page_title: Kushan Empire
section_title: Kushan art
hierarchical_section_title: Kushan Empire / Kushan art
caption_attribution_description: Italiano: Philadelphia Museum of Art
context_page_description: The Kushan Empire was a syncretic empire, formed by the Yuezhi, in the Bactrian territories in the early 1st century. It spread to encompass much of Afghanistan, and then the northern parts of the Indian subcontinent at least as far as Saketa and Sarnath near Varanasi, where inscriptions have been found dating to the era of the Kushan Emperor Kanishka the Great. Emperor Kanishka and the Kushans in general were great patrons of Buddhism, as well as Zoroastrianism. They played an important role in the establishment of Buddhism in the Indian subcontinent and its spread to Central Asia and China.
  The Kushans were most probably one of five branches of the Yuezhi confederation, an Indo-European nomadic people of possible Tocharian origin, who migrated from northwestern China and settled in ancient Bactria.
  The Kushans possibly used the Greek language initially for administrative purposes, but soon began to use Bactrian language. Kanishka sent his armies north of the Karakoram mountains. A direct road from Gandhara to China remained under Kushan control for more than a century, encouraging travel across the Karakoram and facilitating the spread of Mahayana Buddhism to China.
context_section_description: The art and culture of Gandhara, at the crossroads of the Kushan hegemony, developed the traditions of Greco-Buddhist art and are the best known expressions of Kushan influences to Westerners. Several direct depictions of Kushans are known from Gandhara, where they are represented with a tunic, belt and trousers and play the role of devotees to the Buddha, as well as the Bodhisattva and future Buddha Maitreya.
  According to Benjamin Rowland, the first expression of Kushan art appears at Khalchayan at the end of the 2nd century BCE. It is derived from Hellenistic art, and possibly from the art of the cities of Ai-Khanoum and Nysa, and clearly has similarities with the later Art of Gandhara, and may even have been at the origin of its development. Rowland particularly draws attention to the similarity of the ethnic types represented at Khalchayan and in the art of Gandhara, and also in the style of portraiture itself. For example, Rowland find a great proximity between the famous head of a Yuezhi prince from Khalchayan, and the head of Gandharan Bodhisattvas, giving the example of the Gandharan head of a Bodhisattva in the Philadelphia Museum. The similarity of the Gandhara Bodhisattva with the portrait of the Kushan ruler Heraios is also striking. According to Rowland the Bactrian art of Khalchayan thus survived for several centuries through its influence in the art of Gandhara, thanks to the patronage of the Kushans.
  During the Kushan Empire, many images of Gandhara share a strong resemblance to the features of Greek, Syrian, Persian and Indian figures. These Western-looking stylistic signatures often include heavy drapery and curly hair, representing a composite (the Greeks, for example, often possessed curly hair).
  As the Kushans took control of the area of Mathura as well, the Art of Mathura developed considerably, and free-standing statues of the Buddha came to be mass-produced around this time, possibly encouraged by doctrinal changes in Buddhism allowing to depart from the aniconism that had prevailed in the Buddhist sculptures at Mathura, Bharhut or Sanchi from the end of the 2nd century BCE.
caption: The head of a Gandhara Bodhisattava said to resemble a Kushan prince, as seen in the portrait of the prince from Khalchayan. Philadelphia Museum.[92]
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