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Gandhara Buddha, 1st-2nd century CE.
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This article is part of the series on:
History of Greek art | |||
| Prehistoric Greece | |||
| Cycladic art - Minoan art -
Mycenean art - Protogeometric Art -
Geometric art | |||
| Art in Ancient Greece | |||
| Archaic Greek art - Classical Greek Art -
Hellenistic Art - Greco-Buddhist art -
Greek Art in Roman times | |||
| Medieval Greece | |||
| Byzantine art - Macedonian art | |||
| Post-Byzantine Greece | |||
| Art in Ottoman Greece - Cretan School -
Heptanese School | |||
| Modern Greece | |||
| Art in modern Greece - Munich School Contemporary Greek Art | |||
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. Greco-Buddhist art is characterized by the strong idealistic realism 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. It is also a unique example of cultural syncretism between eastern and western traditions, which has been achieved by no other art to such a degree.
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). Under the Indo-Greeks and then the Kushans, the interaction of Greek and Buddhist culture flourished in the area of Gandhara, in today’s northern Pakistan, before spreading further into India, influencing the art of Mathura, and then the Hindu art of the Gupta empire, which was to extend to the rest of South-East Asia. The influence of Greco-Buddhist art also spread northward towards Central Asia, strongly affecting the art of the Tarim Basin, and ultimately the arts of China, Korea, and Japan.
Hellenistic art in southern Asia
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Silver coin depicting the Greco-Bactrian king Demetrius I (200-180 BCE) wearing an elephant scalp, symbol of his conquest of India. Back: Herakles, holding a lion skin and a club resting over the arm. Greek legend BASILEOS DEMETRIOU "King Demetrius".
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Statue, Ai-Khanoum, 2nd century BCE
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Corinthian capitol, found at Ai-Khanoum, 2nd century BCE.
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Wine-drinking and music (Detail from Chakhil-i-Ghoundi stupa, Hadda, 1st-2nd century CE).
These Greek elements penetrated in northwestern India following the invasion of the Greco-Bactrians in 180 BCE, when they established the Indo-Greek kingdom in India. Fortified Greek cities, such as Sirkap in northern Pakistan, were established. Architectural styles used Hellenistic decorative motifs such as fruit garland and scrolls. Stone palettes for aromatic oils representing purely Hellenistic themes such as a Nereid riding a Ketos sea monster are found.
In Hadda, Hellenistic deities, such as Atlas are found. Wind gods are depicted, which will affect the representation of wind deities as far as Japan. Dyonisiac scenes represent people in Classical style drinking wine from amphoras and playing instruments.
Greco-Buddhist artistic interaction
As soon as the Greeks invaded India to form the Indo-Greek kingdom, a fusion of Hellenistic and Buddhist elements started to appear, encouraged by the benevolence of the Greek kings towards Buddhism. This artistic trend then developed for several centuries and seemed to flourish further during the Kushan Empire from the first century CE.Artistic model
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An Indo-Corinthian capital with the Buddha at its center, 3-4th century, Gandhara.
The Bodhisattvas are depicted as bare-chested and jewelled Indian princes, and the Buddhas as Greek kings wearing the light toga-like himation. The buildings in which they are depicted incorporate Greek style, with the ubiquitous Indo-Corinthian capitals and Greek decorative scrolls. Surrounding deities form a pantheon of Greek (Atlas, Herakles) and Indian gods (Indra).
Stylistic evolution
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). It then lost this sophisticated realism, becoming progressively more symbolic and decorative over the centuries.Architecture
The presence of stupas at the Greek city of Sirkap, built by Demetrius around 180 BCE, already indicates a strong syncretism between Hellenism and the Buddhist faith, together with other religions such as Hinduism and Zoroastrianism. The style is Greek, adorned with Corinthian columns in excellent Hellenistic execution.
