Coming of Buddhism in India
It is necessary to deal with the coming of Buddhism in India as a turning point in the world of art and culture, philosophy and religion. More than all other religious faiths, the Greco-Indian approach to the new dawn across Asia and Europe was mainly due to the Buddhism during the centuries under discussion here.
Buddha passed away at the age of eighty, sometime between the years 486 and 473 BCE, probably nearer the former date than the latter. A few modern authorities believe that Buddha never intended to set up a new religion and he never looked on his doctrine as distinct from the popular cults of the time. However questionable this view may be, his simpler followers raised his status almost to divinity during his lifetime, and after his death, worshipped him through his symbols—the stupa, recalling his parinirvana and the Bodhi tree, recalling his enlightenment. According to tradition, disciples and the neighbouring rulers divided his ashes, and the recipients built stupas over them. In the third century BCE, Ashoka uncovered the ashes from their original resting places and dispersed those, creating stupas all over India.
The carvings on the stupas of Bharhut and Sanchi, crafted in the second and third centuries BCE, show crowds of adoring worshippers leaning down towards the symbol of the Buddha. Indeed, in all the Buddhist sculpture of the period, there is no show of the Buddha himself, but displayed by such emblems as a wheel, an empty throne, a pair of footprints or a pipal tree.
Gandhara art, exquisite touch of Buddhism
The Gandhara Schools of art and sculpture in the lower Kabul Valley and the upper Indus around Peshawar and Mathura, both of which flourished under the Kushan kings, vie for the honour of producing the first images of the Buddha. Most Indian authorities, however, believe that the Buddha image originated at Mathura, south of Delhi.
Around the time of Menander's death in 140 BCE, the Central Asian Kushans overran Bactria and ended Greek rule there. Around 80 BCE, the Sakas, diverted by their Parthian cousins from Iran, moved into Gandhara and other parts of Pakistan and Western India. Eventually an Indo-Parthian dynasty succeeded in taking control of Gandhara. The Parthians continued to support Greek artistic traditions.
The Kushan period is considered the golden period of Gandhara. Gandharan art flourished and produced some of the best pieces of Indian sculpture.
The Gandhara civilization peaked during the reign of the great Kushan King Kanishka (128–151 CE). The cities of Taxila (Takshasila) at Sirsukh and Peshawar flourished. Peshawar became the capital of a great empire stretching from Bengal, the easternmost province of India to Central Asia. Kanishka was a great patron of the Buddhist faith; Buddhism spread farther from Central Asia to the Far East, where his empire met the Han Empire of China. Gandhara became a holy land of Buddhism and attracted Chinese pilgrims to see monuments associated with many Jataka tales.
In Gandhara, Mahāyāna Buddhism flourished and Buddha was represented in human form. Under the Kushans new Buddhists stupas were built and old ones were enlarged. Huge statues of the Buddha were erected in monasteries and carved into the hillsides. Kanishka also built a great tower to a height of 400 feet at Peshawar. This tower was reported by Faxian (Fa-hsien), Songyun (Sung-yun) and Xuanzang (Hsuan-tsang). This structure was destroyed and rebuilt many times until it was at last destroyed by Mahmud of Ghazni in the 11th century CE.

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Buddha Statue, Gandhara

Search for the Gandhara ruins
In the 19th century, British soldiers and administrators started taking interest in the ancient history of the Indian subcontinent. In the 1830s CE coins of the post-Ashoka period were discovered and in the same period Chinese travelogues were translated. Charles Masson, James Prinsep, and Alexander Cunningham deciphered the Kharosthi script in 1838 CE. Chinese records provided locations and site plans of Buddhists shrines. Along with the discovery of coins, these records provided necessary clues to piece together the history of Gandhara. In 1848 CE Cunningham found Gandhara sculptures north of Peshawar. He also identified the site of Taxila in the 1860s CE. From then on a large number of Buddhist statues have been discovered in the Peshawar valley.
John Marshall performed an excavation of Taxila from 1912 to 1934 CE. He discovered separate Greek, Parthian, and Kushan cities and a large number of stupas and monasteries. These discoveries helped to piece together much more of the chronology of the history of Gandhara and its art.
Kanishka's coins from the beginning of his reign bear legends in Greek script and depict Greek divinities. Later coins bear legends in Bactrian, the Iranian language that the Kushans in fact spoke, and Greek divinities were replaced by corresponding Iranic ones. All of Kanishka's coins - even ones with a legend in the Bactrian language - were written in a modified Greek script that had one additional glyph to represent /š/ (sh), as in the word 'Kushan' and 'Kanishka'.
The Buddhist coins of Kanishka are comparatively rare. Several show Kanishka on the obverse and the Buddha standing on the reverse, in Hellenistic style. The standing Buddha is in Hellenistic style, bearing the mention "Boddo" in Greek script, holding the left corner of his cloak in his hand, and forming the abhaya mudra ((gesture of reassurance). Only six Kushan coins of the Buddha are known. The ears are oddly large and long, a symbolic exaggeration possibly made necessary by the small size of the coins, but otherwise visible in some later Gandharan statues of the Buddha typically dated to the 3rd-4th century CE. He has an abundant topknot covering, often highly stylised in a curly or often globular manner, also visible on later Buddha statues of Gandhara. On several designs, a moustache is apparent.
Curious touch in the artistic model
The Greco-Bactrian king Demetrius I (205-171 BCE) himself may have been the prototype for the image of the Buddha.
The earliest Hellenistic statues of the Buddha portray him in a style reminiscent of a king. Demetrius may have been deified, and the first Hellenistic statues of the Buddha we know may be representations of the idealized Greek king, princely, yet friendly, protective and open to Indian culture. As they often incorporated more Buddhist elements, they became central to the Buddhist movement, and influenced the image of the Buddha in Greco-Buddhist art.
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. 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.

