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Ancient History

GREEK HELIOS OR INDIAN SŪRYA? THE SPREAD OF THE SUN GOD IMAGERY FROM INDIA TO GANDHĀRA

Profile image of Osmund BopearachchiOsmund Bopearachchi

2021, Connecting the Ancient West and East. Studies presented to Prof. Gocha R. Tsetskhladze,edited by J. Boardman, J. Hargrave, A. Avram and A. Podossinov, Monographs in Antiquity,

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Abstract

This paper examines a hitherto unpublished toilet tray found most probably in Begram in Afghanistan depicting a syncretic image of the Greek Helios and the Indian Sūrya. In the light of this document, two more toilet trays whose iconography was misunderstood by the art historian who published them are also reexamined. The origin of the Greek Sun God, Helios, and the diffusion of his iconography from Greece to Central Asia and Gandhāra, as well as the origin and development of the Sūrya or Āditya iconography in India are briefly studied. The present study also shows that the iconography of the three toilet trays does not appear in a Buddhist or Vedic milieu, but in an Indo-Greek context, demonstrating the diversity and syncretism that characterizes the cultural, religious, and artistic heritage of the former Greek and Indian political supremacies in Greater Gandhāra.

Key takeaways
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  1. The syncretism of Greek Helios and Indian Sūrya characterizes the cultural heritage of Greater Gandhāra.
  2. Toilet trays illustrate the transmission of Greek mythological imagery to the Indo-Greek context.
  3. Kaniška I's reign (AD 127-150) marks significant iconographic assimilation between Helios and Mithra.
  4. The iconography reflects the diverse influences from both Greek and Indian artistic traditions.
  5. Toilet trays date between the 2nd century BC and 1st century AD, indicating Indo-Greek artistic interactions.
Figures (10)
Fig. 1. Silver tetradachm of Attic standard of the Graeco-Bactrian king Plato (ca. 145-140 BC). Obv.: Diademed bust of king to right. Rev.: Helios radiate, standing facing in a guadriga, holding spear. Legend in Greek: BAXIAEQX EHNI@ANOYX / ITAATQNOX. 32 mm; 16.98 g. Private collection, Germany. Bibliography: Bopearachchi 1991, series 1. A (photograph by author, courtesy of the collector).
Fig. 1. Silver tetradachm of Attic standard of the Graeco-Bactrian king Plato (ca. 145-140 BC). Obv.: Diademed bust of king to right. Rev.: Helios radiate, standing facing in a guadriga, holding spear. Legend in Greek: BAXIAEQX EHNI@ANOYX / ITAATQNOX. 32 mm; 16.98 g. Private collection, Germany. Bibliography: Bopearachchi 1991, series 1. A (photograph by author, courtesy of the collector).
Fig. 2. Silver tetradachm of Attic standard of Graeco-Bactrian king Plato (ca. 145-140 BC). Obv.: Diademed bust of king to right. Rev.: Helios radiate, standing facing in a guadriga, holding spear and moving to right Legend in Greek: BAXIAEQX EHI@ANOYS / TAATONOX. 32 mm; 16.38 g. Private collection, Germany. Bibliography: Bopearachchi 1991, series 2. B (photograph by author, courtesy of the collector).
Fig. 2. Silver tetradachm of Attic standard of Graeco-Bactrian king Plato (ca. 145-140 BC). Obv.: Diademed bust of king to right. Rev.: Helios radiate, standing facing in a guadriga, holding spear and moving to right Legend in Greek: BAXIAEQX EHI@ANOYS / TAATONOX. 32 mm; 16.38 g. Private collection, Germany. Bibliography: Bopearachchi 1991, series 2. B (photograph by author, courtesy of the collector).
Fig. 3. Bronze coin of Indo-Greek king Amyntas (ca. 95-90 BC. Obv.: Bearded bust of Zeus-Mithra. BAXTAEQX / NIKATOPOX / AMYNTOY. Rev.: Helmeted Athena standing to right holding spear and shield. Maharajasaljayadharasalamitasa. 19 x 20 mm; 8.99 g. Private collection, Germany. Bibliography: Bopearachchi 1991, series 15. C (photograph by author, courtesy of the collector).
Fig. 3. Bronze coin of Indo-Greek king Amyntas (ca. 95-90 BC. Obv.: Bearded bust of Zeus-Mithra. BAXTAEQX / NIKATOPOX / AMYNTOY. Rev.: Helmeted Athena standing to right holding spear and shield. Maharajasaljayadharasalamitasa. 19 x 20 mm; 8.99 g. Private collection, Germany. Bibliography: Bopearachchi 1991, series 15. C (photograph by author, courtesy of the collector).
Fig. 4. Bronze coin of Indo-Greek king Hermaios (ca. 90-70 BC). Obv.: Bearded bust of Zeus-Mithra. BAXTAEQX / LOTHPOX / EPMAIOY. Rev.: Horse prancing to right. Maharajasa/ tratarasalheramayasa. 21 x 20 mm; 8.36 g. Cabinet des Médailles. Bibliography: Bopearachchi 1991, series 9. A, no. 16 (photograph by author, courtesy of Michel Amandry.
