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| Total population | |
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| c. 25 thousand (0.8%) [1] [2] | |
| Religions | |
| Buddhism (Mainly Theravada) | |
| Scriptures | |
| Pali Canon | |
| Languages | |
| Greek and other languages |
Buddhism has existed in Greece since antiquity. [3] Today, there is a sizable Buddhist community in Greece, comprising immigrants and native Greek converts. Buddhism has influenced Greek literary tradition to some extent, as evident in the works of Nikos Kazantzakis. [4]
Buddhism and Greek culture share a history of more than 2,000 years. Greek was one of the first languages in which part of the Buddha’s teachings was recorded, long before the Pali Canon, in the columns and inscriptions of the Indian Emperor Ashoka.[ citation needed ] Greeks were the first Europeans to embrace Buddhism centuries before the advent of Christianity, and there is strong evidence that the first sculptors to depict the Buddha in the form of statues were of Greek descent.[ citation needed ] Buddhism flourished under the Indo-Greeks, leading to the Greco-Buddhist cultural syncretism. The arts of the Indian sub-continent were also quite affected by Hellenistic art during and after these interactions (Hellenistic influence on Indian art). The iconography of Vajrapani has been suggested to be that of the hero Heracles, with varying degrees of hybridization.[ according to whom? ] [6]
Menander I was one of the patrons of Buddhism. He was also the subject of the Milinda Panha.
Mahadharmaraksita was a Greek Buddhist master, who according to Mahāvaṃsa travelled to Anuradhapura in Sri Lanka together with 30,000 Greek Buddhist monks from Alexandria of the Caucasus. [7] In addition, Mahāvaṃsa mention how early Buddhists from Sri Lanka went to Alexandria of the Caucasus to learn Buddhism. [7]
The Kandahar Greek Edicts of Ashoka, which are among the Ashoka's Major Rock Edicts of the Indian Emperor Ashoka were written in the Greek language. In addition, the Kandahar Bilingual Rock Inscription was written in Greek and Aramaic. Ashoka used the word "eusebeia" (piety) as a Greek translation for the central Buddhist and Hindu concept of "dharma" in the Kandahar Bilingual Rock Inscription. [8]
Ptolemy II Philadelphus is also mentioned in the Edicts of Ashoka as a recipient of the Buddhist proselytism of Ashoka:
Now it is conquest by Dhamma that Beloved-Servant-of-the-Gods considers to be the best conquest. And it [conquest by Dhamma] has been won here, on the borders, even six hundred yojanas away, where the Greek king Antiochos rules, beyond there where the four kings named Ptolemy, Antigonos, Magas and Alexander rule, likewise in the south among the Cholas, the Pandyas, and as far as Tamraparni. Rock Edict Nb13 (S. Dhammika)
Buddhist gravestones decorated with depictions of the dharma wheel have even been found in Alexandria, indicating the presence of Buddhists in Ptolemaic Egypt. [9]
Buddhist manuscripts in cursive Greek, dated later than the second century AD, have been found in modern-day Afghanistan. Some mention the "Lokesvararaja Buddha" (λωγοασφαροραζοβοδδο). [10]
Numerous works of Greco-Buddhist art display the intermixing of Greek and Buddhist influences in such creation centers as Gandhara. The subject matter of Gandharan art was definitely Buddhist, while most motifs were of Western Asiatic or Hellenistic origin.
Although there is still some debate, the first anthropomorphic representations of the Buddha himself are often considered a result of the Greco-Buddhist interaction. Before this innovation, Buddhist art was "aniconic": the Buddha was only represented through his symbols (an empty throne, the Bodhi Tree, Buddha footprints, the Dharmachakra).
This reluctance towards anthropomorphic representations of the Buddha, and the sophisticated development of aniconic symbols to avoid it (even in narrative scenes where other human figures would appear), seem to be connected to one of the Buddha's sayings reported in the Digha Nikaya that discouraged representations of himself after the extinction of his body. [11]
Probably not feeling bound by these restrictions, and because of "their cult of form, the Greeks were the first to attempt a sculptural representation of the Buddha". [12] In many parts of the Ancient World, the Greeks did develop syncretic divinities, that could become a common religious focus for populations with different traditions: a well-known example is Serapis, introduced by Ptolemy I Soter in Egypt, who combined aspects of Greek and Egyptian Gods. In India as well, it was likewise the practice of the Greeks to create a single common divinity by combining the image of a Greek god-king (Apollo, or possibly the deified founder of the Indo-Greek Kingdom, Demetrius I of Bactria), with the traditional physical characteristics of the Buddha.