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Buddha with Hercules Protector

Deities from the Greek mythological pantheon also tend to be incorporated in Buddhist representations, displaying a strong blend. In particular, Herakles (of the type of the Demetrius coins, with club resting on the arm) has been used aplenty as the symbol of Vajrapani, the protector of the Buddha. Other Greek deities freely used in Greco-Buddhist art are view of Atlas, and the Greek wind god Boreas. Atlas in particular tends to be involved as a sustaining element in Buddhist architectural elements. Boreas became the Japanese wind god Fujin through the Greco-Buddhist Wardo. The mother deity Hariti was inspired by Tyche.
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.
Mathura art
Mathura, 145 km south of Delhi, is by tradition the birthplace of Krishna, one of the two chief deities in Hindu religion. Mathura is also famous as one of the first two centres of production for images of the Buddha, the other being Gandhara. Human images of the Buddha began to appear at about the same time in both centres in the 1st Century CE but can be distinguished from one another as the Gandharan images are very clearly Greco-Roman in inspiration with the Buddha wearing wavy locks tucked up into a chignon and heavier toga-like robes. The Buddha figurines produced in Mathura more closely resemble some of the older Indian male fertility gods and have shorter, curlier hair and lighter, more translucent robes. Mathuran art and culture reached its zenith under the Kushan dynasty which had Mathura as one of their capitals, the other being Purushapura (Peshawar).
The Mathura images are related to the earlier yakṣa (male nature deity) figures, a likeness mostly evident in the colossal standing Buddha images of the early Kushān period. The sculptors worked for centuries in the speckled, red sandstone of the locality and the pieces carried far and wide. In these, and in the more representative seated Buddhas, the overall effect is one of enormous energy. The shoulders are broad, the chest swells, and the legs are firmly planted with feet spaced apart. Other characteristics are the shaven head; the usnīsa (knob on the top of the head) indicated by a tiered spiral; a round smiling face; the right arm raised in abhaya-mudrā (gesture of reassurance); the left arm akimbo or resting on the thigh; the drapery closely moulding the body and arranged in folds over the left arm, leaving the right shoulder bare; and the presence of the lion throne rather than the lotus throne. Later, the hair began to be treated as a series of short flat spirals lying close to the head, the type that came to be the standard representation throughout the Buddhist world.
The female figures at Mathura, carved in high relief on the pillars and gateways of both Buddhist and Jaina monuments, are truly sensuous in their appeal. These richly bejewelled ladies, ample of hip and slender of waist, standing suggestively, are reminiscent of the dancing girls of the Indus Valley. Their gay, impulsive sensuality in the backdrop of a resurgent doctrine of piety and renunciation is an example of the remarkable tolerance of the ancient Indian outlook on life, which did not find such display of art and culture improper. These delightful nude or semi-nude figures are shown in a variety of toilet scenes or in association with trees, indicating their continuance of the yakṣī (female nature deity) tradition seen also at other Buddhist sites, such as Bhārhut and Sānchi. As auspicious emblems of fertility and abundance they commanded a popular appeal that persisted with the rise of Buddhism.

