CHAPTER VIII.

The Influence of Greek on Indian Art.

/'I^HE orthodox archaeological view of the history of
X Indian sculpture is much as follows :—

The Early Indian School (B. C. 250—A. D. 50) is a
compound of Hellenistic, Persian and Indian elements.
From this period we have scarcely any detached statues in
stone, and no representations of Buddha, whether free or in
low relief. Of the greatest importance is the second or
Kushan Period (A. D. 50—350), to which the two local
schools of Gandhara and Amaravati belong. The works
•of the Gandhara school are " probably equal in merit to
much of the contemporary sculpture in the provinces of
the Roman empire," and are " infinitely superior to any
truly Indian production." Images of Buddha become
abundant; the representations of Buddha and personages
of Buddhist mythology are adaptations of Greek gods;

•" the ideal type of Buddha......was created for Buddhist

art by foreigners," The type thus evolved was the founda-
tion of all later representations of Buddha, The classic
influence is traceable in all later work, and responsible for
most of the little value it possesses. " After 300 A. D.
Indian sculpture properly so called, hardly deserves to be
reckoned as art. The figures both of men and animals
become stiff and formal, and the idea of power is clumsily
expressed by the multiplication of members. The many-
headed, many-armed gods and goddesses whose images
crowd the walls and roofs of mediaeval temples have no
pretensions to beauty, and are frequently hideous and