Menander I Soter, was a Greco-Bactrian and later Indo-Greek King who administered a large territory in the Northwestern regions of the Indian Subcontinent from his capital at Sagala. Menander is noted for having become a patron and convert to Greco-Buddhism and he is widely regarded as the greatest of the Indo-Greek kings.
Sanchi is a Buddhist complex, famous for its Great Stupa, on a hilltop at Sanchi Town in Raisen District of the State of Madhya Pradesh, India. It is located, about 23 kilometers from Raisen town, district headquarter and 46 kilometres (29 mi) north-east of Bhopal, capital of Madhya Pradesh.
The word Yona in Pali and the Prakrits, and the analogue Yavana in Sanskrit and Yavanar in Tamil, were words used in Ancient India to designate Greek speakers. "Yona" and "Yavana" are transliterations of the Greek word for "Ionians", who were probably the first Greeks to be known in India.
The Greco-Buddhist art or Gandhara art is the artistic manifestation of Greco-Buddhism, a cultural syncretism between Ancient Greek art and Buddhism. It had mainly evolved in the ancient region of Gandhara, located in the northwestern fringe of the Indian subcontinent.
The Indo-Greek Kingdom, or Graeco-Indian Kingdom, also known historically as the Yavana Kingdom (Yavanarajya), was a Hellenistic-era Greek kingdom covering various parts of modern-day Afghanistan, Pakistan and northwestern India. This kingdom was in existence from c. 200 BC to the beginning of the common era.
The Shunga Empire was the period of Magadha under its seventh ruling family, the Shunga dynasty. It controlled most of the northern Indian subcontinent from around 185 to 73 BCE. The empire was established by Pushyamitra when he took the throne of Magadha from the Mauryas. The Shunga Empire's capital was Pataliputra, but later emperors such as Bhagabhadra also held court at Besnagar in eastern Malwa.
The Heliodorus pillar is a stone column that was erected around 113 BCE in central India in Besnagar. The pillar was called the Garuda-standard by Heliodorus, referring to the deity Garuda. The pillar is commonly named after Heliodorus, who was an ambassador of the Indo-Greek king Antialcidas from Taxila, and was sent to the Indian ruler Bhagabhadra. A dedication written in Brahmi script was inscribed on the pillar, venerating Vāsudeva, the Deva deva the "God of Gods" and the Supreme Deity. The pillar also glorifies the Indian ruler as "Bhagabhadra the savior". The pillar is a stambha which symbolizes joining earth, space and heaven, and is thought to connote the "cosmic axis" and express the cosmic totality of the Deity.
The pillars of Ashoka are a series of monolithic columns dispersed throughout the Indian subcontinent, erected or at least inscribed with edicts by the 3rd Mauryan Emperor Ashoka The Great who reigned from c. 268 to 232 BCE. Ashoka used the expression Dhaṃma thaṃbhā, i.e. "pillars of the Dharma" to describe his own pillars. These pillars constitute important monuments of the architecture of India, most of them exhibiting the characteristic Mauryan polish. Of the pillars erected by Ashoka, twenty still survive including those with inscriptions of his edicts. Only a few with animal capitals survive of which seven complete specimens are known. Two pillars were relocated by Firuz Shah Tughlaq to Delhi. Several pillars were relocated later by Mughal Empire rulers, the animal capitals being removed. Averaging between 12 and 15 m in height, and weighing up to 50 tons each, the pillars were dragged, sometimes hundreds of miles, to where they were erected.
Bharhut is a village located in the Satna district of Madhya Pradesh, central India. It is known for its famous relics from a Buddhist stupa. What makes Bharhut panels unique is that each panel is explicitly labelled in Brahmi characters mentioning what the panel depicts. The major donor for the Bharhut stupa was King Dhanabhuti.
Buner reliefs is a term for a number of stone reliefs in or taken from Buner District, in the Peshawar valley in Pakistan, once in ancient Gandhara. They are also near the Swat Valley.
The History of the Indo-Greek Kingdom covers a period from the 2nd century BCE to the beginning of the 1st century CE in northern and northwestern India. There were over 30 Indo-Greek kings, often in competition on different territories. Many of them are only known through their coins.
Sculpture in the Indian subcontinent, partly because of the climate of the Indian subcontinent makes the long-term survival of organic materials difficult, essentially consists of sculpture of stone, metal or terracotta. It is clear there was a great deal of painting, and sculpture in wood and ivory, during these periods, but there are only a few survivals. The main Indian religions had all, after hesitant starts, developed the use of religious sculpture by around the start of the Common Era, and the use of stone was becoming increasingly widespread.