Later in Hadda, the Greek divinity Atlas is represented holding Buddhist monuments with decorated Greek columns. The motif was adopted extensively throughout the Indian sub-continent, Atlas being substituted for the Indian Yaksa in the monuments of the Sunga around the 2nd century BCE.
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The Buddha
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One of the first representations of the Buddha, 1st-2nd century CE, Gandhara: Standing Buddha (Tokyo National Museum).
Many of the stylistic elements in the representations of the Buddha point to Greek influence: the Greek himation (a light toga-like wavy robe covering both shoulders: Buddhist characters are always represented with a dhoti loincloth before this innovation), the contrapposto stance of the upright figures (see: 1st–2nd century Gandhara standing Buddhas [1] and [2]), the stylized Mediterranean curly hair and top-knot apparently derived from the style of the Belvedere Apollo (330 BCE) [3], and the measured quality of the faces, all rendered with strong artistic realism (See: Greek art). 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.
Foucher especially considered Hellenistic free-standing Buddhas as "the most beautiful, and probably the most ancient of the Buddhas", assigning them to the 1st century BCE, and making them the starting point of the anthropomorphic representations of the Buddha ("The Buddhist art of Gandhara", Marshall, p101).
Development
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The Bimaran casket, representing the Buddha, is dated to around 30-10 BCE. British Museum.
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An Indo-Corinthian capital from the Butkara Stupa under which a coin of Azes II was found. Dated to 20 BCE or earlier (Turin City Museum of Ancient Art).
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. These works at least indicate though that the anthropomorphic representation of the Buddha was already extant in the 1st century CE.
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Fresco describing Emperor Han Wudi (156-87 BCE) worshipping two statues of the Buddha, Mogao Caves, Dunhuang, c.8th century CE.
Later, the Chinese historical chronicle Hou Hanshu describes the enquiry about Buddhism made around 67 CE by the emperor Emperor Ming (58-75 CE). He sent an envoy to the Yuezhi in northwestern India, who brought back paintings and statues of the Buddha, confirming their existence before that date:
- "The Emperor, to discover the true doctrine, sent an envoy to Tianzhu (Northwestern India) to inquire about the Buddha’s doctrine, after which paintings and statues [of the Buddha] appeared in the Middle Kingdom." (Hou Hanshu, trans. John Hill)
An Indo-Chinese tradition also explains that Nagasena, also known as Menander's Buddhist teacher, created in 43 BCE in the city of Pataliputra a statue of the Buddha, the Emerald Buddha, which was later brought to Thailand.
See also: Buddhism in China
Artistic model
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Heracles depiction of Vajrapani as the protector of the Buddha, 2nd century Gandhara, British Museum.
Another characteristic of Demetrius is associated to the Buddha: they share the same protector deity. In Gandharan art, the Buddha is often shown under the protection of the Greek god Herakles, standing with his club (and later a diamond rod) resting over his arm [4]. This unusual representation of Herakles is the same as the one on the back of Demetrius' coins, and it is exclusively associated to him (and his son Euthydemus II), seen only on the back of his coins.
Soon, the figure of the Buddha was incorporated within architectural designs, such as Corinthian pillars and friezes. Scenes of the life of the Buddha are typically depicted in a Greek architectural environment, with protagonist wearing Greek clothes.
Gods and Bodhisattvas
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The Buddhist gods Pancika (left) and Hariti (right), 3rd century CE, Takht-i Bahi, Gandhara, British Museum.
Particularly under the Kushans, there are also numerous representations of richly adorned, princely Bodhisattvas all in a very realistic Greco-Buddhist style. The Bodhisattvas, characteristic of the Mahayana form of Buddhism, are represented under the traits of Kushan princes, completed with their canonical accessories.
