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Greco-Buddhist and |
Greco-Buddhist representation of Gautama Buddha | Buddha, Gandhara, 1st-2nd century AD.
One of the oldest images of the Gautama Buddha | Buddha, from the Greco-Buddhism | Greco-Buddhist period in Central Asia, 1st-2nd century CE.
The Gautama Buddha | Buddha, in Greco-Buddhist style, 1st-2nd century CE, Gandhara ( Modern eastern Afghanistan ).
A Buddha in Kamakura, Kanagawa | Kamakura ( 1252 ), reminiscent of Greco-Buddhist influences.
One of the first representations of the Gautama Buddha | Buddha, 1st-2nd century CE, Greco-Buddhist art, Gandhara.
Image: BacchanalianScene. JPG | Bacchanalian scene, representing the harvest of wine grapes, Greco-Buddhist art of Gandhara, 1st-2nd century CE.

Greco-Buddhist and BC
The start of the Gandharan Greco-Buddhist art is dated to about 75 – 50 BC.

Greco-Buddhist and Atlas
Other Greek deities abundantly used in Greco-Buddhist art are representation of Atlas, and the Greek wind god Boreas.
This Sunga-period balustrate-holding Atalante Yaksa from the Sunga period ( left ), adopts the Atalante theme, usually fulfilled by Atlas, and elements of Corinthian capital and architecture typical of Greco-Buddhist friezes from the Northwest, although the content does not seem to be related to Buddhism.

Greco-Buddhist and Buddhist
Native Chinese religions do not usually use cult images of deities, or even represent them, and large religious sculpture is nearly all Buddhist, dating mostly from the 4th to the 14th century, and initially using Greco-Buddhist models arriving via the Silk Road.
As a consequence of the Dynasty's openness to foreign trade and influences through the Silk Road, Tang dynasty Buddhist sculpture assumed a rather classical form, inspired by the Greco-Buddhist art of Central Asia.
" Buddhist architecture blended with Roman architecture and Hellenestic architecture to give rise to unique blends — such as the Greco-Buddhist school.
Many elements of Greco-Buddhist art remain to this day however, such as the Hercules inspiration behind the Nio guardian deities in front of Japanese Buddhist temples, or representations of the Buddha reminiscent of Greek art such as the Buddha in Kamakura.
Various other Greco-Buddhist artistic influences can be found in the Japanese Buddhist pantheon, the most striking being that of the Japanese wind god Fujin.
Herakles was used in Greco-Buddhist art to represent Vajrapani, the protector of the Buddha, and his representation was then used in China and Japan to depict the protector gods of Buddhist temples.
It was here where elements of Greek and Buddhist art were combined into a unique classical style, known as Greco-Buddhist art.
Greco-Buddhist art is characterized by the strong idealistic realism and sensuous description of Hellenistic art and the first representations of the Buddha in human form, which have helped define the artistic ( and particularly, sculptural ) canon for Buddhist art throughout the Asian continent up to the present.
The next Greco-Buddhist findings to be strictly datable are rather late, such as the c. 120 CE Kanishka casket and Kanishka's Buddhist coins.
As they progressively incorporated more Buddhist elements, they became central to the Buddhist movement, and influenced the representations of the Buddha in Greco-Buddhist art and later.
These figures, also known as " apsarases " were extensively adopted in Buddhist art, especially throughout Eastern Asia, in forms derivative to the Greco-Buddhist representation.
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.
In another area of Bactria called Fondukistan, some Greco-Buddhist art survived until the 7th century in Buddhist monasteries, displaying a strong Hellenistic influence combined with Indian decorativeness and mannerism, and some influence by the Sasanid Persians.
Greco-Buddhist artistic elements can be traced in Chinese Buddhist art, with several local and temporal variations depending on the character of the various dynasties that adopted the Buddhist faith.
Many elements of Greco-Buddhist art remain to this day however, such as the Hercules inspiration behind the Nio guardian deities in front of Japanese Buddhist temples, or representations of the Buddha reminiscent of Greek art such as the Buddha in Kamakura.
Various other Greco-Buddhist artistic influences can be found in the Japanese Buddhist pantheon, the most striking of which being that of the Japanese wind god Fujin.
Herakles was used in Greco-Buddhist art to represent Vajrapani, the protector of the Buddha, and his representation was then used in China and Japan to depict the protector gods of Buddhist temples.
Beyond stylistic elements which spread throughout Asia for close to a millennium, the main contribution of Greco-Buddhist art to the Buddhist faith may be in the Greek-inspired idealistic realism which helped describe in a visual and immediately understandable manner the state of personal bliss and enlightenment proposed by Buddhism.
The communication of deeply human approach of the Buddhist faith, and its accessibility to all have probably benefited from the Greco-Buddhist artistic syncretism.
He was born in Gandhara ( presently known as a center of Greco-Buddhist art ) at a time when Buddhism was actively sponsored by the Kushan Emperor Kanishka, who convened the Fourth Buddhist Council.
This is also the time when the Buddhist faith and the Greco-Buddhist culture started to travel along the Silk Road, penetrating China from around the 1st century BCE.
The Buddhist art of the Eastern Wei displays a combination of Greco-Buddhist influences from Gandhara and Central Asia ( representations of flying figures holding wreaths, Greek-style folds of the drapery ), together with Chinese artistic influences.

