Why Buddhism Adopted a Greek Art Style (original) (raw)

Why Buddhism Adopted a Greek Art Style. Siddhartha at the Bodhi Tree in classizing style, 100s–200s AD, Pakistan, Gandhara. Credit: Cleveland Museum of Art, Public Domain.

Buddhism encountered a fascinating fusion with Greek culture in ancient times after Alexander the Great’s conquests. This intersection is vividly illustrated in Gandharan art, which prominently features a style reminiscent of classical types. Why did this Eastern religion adopt a Greek art style?

Greek naturalism offered a way to visually and emotionally connect with audiences, making Buddhist teachings more accessible and compelling.

What is mimisis, and what does it do?

In his Poetics, Aristotle posited that mimesis, or imitation, is a fundamental human trait. From childhood, humans learn and derive pleasure from imitation. It allows people to experience emotions and scenarios vicariously. Aristotle argued that mimesis leads to catharsis. This is a psychological cleansing that occurs when individuals reflect on and process the emotions they observe in art. This reflective process was integral to Greek theatre. Audiences engaged deeply with the moral and philosophical questions presented on stage.

In ancient Greece, theatre was not merely entertainment. It was a medium for exploring ethics, politics, and human nature. Greek tragedies and comedies served as mirrors of the human psyche. They prompted introspection in their audience, and so were educative. This powerful form of engagement resonated deeply with the public, and mimesis became a cornerstone of Greek artistic expression.

The psychological impact of mimetic art

Italian neuroscientist Vittorio Gallese co-discovered mirror neurons in the premotor cortex. These drive humans to imitate the emotional states they observe. This phenomenon explains why we empathize with protagonists in visual mediums such as cinema. Historically, it explains our reactions to theater.

When audiences engage with mimetic art, they undergo a psychological journey. They mirror the emotions and experiences of the depicted figures. This empathic connection allows for profound self-reflection and learning. For Buddhism, a philosophy deeply concerned with the psychological flourishing of individuals, mimetic art offered a powerful tool to convey its teachings.

What does Greek theater have to do with Gandharan art?

The evidence for Greek theater’s influence on Gandhara

Gandhara was the location where India’s first playwright, Ashvaghosha (c.80 to 150 AD), made his debut, corresponding to the high period of Greco-Buddhist art. This dramatic flourishing may have extended to the region’s figurative art, too.

Likewise, Ashvaghosha’s inspiration for theater was likely Greek performances that took place in the post-Alexandrian Far East. The archaeological record reveals significant evidence of Greek-style dramatic performances in the region. Sites like Ai Khanoum, with its Greek theater and comedic mask water feature, point to the presence of theatrical traditions in the area as early as the 3rd century BC.

Moreover, Greek inscriptions and the prevalence of Dionysian depictions suggest these performances may have continued even after the decline of Hellenistic imperialism. Remarkably, the term (Y avanka) used to this day for theatre curtain in India is derived from Yavanas. This term was used for Western Greeks, highlighting another possible link between Indian and Hellenistic theatrical traditions.

Wine production and other allusions to Greek theater

Wine production and consumption, another Greek tradition closely linked to the theater, were prevalent in Gandhara. Chinese historian Sima Qian documented the extensive wine culture in the region during the late 2nd century AD. He highlighted the local expertise in wine preservation. Archaeological finds, such as wine distilleries with royal insignia at Shaikhan Dheri, further corroborate the integration of Dionysian practices into Gandharan society.

However, no definitive evidence of Greek-style amphitheaters has been found on the Indian subcontinent. The closest discovery is a non-semi-circular room at Nagarjunakonda in central India. Some archaeologists believe it was used for dramatic performances.

The absence of amphitheaters might be explained by using temporary wooden structures for performances, as suggested by the Sanskrit text Natyasastra.

Some scholars theorize that the beginning of Indian theater, naturalistic art, the preponderance of Dionysian imagery, and wine culture in Buddhist regions are not coincidental. They could be correlative and even causal.

The influence of linear storytelling on Gandharan figurative art

An example of linear art from Gandhara. A schist with five scenes stacked representing the Life of Buddha, 100s AD, Gandhara, Pakistan. Credit: Cleveland Museum of Art, Public Domain

Before the 2nd century AD, Indian art, particularly outside Gandhara, often featured non-linear depictions. These can be challenging to interpret. Artists of the time were less focused on narrating intricate stories through their artwork. Instead of illustrating the Buddha himself, these artworks use symbols such as elephants, lotus flowers, and Bodhi trees to convey his presence.

This symbolic approach can be traced back to Vedic art. Vedic art employed abstract or aniconic forms to represent divine forces rather than anthropomorphic figures. The idea of representing a great being as a human was relatively new to Indian tradition. Accordingly, coins from the 2nd century BC often depict the sun as a wheel, a lotus, or a radiant ball. This reflects symbolic representation.

Comparatively, scholars (Pia & Xinru 2009) hold that the onset of Indian theater under the influence of Classical performance inspired artists to introduce a significant innovation during the 1st and 2nd centuries AD. This period saw a remarkable development in narrative sculpture. For the first time, the Buddha’s life was depicted in a chronological sequence.

Gandharan art compared to non-Gandharan art

Unlike earlier art forms, which used abstract symbols, Gandharan artists created anthropomorphic images of the Buddha. They told his story through a series of detailed, sequential reliefs. These sculptures, displayed on small stupas in sacred spaces, began with scenes of his birth and progressed through his life. They culminated in his nirvana and the distribution of his relics.

These reliefs functioned like a visual narrative. They presented the Buddha’s life as a coherent story with clearly defined events and characters. The approach allowed viewers to follow the Buddha’s spiritual journey as though they were participating in his story. Using naturalistic art and linear storytelling transformed these sacred narratives into immersive experiences. They enabled the faithful to engage with the Buddha’s teachings as though he were physically present.

Buddhism’s adoption of Greek mimetic art likely arose from a practical need. It aimed to communicate complex philosophical ideas to a broader audience. Traditional Indian art was often symbolic and non-linear, which could be challenging for laypeople to interpret. In contrast, Greek naturalistic art and theater offered a more accessible and engaging narrative form. In so doing, the Buddha’s ideas could be more easily conveyed and spread to China and the rest of Asia.

As the 14th Dalai Lama observed, Gandharan art captures the essence of Buddhist practice and the human experience. It inspires viewers by depicting both the goal of enlightenment and the relatable journey of individuals striving towards it. This enduring legacy of Greek mimetic art in Buddhism underscores the universal power of art to transcend cultural boundaries.

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