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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.
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Greco-Buddhist and art
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.
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.
He coined the term " Greco-Buddhist art ".
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.
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.
3 ) Vajrapani, the protector of the Buddha, depicted as Herakles in the Greco-Buddhist art of Gandhara.
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.
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.
It was here where elements of Greek and Buddhist art were combined into a unique classical style, known as Greco-Buddhist art.
The start of the Gandharan Greco-Buddhist art is dated to about 75 – 50 BC.
* UNESCO: Threatened Greco-Buddhist art
** Greco-Buddhist art
Greco-Buddhist and is
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.
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 battle is historically significant for opening up India for Greek political ( Seleucid Empire, Indo-Greeks ) and cultural influence ( Greco-Buddhist art ) which was to continue for many centuries.
Greco-Buddhist art is the artistic manifestation of Greco-Buddhism, a cultural syncretism between the Classical Greek culture and Buddhism, which developed over a period of close to 1000 years in Central Asia, between the conquests of Alexander the Great in the 4th century BCE, and the Islamic conquests of the 7th century CE.
The later part of Greco-Buddhist art in northwestern India is usually associated with the Kushan Empire.
The influence of Greco-Buddhist art is still visible in most of the representation of the Buddha in South-East Asia, through their idealism, realism and details of dress, although they tend to intermix with Indian Hindu art, and they progressively acquire more local elements.
Today, it is still unclear when the Greco-Buddhist art of Gandhara exactly emerged, but the findings in Sirkap do indicate that this art was already highly developed before the advent of the Kushans.
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.
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.
Serindian art often derives from the Greco-Buddhist art of the Gandhāra district of what is now Pakistan, combining Indian, Greek and Roman influences.
Sculpture is dominated by Greco-Buddhist friezes, and crafts by ceramics, jewellery, silk goods and engraved woodwork and metalwork.
There is also a large collection of Greco-Buddhist art.
One of the most famous kinds is the Gandhara art between the 1st and 7th century based on Greco-Buddhist art.
It is considered as a masterpiece of the Greco-Buddhist art of Gandhara.
Greco-Buddhist and by
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.
Greco-Buddhist art depicts the life of the Buddha in a visual manner, probably by incorporating the real-life models and concepts which were available to the artists of the period.
Stylistically, Greco-Buddhist art started by being extremely fine and realistic, as apparent on the standing Buddhas, with " a realistic treatment of the folds and on some even a hint of modelled volume that characterizes the best Greek work " ( Boardman ).
This tends to indicate the anteriority of the Hellenistic Greco-Buddhist statues, used as models, and a subsequent corruption by Kushan artists.
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.
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.
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.
A strong artistic syncretism was stimulated, as indicated by the Greco-Buddhist art of Gandhara.
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.
Although after 50 BCE Indo-Greek rulers were replaced by the Indo-Scythians and then the Indo-Parthians, Greek culture was maintained to some extent ( as indicated by the Greek-style coin types adopted by the conquerors, and the development of Greco-Buddhist art ).
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