Greco-Buddhist and Hadda
Left: Greek Wind God ( Greco-Buddhist art of Gandhara ), Hadda, 2nd century.
Hadda is a Greco-Buddhist archeological site located in the ancient area of Gandhara, near the Khyber Pass, ten kilometers south of the city of Jalalabad in today's eastern Afghanistan.
Some 23, 000 Greco-Buddhist sculptures, both clay and plaster, were excavated in Hadda during the 1930s and the 1970s.

Greco-Buddhist and Afghanistan
A transmission through Persia prior to the 7th century is not improbable as Alexander the Great had connected Greece with India almost a millennium earlier, resulting in a flourishing Greco-Buddhist culture in Afghanistan and Pakistan.
It derives from the Greco-Buddhist art of the Gandhara district of what is now Afghanistan and Pakistan.
The origins of Greco-Buddhist art are to be found in the Hellenistic Greco-Bactrian kingdom ( 250 BCE-130 BCE ), located in today ’ s Afghanistan, from which Hellenistic culture radiated into the Indian subcontinent with the establishment of the Indo-Greek kingdom ( 180 BCE-10 BCE ).

Greco-Buddhist and .
Via the Greco-Buddhist culture, Heraclean symbolism was transmitted to the far east.
The city was a major center of Gandhara's Greco-Buddhist culture in the past until it was conquered by Muslim Arabs in the 7th century.
In the East, Alexander the Great's conquests initiated several centuries of exchange between Greek, Central Asian and Indian cultures, resulting in Greco-Buddhist art, with ramifications as far as Japan.
Also in another parallel, the characteristic protector deity of Demetrius ( Herakles standing with his club over his arm, as seen on the reverse of his coins ), was represented in the Greco-Buddhist art of Gandhara as the protector deity of the Buddha.
In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya was the most popular figure to be represented, together with the Buddha Śākyamuni.
In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya is represented as a Central Asian or northern Indian nobleman, holding a " water phial " ( Sanskrit: Kumbha ) in his left hand.
It is found in some Persian representations of kings and gods, and appears on coins of the Kushan kings Kanishka, Huvishka and Vasudeva, as well as on most representations of the Buddha in Greco-Buddhist art from the 1st century AD.
The diffusion of Indo-Greek culture had consequences which are still felt today, particularly through the influence of Greco-Buddhist art.
Some tiles from the Asuka period ( shown above ), the first period following the conversion of the country to Buddhism, display a strikingly classical style, with ample Hellenistic dress and realistically rendered body shape characteristic of Greco-Buddhist art.
3 ) Vajrapani, the protector of the Buddha, depicted as Herakles in the Greco-Buddhist art of Gandhara.
The Hellenistic influence in the area, furthered by Seleucids and the successive Greco-Bactrian and Indo-Greek kingdoms, interacted with Buddhism, as exemplified by the emergence of Greco-Buddhist art.
They introduced the Brahmi script, the Indian Prakrit language for administration, and expanded the influence of Greco-Buddhist art which developed into Serindian art.
These capitals are typically dated to the first century BCE, and constitute important elements of Greco-Buddhist art.
Anthropomorphic symbolism appeared from around the 1st century CE with the arts of Mathura and the Greco-Buddhist art of Gandhara, and were combined with the previous symbols.
However, the works of art found in Bagram are either quite purely Hellenistic, Roman, Chinese or Indian, with only little indications of the cultural syncretism found in Greco-Buddhist art.

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