Central Asian and Greco Bactrian elements in the Gandhara art

Gandhara school of art was the epitome of Cultural Revolution in present day’s west Pakistan and east Afghanistan during Kushana’s rule, of which Gandhara sculpture was an important part, which depicts sculpture of Buddha. 

Geographical location of Gandhara art facilitated interaction of various artistic components: 

• Geographical position of the region was at the crossroads of cultural exchange, which resulted into interaction of artistic components. 

• This area witnessed the advent of number of foreign powers and political configuration ranging from the Greek, Bactrian to Kushanas. Thus, Gandhara style was amalgam of Hellenistic-Roman, Iranian and indigenous art. 

The central Asian and Greco-Bactrian elements in the Gandhara art: 

Greek Influence 

• It can be observed in the form of Buddha’s wavy hair, draperies covering both shoulders, footwear, Buddha shown under the protection of Greek God Herakles standing with his club and so on. In fact, the very concept of man-God is attributed to the Greeks. The Buddha’s mythological statue can also be related to Greeks. 

• Some examples of Gandhara art depict both Buddha and the Greek God Herakles from Greek Mythology. Stucco plaster, which was commonly observed in Greek art, was widely used in Gandhara artwork for the decoration of monastic and cult buildings. 

Roman influence 

• It is evident from the sculpture of Gautama Buddha, with a youthful Apollo-like face, dressed in garments resembling the scenes of Roman imperial statues. 

• Gandhara sculpture incorporated many motifs and techniques from classical Roman art too, as seen from the vine scrolls, cherubs bearing garlands, tritons and centaurs. 

• Additionally, the Gandhara art drew from the anthropomorphic traditions of Roman religions. The realistic sculpture of Buddha is also associated with Romans. 

Central Asian influence 

• In Gandhara art, specific types of Buddhist cult structures were elaborately constructed. 

• Paintings, bas-reliefs and sculpture richly decorated secular and especially cult buildings. 

• Columns, plasters (mainly derived from the Corinthian order) and other architectural elements usually had magnificent plastic arrangement. 

• Temples built in the area influenced by Gandhara art normally included central square structures with circumambulatory corridors (Haa, Swat, and Miran). The idea of circumambulatory corridors was undoubtedly of Iranian origin, since fire temples with such corridors appear in Iran from the Achaemenid time. 

• Schemes for the ground plans of monasteries display many varieties. When the space was limited, ‘glued’ plans could be applied, combining two or three isolated parts with different functions: the sacred one (temple) with a large stupa in the middle; living quarters with monks’ cells and a prayer-hall, etc. 

• This architectural pattern was widespread in Central Asia both in the Kushana period (as in Fayay-tepe) and later (as in Ajina-tepa).