Many of the stylistic elements in the representations of the Buddha point to Greek influence: himation, the contrapposto stance of the upright figures, such as the first–second century Gandhara standing Buddhas, the stylized curly hair and ushnisha apparently derived from the style of the Apollo Belvedere (330 BC) and the measured quality of the faces, all rendered with strong artistic realism. A large quantity of sculptures combining Buddhist and purely Hellenistic styles and iconography were excavated at the modern site of Hadda, Afghanistan. The curly hair of Buddha is described in the famous list of the physical characteristics of the Buddha in the Buddhist sutras. The hair with curls turning to the right is first described in the Pāli canon; we find the same description in the Dāsāṣṭasāhasrikā prajñāpāramitā .[ citation needed ]
Greek artists were most probably the authors of these early representations of the Buddha, in particular the standing statues, which display "a realistic treatment of the folds and on some even a hint of modelled volume that characterizes the best Greek work. This is Classical or Hellenistic Greek, not archaizing Greek transmitted by Persia or Bactria, nor distinctively Roman." [14]
The Greek stylistic influence on the representation of the Buddha, through its idealistic realism, also permitted a very accessible, understandable and attractive visualization of the ultimate state of enlightenment described by Buddhism, allowing it to reach a wider audience:
One of the distinguishing features of the Gandharan school of art that emerged in north-west India is that it has been clearly influenced by the naturalism of the Classical Greek style. Thus, while these images still convey the inner peace that results from putting the Buddha's doctrine into practice, they also give us an impression of people who walked and talked, etc. and slept much as we do. I feel this is very important. These figures are inspiring because they do not only depict the goal, but also the sense that people like us can achieve it if we try.
During the following centuries, this anthropomorphic representation of the Buddha defined the canon of Buddhist art, but progressively evolved to incorporate more Indian and Asian elements.
Several other Buddhist deities may have been influenced by Greek gods. For example, Heracles with a lion-skin, the protector deity of Demetrius I of Bactria, "served as an artistic model for Vajrapani, a protector of the Buddha". [16] [17] In Japan, this expression further translated into the wrath-filled and muscular Niō guardian gods of the Buddha, standing today at the entrance of many Buddhist temples.
According to Katsumi Tanabe, professor at Chūō University, Japan, besides Vajrapani, Greek influence also appears in several other gods of the Mahayana pantheon such as the Japanese Fūjin, inspired from the Greek divinity Boreas through the Greco-Buddhist Wardo, or the mother deity Hariti inspired by Tyche. [18]
In addition, forms such as garland-bearing cherubs, vine scrolls, and such semihuman creatures as the centaur and triton, are part of the repertory of Hellenistic art introduced by Greco-Roman artists in the service of the Kushan court.
Evidence of direct religious interaction between Greek and Buddhist thought during the period include the Milinda Pañha or "Questions of Menander", a Pali-language discourse in the Platonic style held between Menander I and the Arahath Buddhist monk Nagasena.
The Mahavamsa , chapter 29, records that during Menander's reign, a Greek thera (elder monk) named Mahadharmaraksita led 30,000 Buddhist monks from "the Greek city of Alexandria" (possibly Alexandria on the Caucasus, around 150 kilometres (93 mi) north of today's Kabul in Afghanistan), to Sri Lanka for the dedication of a stupa, indicating that Buddhism flourished in Menander's territory and that Greeks took a very active part in it. [19]
Several Buddhist dedications by Greeks in India are recorded, such as that of the Greek meridarch (civil governor of a province) named Theodorus, describing in Kharosthi how he enshrined relics of the Buddha. The inscriptions were found on a vase inside a stupa, dated to the reign of Menander or one of his successors in the 1st century BC. [20] Finally, Buddhist tradition recognizes Menander as one of the great benefactors of the faith, together with Ashoka and Kanishka the Great.
Buddhist manuscripts in cursive Greek have been found in Afghanistan, praising various Buddhas and including mentions of the Mahayana figure of "Lokesvararaja Buddha" (λωγοασφαροραζοβοδδο). These manuscripts have been dated later than the 2nd century AD. [21]
There are many Buddhist centers in Greece, four centers founded by the Diamond Way and other centers in cities such as Athens, Thessaloniki, Sparta and Rhodes. The Athens Diamond Way Buddhist Center was founded in 1975 when Lama Ole Nydahl visited Athens for the first time. [22] There are also Buddhist retreats in Corinth and on Mount Olympus, and nine stupas. [23]
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 and Central Asia. 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.
Greco-Buddhism or Graeco-Buddhism denotes a supposed cultural syncretism between Hellenistic culture and Buddhism developed between the 4th century BC and the 5th century AD in Gandhara, in present-day Pakistan and parts of north-east Afghanistan. While the Greco-Buddhist art shows clear Hellenistic influences, the majority of scholars do not assume a noticeable Greek influence on Gandharan Buddhism beyond the artistic realm.
