing Emperor Wu (156–87 BC) worshipping two statues of the Buddha, Mogao Caves , Dunhuang , c. 8th century AD
The Buddha, Asuka period, 7th century.
Buddha figure, Japan, Asuka period , 7th century
Iconographical evolution of the Wind God Left: Greek wind god from Hadda, Afghanistan 2nd century. Middle: wind god from Kizil Caves, 7th century Right: Japanese wind god Fūjin, 17th century.
Iconographical evolution of the Wind God.
Left: Greek wind god from Hadda , 2nd century.
Middle: wind god from Kizil , Tarim Basin , 7th century.
Right: Japanese wind god Fujin , 17th century.
Iconographical evolution from the Greek god Herakles to Nio temple guardians
Iconographical evolution from the Greek god Herakles to Nio temple guardians. From left to right:
1) Herakles (Louvre Museum).
2) Herakles on coin of Greco-Bactrian king Demetrius I .
3) Vajrapani , the protector of the Buddha, depicted as Herakles in Gandhara .
4) Nio gate guardian, manifestation of Vajrapani
Bodhisattva Lokesvara, Cambodia
Bodhisattva Lokesvara , Cambodia 12th century.
Avalokiteshvara on the wall of Plaosan temple, Java
Avalokiteshvara on the wall of Plaosan temple ( Indonesia ) , Javanese Sailendran art, 9th century.