) | ) Gandharan Atalante. | ) Winged Atalante. | ) |
) | ) Gandhara Poseidon (Ancient Orient Museum) | ) |
Cupids
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These figures, also known as "apsarases" were extensively adopted in Buddhist art, especially throughout Eastern Asia, in forms derivative to the Greco-Buddhist representation. The progressive evolution of the style can be seen in the art of Qizil and Dunhuang. It is unclear however if the concept of the flying cupids was brought to India from the West, of if it had an independent Indian origin, although Boardman considers it a Classical contribution: "Another Classical motif we found in India is the pair of hovering winged figures, generally called apsaras." (Boardman)
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Cupids and garlands. Gandhara. 1-2nd century. Musée Guimet.
Devotees
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Gandhara frieze with devotees, holding plantain leaves, in purely Hellenistic style, inside Corinthian columns, 1st-2nd century CE. Buner, Swat, Pakistan. Victoria and Albert Museum.
Some groups, often described as the "Buner reliefs," usually dated to the 1st century CE, depict Greeks in perfect Hellenistic style, either in posture, rendering, or clothing (wearing the Greek chiton and himation). It is sometimes even difficult to perceive an actual religious message behind the scenes. (The devotee scene on the right might, with doubt, depict of the presentation of Prince Siddharta to his bride. It may also just be a festive scene.)
About a century later, friezes also depict Kushan devotees, usually with the Buddha as the central figure.
Fantastic animals
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An Ichthyo-Centaur, 2nd century Gandhara, Victoria and Albert Museum.
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. These motifs were later adopted in Indian art, where they influenced the depiction of the Indian monster makara, Varuna's mount.
The Kushan contribution
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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 CE, Gandhara.
The Kushans, at the center of the Silk Road enthusiastically gathered works of art from all the quarters of the ancient world, as suggested by the hoards found in their northern capital in the archeological site of Begram, Afghanistan.
The Kushans sponsored Buddhism together with other Iranian and Hindu faiths, and probably contributed to the flourishing of Greco-Buddhist art. Their coins, however, suggest a lack of artistic sophistication: the representations of their kings, such as Kanishka, tend to be crude (lack of proportion, rough drawing), and the image of the Buddha is an assemblage of a Hellenistic Buddha statue with feet grossly represented and spread apart in the same fashion as the Kushan king. This tends to indicate the anteriority of the Hellenistic Greco-Buddhist statues, used as models, and a subsequent corruption by Kushan artists.
) Known depictions of the Buddha ("Boddo") in Kanishka's coinage. | ) Maitreya, with Kushan devotee couple. 2nd century Gandhara. | ) Maitreya, with Kushan devotees, left and right. 2nd century Gandhara. | ) Maitreya, with Indian (left) and Kushan (right) devotees. |
) Kushans worshipping the Buddha's bowl. 2nd century Gandhara. | ) | ) The "Kanishka casket," with the Buddha surrounded by Brahma and Indra, and Kanishka on the lower part, 127 CE. | ) Buddha triad and kneeling Kushan devotee couple. 3rd century. |
Southern influences of Greco-Buddhist art
The art of the Sunga
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Balustrade-holding Yaksa with Corinthian columns, Madhya Pradesh (?), Sunga period (2nd-1st century BCE). Musee Guimet.
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Indian relief of probable Indo-Greek king, with Buddhist triratana symbol on his sword. Bharhut, 2nd century BCE. Indian Museum, Calcutta (drawing).
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. This work suggests that some of the Gandharan friezes, influential to this work, may have existed as early as the 2nd century or 1st century BCE.
Other Sunga works show the influence of floral scroll patterns, and Hellenistic elements in the rendering of the fold of dresses. The 2nd century BCE depiction of an armed foreigner (right), probably a Greek king, with Buddhist symbolism (triratana symbol of the sword), also indicates some kind of cultural, religious, and artistic exchange at that point of time.
The art of Mathura
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A Bodhisattva, 2nd century, Mathura
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, whether 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).
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Greek scroll supported by Indian Yaksas, Amaravati, 3rd century CE.
The influence of Greek art can be felt beyond Mathura, as far as Amaravati on the East coast of India, as shown by the usage of Greek scrolls in combination with Indian deities. Other motifs such as Greek chariots pulled by four horses can also be found in the same area.