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Yakshi

Infusion of literature
All this did not remain confined in sculptures and statues alone. They seeped into the language as well in northern India during the Greek rule. A few common Greek words were adopted in Sanskrit, such as words related to writing and warfare:
"ink" (Sankrit: melā, Greek: μέλαν "melan")
"pen" (Sanskrit:kalamo, Greek:κάλαμος "kalamos")
"book" (Sanskrit: pustaka, Greek: πύξινον "puksinon")
"bridle", a horse's bit (Sanskrit: khalina, Greek: χαλινός "khalinos")
"centre" (Sanskrit: kendram, Greek: κενδρον "kendron")
a "siege mine" (used to undermine the wall of a fortress): (Sanskrit: surungā, Greek: σύριγγα "suringa")
"barbarian, blockhead, stupid" (Sanskrit: barbara, Greek:βάρβαρος "barbaros")
also: "a shell" cambuka from σαμβύκη, "flour" samita from σεμίδαλις.
Phraotes, the Indo-Parthian King of Taxila received a Greek education at the court of his father and spoke Greek fluently. The Greek philosopher Apollonius recounts a talk on this:
"Tell me, O King, how you acquired such a command of the Greek tongue, and whence you derived all your philosophical attainments in this place?" The king replies, “My father, after a Greek education, brought me to the sages at an age somewhat too early perhaps, for I was only twelve at the time, but they brought me up like their own son; for any that they admit knowing the Greek tongue they are especially fond of, because they consider that in virtue of the similarity of his disposition he already belongs to themselves."
Greek was still in official use until the time of Kanishka (120 CE):
He (Kanishka) issued (?) an edict(?) in Greek and then he put it into the Aryan language". …but when Kanishka refers to "the Aryan language" he surely means Bactrian …”By the grace of Auramazda, I made another text in Aryan, which previously did not exist". It is difficult not to associate Kanishka's emphasis here on the use of the "Aryan language" with the replacement of Greek by Bactrian on his coinage. The numismatic evidence shows that this must have taken place very early in Kanishka's reign …” — Prof. Nicholas Sims-Williams (University of London).
The Greek script was used not only on coins, but also in manuscripts and stone inscriptions as late as the period of Islamic invasions in the 7th-8th century CE.
Astronomy & astrology
Vedanga Jyotisha is dated to around 135 BCE. It is an Indian text on Jyotisha (astrology and astronomy), compiled by Lagadha. The text is the earliest groundwork in India to the Vedanga discipline of Jyotisha. The text describes rules for tracking the motions of the sun and the moon in horoscopic astrology and advanced astronomical knowledge. Next to this compilation, one of the earliest Indian writings on astronomy and astrology, titled the Yavanajataka or "The Saying of the Greeks", is a translation from Greek to Sanskrit made by "Yavanesvara" ("Lord of the Greeks") in 149–150 CE under the rule of the Western Kshatrapa King Rudrakarman I. The Yavanajataka contains instructions on calculating astrological charts (horoscopes) from the time and place of one's birth. Astrology flourished in the Hellenistic world (particularly Alexandria) and the Yavanajataka reflects astrological techniques developed in the Greek-speaking world. Various astronomical and mathematical methods, such as the calculation of the 'horoskopos' (the zodiac sign on the eastern horizon), were used in the service of astrology.
Another set of treatises, the Paulisa Siddhanta and the Romaka Siddhantas, are attributed to later Greco-Roman influence in India. The Paulisa Siddhanta has been tentatively identified with the works of Paulus Alexandrinus, who wrote a well-known astrological hand-book.
Indian astronomy is widely acknowledged to be influenced by the Alexandrian school, and its technical nomenclature is essentially Greek: "The Yavanas are barbarians, yet the science of astronomy originated with them and for this they must be reverenced like gods", this is a comment in Brihat-Samhita by the mathematician Varahamihira. Several other Indian texts show appreciation for the scientific knowledge of the Yavana Greeks.
Spur on Indian & Greek thought & religion
The impact of the Indo-Greeks on Indian thought and religion is unknown. Scholars believe that Mahāyāna Buddhism as a distinct movement began around the 1st century BCE in the North-western Indian subcontinent, corresponding to the time and place of Indo-Greek flowering.
The Mahāyāna tradition is the larger of the two major traditions of Buddhism existing today, the other being that of the Theravāda school. According to the teachings of Mahāyāna traditions, "Mahāyāna" also refers to the path of seeking complete enlightenment for the benefit of all sentient beings, also called "Bodhisattvayāna", or the "Bodhisattva Vehicle. Among the earliest and most important references to the term Mahāyāna are those that occur in the Lotus Sūtra dating between the 1st century BC and the 1st century CE. Seishi Karashima has suggested that the term first used in an earlier Gandhāri Prakrit version of the Lotus Sūtra was not the term mahāyāna but the Prakrit word mahājāna in the sense of mahājñāna (great knowing). At a later stage when the early Prakrit word was converted into Sanskrit, this mahājāna, being phonetically ambivalent, was mistakenly converted into mahāyāna, possibly due to what may have been a double meaning
Intense multi-cultural influences have indeed been suggested in the appearance of Mahāyāna. According to Richard Foltz, "Key formative influences on the early development of the Mahāyāna and Pure Land movements, which became so much part of East Asian civilization, are to be sought in Buddhism's earlier encounters along the Silk Road". As Mahāyāna Buddhism emerged, it received "influences from popular Hindu devotional cults (bhakti), Persian and Greco-Roman theologies which filtered into India from the northwest".
Many of the early Mahāyāna theories of reality and knowledge can be related to Greek philosophical schools of thought: Mahāyāna Buddhism has been described as "the form of Buddhism which (regardless of how Hinduized its later forms became) seems to have originated in the Greco-Buddhist communities of India, through a conflation of the Greek Democritean-Sophistic-Skeptical tradition with the rudimentary and unformulated empirical and sceptical elements already present in early Buddhism". However, this view can hardly explain the origin of the bodhisattva ideal, already delineated in the Aagamas, which also already contained a well developed theory of selflessness (anaatman) and emptiness (shunyaata), none of these essential Mahāyāna tenets being traceable to Greek roots.


"La Grèce antique et Rome ont été civilisées par l'Inde." Jeffrey Amstrong | Védique Vidya | Histoire indienne


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