The Indo-Greeks practiced numerous religions during the time they ruled in present-day northwestern India from the 2nd century BCE to the beginning of the 1st century CE. In addition to the worship of the Classical pantheon of the Greek deities found on their coins, the Indo-Greeks were involved with local faiths, particularly with Buddhism, but also with Hinduism and Zoroastrianism.
Indo-Greek art is the art of the Indo-Greeks, who reigned from circa 200 BCE in areas of Bactria and the Indian subcontinent. Initially, between 200 and 145 BCE, they remained in control of Bactria while occupying areas of Indian subcontinent, until Bactria was lost to invading nomads. After 145 BCE, Indo-Greek kings ruled exclusively in parts of ancient India, especially in Gandhara, in what is now present-day the northwestern Pakistan. The Indo-Greeks had a rich Hellenistic heritage and artistic proficiency as seen with the remains of the city of Ai-Khanoum, which was founded as a Greco-Bactrian city. In modern-day Pakistan, several Indo-Greeks cities are known such as Sirkap near Taxila, Barikot, and Sagala where some Indo-Greek artistic remains have been found, such as stone palettes. Some Buddhist cultural objects related to the Indo-Greeks are known, such as the Shinkot casket.By far the most important Indo-Greek remains found are numerous coins of the Indo-Greek kings, considered as some of the most artistically brilliant of Antiquity. Most of the works of art of the Greco-Buddhist art of Gandhara are usually attributed to the direct successors of the Indo-Greeks in Ancient India in the 1st century CE, such as the nomadic Indo-Scythians, the Indo-Parthians and, in an already decadent state, the Kushans. Many Gandharan works of art cannot be dated exactly, leaving the exact chronology open to interpretation. With the realization that the Indo-Greeks ruled in India until at least 10-20 CE with the reign of Strato II in the Punjab, the possibility of a direct connection between the Indo-Greeks and Greco-Buddhist art has been reaffirmed recently.
The Pataliputra capital is a monumental rectangular capital with volutes and Classical Greek designs, that was discovered in the palace ruins of the ancient Mauryan Empire capital city of Pataliputra. It is dated to the 3rd century BCE.
Hellenistic influence on Indian art and architecture reflects the artistic and architectural influence of the Greeks on Indian art following the conquests of Alexander the Great, from the end of the 4th century BCE to the first centuries of the common era. The Greeks in effect maintained a political presence at the doorstep, and sometimes within India, down to the 1st century CE with the Greco-Bactrian Kingdom and the Indo-Greek Kingdoms, with many noticeable influences on the arts of the Maurya Empire especially. Hellenistic influence on Indian art was also felt for several more centuries during the period of Greco-Buddhist art.
The Art of Mathura refers to a particular school of Indian art, almost entirely surviving in the form of sculpture, starting in the 2nd century BCE, which centered on the city of Mathura, in central northern India, during a period in which Buddhism, Jainism together with Hinduism flourished in India. Mathura "was the first artistic center to produce devotional icons for all the three faiths", and the pre-eminent center of religious artistic expression in India at least until the Gupta period, and was influential throughout the sub-continent.
The Stupa No. 2 at Sanchi, also called Sanchi II, is one of the oldest existing Buddhist stupas in India, and part of the Buddhist complex of Sanchi in Madhya Pradesh. It is of particular interest since it has the earliest known important displays of decorative reliefs in India, probably anterior to the reliefs at the Mahabodhi Temple in Bodh Gaya, or the reliefs of Bharhut. It displays what has been called "the oldest extensive stupa decoration in existence". Stupa II at Sanchi is therefore considered as the birthplace of Jataka illustrations.
Dhanabhūti or Vatsiputra Dhanabhūti was a 2nd or 1st-century BCE Buddhist king in Central India, and the most prominent donor for the Bharhut stupa. He appears in two or three major dedicatory inscriptions at the stupa of Bharhut, and possibly in another inscription at Mathura. Dhanabhuti may have been a feudatory of the Sunga Empire, or a ruler in a neighbouring territory, such as Kosala or Panchala, or possibly a northern king from Sughana in Haryana. or he may have also been part of the Mitra dynasty of Kosambi.
Indo-Scythian art developed under the various dynasties of Indo-Scythian rulers in northwestern India, from the 1st century BCE to the early 5th century CE, encompassing the productions of the early Indo-Scythians, the Northern Satraps and the Western Satraps. It follows the development of Indo-Greek art in northwestern India. The Scythians in India were ultimately replaced by the Kushan Empire and the Gupta Empire, whose art form appear in Kushan art and Gupta art.