Incidentally, Hindu art started to develop from the 1st to the 2nd century CE and found its first inspiration in the Buddhist art of Mathura. It progressively incorporated a profusion of original Hindu stylistic and symbolic elements however, in contrast with the general balance and simplicity of Buddhist art.
Art of the Gupta
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Buddha of the Gupta period, 5th century, Mathura.
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Head of a Buddha, Gupta period, 6th century.
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. Artistic details tend to be less realistic, as seen in the symbolic shell-like curls used to render the hairstyle of the Buddha.
Greco-Buddhist art expansion in Central Asia
Greco-Buddhist artistic influences naturally followed Buddhism in its expansion to Central and Eastern Asia from the 1st century BCE.Bactria
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The standing Buddhas of Bamyan, Afghanistan
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Statue from a Buddhist monastery 700 A.D., Afghanistan
When Buddhism expanded in Central Asia from the 1st century CE, Bactria saw the results of the Greco-Buddhist syncretism arrive on its territory from India, and a new blend of sculptural remained until the Islamic invasions.
The most striking of these realizations are the Buddhas of Bamyan. They tend to vary between the 5th and the 9th century CE. Their style is strongly inspired by Hellenistic culture.
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.
Most of the remaining art of Bactria was destroyed from the 5th century onward: the Buddhist were often blamed for idolatry and tended to be persecuted by the iconoclastic Muslims. Destructions continued during the Afghanistan War, and especially by the Taliban regime in 2001. The most famous case is that of the destruction of the Buddhas of Bamyan. Ironically, most of the remaining art from Afghanistan still extant was removed from the country during the Colonial period. In particular, a rich collection exists at the Musee Guimet in France.
Tarim Basin
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"Heroic gesture of the Bodhisattva", 6th-7th century terracotta, Tumshuq (Xinjiang).
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Head of a Bodhisattva, 6th-7th century terracotta, Tumshuq (Xinjiang).
The art of the Tarim Basin, also called Serindian art, is the art that developed from the 2nd through the 11th century CE in Serindia or Xinjiang, the western region of China that forms part of Central Asia. It derives from the art of the Gandhara and clearly combines Indian traditions with Greek and Roman influences.
Buddhist missionaries travelling on the Silk Road introduced this art, along with Buddhism itself, into Serindia, where it mixed with Chinese and Persian influences.
See also: Silk Road transmission of Buddhism
Greco-Buddhist influences in Eastern Asia
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First known Chinese Buddha sculpture, found in a late Han dynasty burial in Sichuan province. Circa 200 CE. The hair, the moustache, the robe indicate heavy influence by Gandharan styles.
- The general idealistic realism of the figures reminiscent of Greek art.
- Clothing elements with elaborate Greek-style folds.
- The curly hairstyle characteristic of the Mediterranean.
- In some Buddhist representations, hovering winged figures holding a wreath.
- Greek sculptural elements such as vines and floral scrolls.
China
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Northern Wei Buddha Maitreya, 443 CE.
Some Northern Wei statues can be quite reminiscent of Gandharan standing Buddha, although in a slightly more symbolic style. The general attitude and rendering of the dress however remain. Other, like Northern Qi Dynasty statues also maintain the general Greco-Buddhist style, but with less realism and stronger symbolic elements.
Some Eastern Wei statues display Buddhas with elaborate Greek-style robe foldings, and surmounted by flying figures holding a wreath.
Japan
In Japan, Buddhist art started to develop as the country converted to Buddhism in 548 CE. Some tiles from the Asuka period, 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.Other works of art incorporated a variety of Chinese and Korean influences, so that Japanese Buddhist became extremely varied in its expression. 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 [5].
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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.
Left: Greek wind god from Hadda, 2nd century.
Middle: wind god from Kizil, Tarim Basin, 7th century.
Right: Japanese wind god Fujin, 17th century.
