The Kushans of the first to third century CE embraced artistic, religious, and cultural practices of others graciously. They connected cultures together and were considered one of the most accepting cultures and honored diversity. From their coinage, to the early rise of Gandharan art with Hellenisitic traces, it was rarely truly developed from that area specifically. When is art or culture developed through a vacuum with no outside influences? Never. The Kushan empire hub was situated in a convenient location with access to the East and West and they used this location to their advantage and everyone else’s. Trades flourished and many cultures benefitted. “Archeological excavations, art historical evidence, coins, and inscriptions directly reflect connections between the establishment of the Kushan Empire, long-distance trade and cultural transmission between the northwestern Indian subcontinent and the silk routes.” (Neelis) When the Kushans established themselves, things started happening.

Alexander of Macedon conquered lands reaching from the “Adriatic to the Black Sea and the Balkans to mainland Greece” (Wood) to build an expansive empire. His father, Phillip, built and army of 30,000 men and 5,000 cavalry in attempt to battle the Persians who were planning to add Greece to their empire. Philip was killed before this could happen so Alexander the Great carried his fathers out his father’s goals and went beyond. Ultimately, Alexander the Great influenced every land he conquered and it is evident archaeologically.

Head of a Bodhisattva, Kushan Dynasty, late 1st-3rd century, Pakistan, phyllite
Head of Alexander and Statue of Tiberius, 2nd C BC, marble

These two are similar in more ways than just being two sculptures of heads from a long time ago. One must think much more critically and then the subtle stylistic differences or similarities will be much more apparent and have greater meaning to them. The Gandhara region was mainly an area of Buddhist practice and teaching under the Kushan rulers. “In strictly iconographic terms, moreover, the art of Gandhara was almost universally accredited with being the first to have invented the anthropomorphic figure of the Buddha, represented in earlier works of Buddhist art (known to us as from the production of Bharhut and Sanchi, 2nd-1st century BC) only in aniconic form through a set of symbols: tree, wheel, empty throne, turban and footprints.” (Filigenza)

Gandhara, current day Pakistan, was the place that the Buddha in human form originated which led to the rapid rise and spread of Buddhist art all over Asia. “For many decades, ever since its discovery around the mid-19th century, the history of studies on the art of Gandhara could be summed up in a few basic points: analysis of the formal and iconographical elements (above all in relation to the various components: Hellenistic, Roman, Indian, Iranian), origin of the anthropomorphic Buddha image, identification of the subjects and, in the absence of safe reference for an absolute chronology, a broad criterion to order the bulk of Gandharan production at least within a relative chronological framework.” (Filigenza)

The Graeco-Bactrian influence was prevalent in the Kushan dynasty so their art would be no different. The Head of a Bodhisattva is a Buddhist piece, of course. The Bodhisattva itself is a Buddha that stays in the world instead of reaching nirvana in means to enlighten the people. This head has very classical, Hellenistic styles common throughout the Kushan empire at this time. It has the definitive Kushan style of a profile head and frontal eyes along with the naturalism of the Greco-Bactrian influence. As with Bactrian art, naturalism is a key element. The beginnings of Kushan art embodied the same element. The wavy hair of the Head of a Bodhisattva also embodied that same element of Greco-Bactrian like with the Head of Alexander which is very naturalistic and wavy. “His looks have been reproduced in a thousand images. These usually portray wavy leonine hair and quiff, tilted head and uplifted faraway eyes. It is the convential ancient portrait of an ideal man.” (Wood) Drapery, which is a common Greco-Bactrian stylistic element, is found in the Statue of Tiberius as drapery covers his body.

“The penetration of Classical art into Kushan territories clearly was not simply the legacy of the Graeco-Bactrian kingdoms that succeeded the empire of Alexander the Great in the East. There was a continuing influx of objects decorated with Classical motifs; Roman temples were built in at least one or two locations.” (Waugh) The influence of Classical art into the Kushan wasn’t just a trend that would go away after the empire fell. It is apparent centuries after from their coinage and temples that classical art has placed itself into the Kushan dynasty. From the similarities of the Kushan Head of a Bodhisattva to the Classical Head of Alexander and Statue of Tiberius, these two cultures intermingled freely and created permanent evidence to show for it. Sometimes we tend to think every culture is distinct and developed entirely on its own – like it was in a culture vacuum. This was not the case then, and most certainly is not the case now and will never get back to ancient times with globalization entering so rapidly with the advent of the internet. If the Kushans and Greco-Bactrian civilizations were a part of today, the similarities of the two pieces would be just as striking.

Bibliography

1. Thomas, Carol G. Alexander and the Silk Road. University of Washington 2. Waugh, Daniel C. "Rome's Eastern Trade." Virtual Art Exhibit - Rome. N.p., n.d. Web. 3 May 2013. 3. Neelis, Jason. The Kushan Empire. University of Washington. 4. Wood, Michael. In the Footsteps of Alexander the Great: a Journey from Greece to Asia. University of California Press. 1997. 5. Filigenza, Anna. "Narrative Art in Gandhara." At the Origin of Gandharan Art. : 350-380.

Appendix

Head of Alexander and Statue of Tiberius,
2nd Century BCE,
Greco-Bactrian, Hellenistic
Ancient Greece, Macedon
Head of Alexander: 6” by 8” (approx.)
Statue of Tiberius: 5 ¾ feet (approx.)
Marble

Head of a Bodhisattva
2nd – 3rd Century, CE
Kushan Dynasty
Phyllite
Pakistan
5”