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 c. 10 AD.
The history of Buddhism can be traced back to the 5th century BCE. Buddhism arose in Ancient India, in and around the ancient Kingdom of Magadha, and is based on the teachings of the renunciate Siddhārtha Gautama. The religion evolved as it spread from the northeastern region of the Indian subcontinent throughout Central, East, and Southeast Asia. At one time or another, it influenced most of Asia.
The role of Greek Buddhist monks in the development of the Buddhist faith under the patronage of Emperor Ashoka around 260 BCE and subsequently during the reign of the Indo-Greek king Menander is described in the Mahavamsa, an important non-canonical Theravada Buddhist historical text compiled in Sri Lanka in the 6th century in the Pali language.
Dharmarakṣita (Pali: Dhammarakkhita), was one of the missionaries sent by the Mauryan emperor Ashoka to proselytize Buddhism. He is described as being a Greek in the Mahavamsa, and his activities are indicative of some Hellenistic Greeks following Buddhism during its early centuries.
Mahadhammarakkhita was a Greek Buddhist master, who lived during the 2nd century BCE during the reign of the Indo-Greek king Menander.
Haḍḍa is a Greco-Buddhist archeological site located ten kilometers south of the city of Jalalabad, in the Nangarhar Province of eastern Afghanistan.
Menander II Dikaios may have been an Indo-Greek King who ruled in the areas of Arachosia and Gandhara in the north of modern Pakistan. However, since he is entirely known through his coins, this may have just been a separate set of coins issued by Menander I with a different epithet.
Many artistic influences transited along the Silk Road, especially through the Central Asia, where Hellenistic, Iranian, Indian and Chinese influence were able to interact. In particular Greco-Buddhist art represent one of the most vivid examples of this interaction. As shown on the 1st century CE Silk Road map, there is no single road but a whole network of long-distance routes: mainly two land routes and one sea route.
Buddhism, a religion founded by Gautama Buddha, first arrived in modern-day Afghanistan through the conquests of Ashoka, the third emperor of the Maurya Empire. Among the earliest notable sites of Buddhist influence in the country is a bilingual mountainside inscription in Greek and Aramaic that dates back to 260 BCE and was found on the rocky outcrop of Chil Zena near Kandahar.
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 Indian subcontinent. There were over 30 Indo-Greek kings, often in competition on different territories. Many of them are only known through their coins.
Buddhism in Pakistan took root in the third century BCE under the Mauryan king Ashoka. The Major Rock Edicts of Ashoka inscribed on rock boulders in Mansehra and Shahbaz Garhi written in the Kharosthi script recording aspects of the emperor's dharma or righteous law represent some of the earliest evidence of deciphered writing in South Asia, dating to middle of the third century BCE. The Indo-Greek king Menander embraced Buddhism as attested in the Milinda Panha, which dates from sometime between 100 BC and 200 AD, following a dialogue with the monk Nāgasena in Sagala, present-day Sialkot.
The Indo-Greeks practiced numerous religions during the time they ruled in the northwestern Indian subcontinent 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.
The sources used to reconstruct the history of the Indo-Greeks are few and disparate, leading to much uncertainty about the precise state of the Indo-Greek kingdom and its chronology. Sources related to the Indo-Greeks can be classified into various categories: ancient literary sources from both the West and the Indian world, archaeological sources from the general area of present day Pakistan, Kashmir and North Indian states of Punjab, Haryana, Himachal Pradesh, Uttar Pradesh & Bihar, and numismatical sources, which are abundant and well-preserved but often rather cryptic.
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.
Gandhāran Buddhism refers to the Buddhist culture of ancient Gandhāra which was a major center of Buddhism in the northwestern Indian subcontinent from the 3rd century BCE to approximately 1200 CE. Ancient Gandhāra corresponds to modern day north Pakistan, mainly the Peshawar valley and Potohar plateau as well as Afghanistan's Jalalabad. The region has yielded the Gandhāran Buddhist texts written in Gāndhārī Prakrit the oldest Buddhist manuscripts yet discovered. Gandhāra was also home to a unique Buddhist artistic and architectural culture which blended elements from Indian, Hellenistic, Roman and Parthian art. Buddhist Gandhāra was also influential as the gateway through which Buddhism spread to Central Asia and China.
Tapa Shotor, also Tape Shotor or Tapa-e-shotor, was a large Sarvastivadin monastery near Hadda, Afghanistan, and is now an archaeological site. According to archaeologist Raymond Allchin, the site of Tapa Shotor suggests that the Greco-Buddhist art of Gandhara descended directly from the art of Hellenistic Bactria, as seen in Ai-Khanoum.