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Iconographical evolution from the Greek god Herakles to the Japanese god Shukongōshin. 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 the Greco-Buddhist art of Gandhara.
4) Shukongōshin, manifestation of Vajrapani, as protector deity of Buddhist temples in Japan.
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 the Greco-Buddhist art of Gandhara.
4) Shukongōshin, manifestation of Vajrapani, as protector deity of Buddhist temples in Japan.
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Temple tiles from Nara, 7th century.
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Vine and grape scrolls from Nara, 7th century.
Influences on South-East Asian art
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A Cambodian Buddha, 14th century
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.
Cultural significance of Greco-Buddhist art
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.Museums for Greco-Buddhist art
Major collections
- Peshawar Museum, Peshawar, Pakistan (largest collection in the world).
- Lahore Museum, Lahore, Pakistan.
- Taxila Museum, Taxila, Pakistan.
- National Museum of Pakistan, Karachi, Pakistan.
- Mathura Museum, Mathura, India.
- Musée Guimet, Paris, France (about 150 artifacts, largest collection outside of Asia.)
- British Museum, London, Great Britain (about 100 artifacts)
- Tokyo National Museum, Tokyo, Japan (about 50 artifacts)
- National Museum of Oriental Art, Rome, Italy (about 80 artifacts)
- Museum of Indian Art, Dahlem, Berlin, Germany.
Small collections
- Metropolitan Museum of Art, New York, USA
- Ancient Orient Museum, Tokyo, Japan (About 20 artifacts)
- Victoria and Albert Museum, London, Great Britain (About 30 artifacts)
- City Museum of Ancient Art in Palazzo Madama, Turin, Italy.
- Rubin Museum of Art in New York City, NY, United States.
Private collections
Notes
1. ^ Standing Buddha:Image
2. ^ Standing Buddha:Image
3. ^ Belvedere Apollo: Image
4. ^ Vajrapani-Herakles:Image
5. ^ "Needless to say, the influence of Greek art on Japanese Buddhist art, via the Buddhist art of Gandhara and India, was already partly known in, for example, the comparison of the wavy drapery of the Buddha images, in what was, originally, a typical Greek style" (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p19)
6. ^ "The Japanese wind god images do not belong to a separate tradition apart from that of their Western counter-parts but share the same origins. (...) One of the characteristics of these Far Eastern wind god images is the wind bag held by this god with both hands, the origin of which can be traced back to the shawl or mantle worn by Boreas/ Oado." (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p21)
7. ^ "The origin of the image of Vajrapani should be explained. This deity is the protector and guide of the Buddha Sakyamuni. His image was modelled after that of Hercules. (...) The Gandharan Vajrapani was transformed in Central Asia and China and afterwards transmitted to Japan, where it exerted stylistic influences on the wrestler-like statues of the Guardian Deities (Nio)." (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p23)
8. ^ The transmission of the floral scroll pattern from West to East is presented in the regular exhibition of Ancient Japanese Art, at the Tokyo National Museum.
2. ^ Standing Buddha:Image
3. ^ Belvedere Apollo: Image
4. ^ Vajrapani-Herakles:Image
5. ^ "Needless to say, the influence of Greek art on Japanese Buddhist art, via the Buddhist art of Gandhara and India, was already partly known in, for example, the comparison of the wavy drapery of the Buddha images, in what was, originally, a typical Greek style" (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p19)
6. ^ "The Japanese wind god images do not belong to a separate tradition apart from that of their Western counter-parts but share the same origins. (...) One of the characteristics of these Far Eastern wind god images is the wind bag held by this god with both hands, the origin of which can be traced back to the shawl or mantle worn by Boreas/ Oado." (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p21)
7. ^ "The origin of the image of Vajrapani should be explained. This deity is the protector and guide of the Buddha Sakyamuni. His image was modelled after that of Hercules. (...) The Gandharan Vajrapani was transformed in Central Asia and China and afterwards transmitted to Japan, where it exerted stylistic influences on the wrestler-like statues of the Guardian Deities (Nio)." (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p23)
8. ^ The transmission of the floral scroll pattern from West to East is presented in the regular exhibition of Ancient Japanese Art, at the Tokyo National Museum.
See also
Buddhism |
|---|
| Concepts • Topics • History • Timeline • Schools • Texts • People • Places • Culture • Temples |
External links
References
- "Religions and the Silk Road" by Richard C. Foltz (St. Martin's Press, 1999) ISBN 0-312-23338-8
- "The Diffusion of Classical Art in Antiquity" by John Boardman (Princeton University Press, 1994) ISBN 0-691-03680-2
- "Old World Encounters. Cross-cultural contacts and exchanges in pre-modern times" by Jerry H.Bentley (Oxford University Press, 1993) ISBN 0-19-507639-7
- "Alexander the Great: East-West Cultural contacts from Greece to Japan" (NHK and Tokyo National Museum, 2003)
- "The Greeks in Bactria and India" W.W. Tarn, Cambridge University Press
- "Living Zen" by Robert Linssen (Grove Press New York, 1958) ISBN 0-8021-3136-0
- "Echoes of Alexander the Great: Silk route portraits from Gandhara" by Marian Wenzel, with a foreword by the Dalai Lama (Eklisa Anstalt, 2000) ISBN 1-58886-014-0
- "The Crossroads of Asia. Transformation in Image and symbol", 1992, ISBN 0-9518399-1-8
- "The Buddhist art of Gandhara", Sir John Marshall, 1960, ISBN 81-215-0967-X
| TIMELINE AND INFLUENCE OF GRECO-BUDDHIST ART | |||||
| Periods | Northern Asia | Central Asia | Gandhara | India | Southeast Asia |
| 5th century BCE | Birth of Buddhism){kind=small} | ||||
| 4th century BCE | Occupation by Alexander the Great (330 BCE) | ||||
| 3rd-2nd century BCE | Seleucid Empire (300-250BCE) Greco-Bactrian kingdom (250-125 BCE) (Hellenistic art) ){kind=small}
) | Mauryan Empire (321-185 BCE) (Aniconic art) ){kind=small} ) | Introduction of Buddhism to Burma | ||
| 2nd-1st century BCE | China, Han dynasty First mention of Buddhist statues brought from Central Asia (120 BCE) | Indo-Greek kingdom (180 BCE-10 CE) Buddhist symbolism and proselytism
){kind=small}
Free-standing Buddhas(Foucher &al.)
| Sunga Empire (185-73 BCE)
| ||
| 1st century BCE | Yuezhi Nomadic invaders, who became Hellenized and propagated Buddhism ){kind=small} ){kind=small} | Indo-Scythians (80-20 CE) ) ){kind=small} ){kind=small} | |||
| 1st century CE | Official start of Buddhism in China. Arrival of statues of the Buddha in 70 CE. | Indo-Parthians){kind=small}
| Art of Mathura | ||
| 1st-3rd century CE | First known Buddha statues in China (later Han, c.200 CE) | Kushan Empire (10-350 CE)
| |||
| 4th-6th century CE | Tarim Basin China ) Start of Buddhism in Japan | Bactria | Gupta Empire (320-550 CE) ){kind=small}
| Mahayana Buddhism in Siam, Cambodia and Vietnam | |
| 7th-13th century CE | Japan) | Islamic invasions | Pala Empire (11th century) ) | Southeast Asia) ) Introduction of Theravada from Sri Lanka in the 11th century | |
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After the collapse of the Mycenaen-Minoan Palace culture and the ensuing Greek Dark Ages, the Protogeometric style emerged around the mid 11th century BCE as the first expression of a reviving
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''' The archaic period in Greece (750 BC–480BC) is one of the five periods of Ancient Greek history, defined on the basis of pottery styles.
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The Hellenistic period of Ancient Greek history was the period between the death of Alexander the Great (Alexander III of Macedon) in 323 BC and the annexation of the Greek peninsula and islands by Rome in 146 BC.
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Roman Greece is the period of Greek history (of the Greece proper as opposed to the other centers of Hellenism in the Roman world) following the Roman victory over the Corinthians at the Battle of Corinth in 146 BC until the reestablishment of the city of Byzantium and the
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Byzantine art is the term commonly used to describe the artistic products of the Eastern Roman Empire from about the 5th century until the Fall of Constantinople in 1453. (The Roman Empire during this period is conventionally known as the Byzantine Empire.
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Macedonian art (sometimes called Macedonian Renaissance) was a period in Byzantine art which began with the reign of the Emperor Basil I of the Macedonian dynasty in 867.
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Most of Greece was part of the Ottoman Empire from the 14th century until its declaration of independence in 1821. The Ottoman Turks first crossed into Europe in 1354.
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The term Cretan School describes an important school of icon painting, also known as Post-Byzantine art, which flourished while Crete was under Venetian rule during the late Middle Ages, reaching its climax after the Fall of Constantinople, becoming the central force in
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The Heptanese School of painting (Greek: Επτανησιακή Σχολή, literally: The School of the seven islands also known as the
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Modern Greek Art is the term used to describe Greek art during the period between the emergence of the new independent Greek state and the 20th century. Mainland Greece being under the Ottoman rule for almost 4 centuries has naturally missed the Renaissance and the artistic
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The Munich School (Greek: (Σχολή του Μονάχου) or academic realism is the most important artistic movement of Greek Art in the 19th century with strong influences
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Contemporary Greek Art is defined as the art produced by Greek artists after World War II.
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Painting-Sculpture
Abstract Expressionism
Theodoros Stamos (1922-1997) was a great abstract expressionism art from Lefkas that lived and worked in New York in the..... Click the link for more information.
Greco-Buddhism, sometimes spelt Graeco-Buddhism, is the cultural syncretism between Hellenistic culture and Buddhism, which developed between the 4th century BCE and the 5th century CE in the area modernly covered by Afghanistan and Pakistan.
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For the linguistic term, see .
Syncretism consists of the attempt to reconcile disparate or contradictory beliefs, often while melding practices of various schools of thought.
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Buddhism is often described as a religion[1] and a collection of various philosophies, based initially on the teachings of Siddhartha Gautama, known as Gautama Buddha.
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Central Asia is a vast landlocked region of Asia. Though various definitions of its exact composition exist, no one definition is universally accepted. Despite this uncertainty in defining borders, it does have some important overall characteristics.
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Alexander III, the Great
Basileus of Macedon, Hegemon of the Hellenic League, Shah of Persia, Pharaoh of Egypt
Alexander fighting Persian king Darius III. From Alexander Mosaic, from Pompeii, Naples, Museo Archeologico Nazionale.
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Basileus of Macedon, Hegemon of the Hellenic League, Shah of Persia, Pharaoh of Egypt
Alexander fighting Persian king Darius III. From Alexander Mosaic, from Pompeii, Naples, Museo Archeologico Nazionale.
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The 4th century BC started the first day of 400 BC and ended the last day of 301 BC. It is considered part of the Classical era, epoch, or historical period.
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Overview
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The 7th century is the period from 601 to 700 in accordance with the Julian calendar in the Christian Era.
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Overview
During this century, the Eastern Roman Empire continued suffering setbacks, which increased after the 630s, when the Arab prophet Muhammad militantly..... Click the link for more information.
The Greco-Bactrian Kingdom (or Graeco-Bactrian Kingdom) covered the areas of Bactria and Sogdiana, comprising today's northern Afghanistan and parts of Central Asia, the easternmost area of the Hellenistic world, from 250 to 125 BCE.
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Indian subcontinent is a large section of the Asian continent consisting of countries lying substantially on the Indian tectonic plate. These include countries on the continental crust— India, Pakistan, Bangladesh and parts of Afghanistan, Nepal and Bhutan, island countries
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