Fig. 4. Bronze coin of Indo-Greek king Hermaios (ca. 90-70 BC). Obv.: Bearded bust of Zeus-Mithra. BAXTAEQX / LOTHPOX / EPMAIOY. Rev.: Horse prancing to right. Maharajasa/ tratarasalheramayasa. 21 x 20 mm; 8.36 g. Cabinet des Médailles. Bibliography: Bopearachchi 1991, series 9. A, no. 16 (photograph by author, courtesy of Michel Amandry.
Fig. 5. Silver tetradrachm of Indian standard of Indo-Greek king Hermaios (ca. 90-70 BC). Obv.: Diademed bust of king to right wearing crested helmet. BAXSTAEQX LQTH POX / EPMAIOY. Rev.: Zeus-Mithra enthroned and half turned left wearing Phrygian cap. Maharajasa tratarasal heramayasa. 26 mm; 8.59 g. Cabinet des Médailles. Bibliography: Bopearachchi 1991, series 4. B, no. 12 (photograph by author, courtesy of Michel Amandry).
Fig. 5. Silver tetradrachm of Indian standard of Indo-Greek king Hermaios (ca. 90-70 BC). Obv.: Diademed bust of king to right wearing crested helmet. BAXSTAEQX LQTH POX / EPMAIOY. Rev.: Zeus-Mithra enthroned and half turned left wearing Phrygian cap. Maharajasa tratarasal heramayasa. 26 mm; 8.59 g. Cabinet des Médailles. Bibliography: Bopearachchi 1991, series 4. B, no. 12 (photograph by author, courtesy of Michel Amandry).
Fig. 7. Surya riding in a chariot between his two wives and Indra riding on an elephant. Relief at Bhaja Vihara near Pune/Poona in the Western Ghats. Bibliography: Coomaraswamy 1927, 25, pl. VI, no. 24; Harle 1994, 49, fig. 32 (photograph by author, courtesy of the Archaeological Survey of India).
Fig. 7. Surya riding in a chariot between his two wives and Indra riding on an elephant. Relief at Bhaja Vihara near Pune/Poona in the Western Ghats. Bibliography: Coomaraswamy 1927, 25, pl. VI, no. 24; Harle 1994, 49, fig. 32 (photograph by author, courtesy of the Archaeological Survey of India).
Fig. 8. Sirya standing erect, holding a lotus blossom in each of his raised hands. Eastern porch ceiling of the Virtipaksa temple in Pattadakal. Bibliography: Kavali-Filliozat 2016, 120 —22; Michell 2014, 197-219 (photograph by author, courtesy of the Archaeological Survey of India).
Fig. 8. Sirya standing erect, holding a lotus blossom in each of his raised hands. Eastern porch ceiling of the Virtipaksa temple in Pattadakal. Bibliography: Kavali-Filliozat 2016, 120 —22; Michell 2014, 197-219 (photograph by author, courtesy of the Archaeological Survey of India).
Fig. 11. Silver tetradachm of Attic standard of Indo-Greek king Menander I (ca. 165-130 BC). Obv.: Diademed bust of king to right. Rev.: Athena Alkidemos standing to left holding a shield decorated with the Gorgon’s head, and wielding the thunder of her father Zeus. Legend in Greek: BAXIAEQY LOTHPOX / MENANAPOY. 32 mm; 17.07 g. Private collection, Germany. Bibliography: Bopearachchi 1991, series 11. B (photograph by author, courtesy of the collector).
Fig. 11. Silver tetradachm of Attic standard of Indo-Greek king Menander I (ca. 165-130 BC). Obv.: Diademed bust of king to right. Rev.: Athena Alkidemos standing to left holding a shield decorated with the Gorgon’s head, and wielding the thunder of her father Zeus. Legend in Greek: BAXIAEQY LOTHPOX / MENANAPOY. 32 mm; 17.07 g. Private collection, Germany. Bibliography: Bopearachchi 1991, series 11. B (photograph by author, courtesy of the collector).
Fig. 12. Toilet tray depicting Sun God holding a sceptre and a thunderbolt in a biga. Originally from Gandhara now in the Hirayama Ikuo Museum of Art. Bibliography: Tanbe 2008, 228, fig. VI-42 (photograph courtesy of the Ikuo Hirayama Foundation).
Fig. 12. Toilet tray depicting Sun God holding a sceptre and a thunderbolt in a biga. Originally from Gandhara now in the Hirayama Ikuo Museum of Art. Bibliography: Tanbe 2008, 228, fig. VI-42 (photograph courtesy of the Ikuo Hirayama Foundation).

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References (29)

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  2. Bernard, P., Pinault, G.-J. and Rougemont, G. 2004: 'Deux nouvelles inscriptions grecques de l'Asie Centrale'. Journal des Savants, 338-56.
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  5. -. 1991: Monnaies gréco-bactriennes et indo-grecques. Catalogue raisonné (Paris). -. 2008: 'Les premiers souverains kouchans: Chronologie et iconographie monétaire'. Journal des Savants, 3-56.
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FAQs

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AI

What illustrates the syncretic iconography between Greek Helios and Indian Sūrya?add

The study highlights toilet trays depicting Helios holding a sceptre alongside female figures, Uṣas and Pratyuṣas, signifying a merging of cultural iconographies from the 2nd-1st century BC.

How did the image of Helios assimilate Mithra in Kuṣāṇa context?add

During Kaniška I's reign (AD 127-150), Helios was depicted with similarities to Mithra, particularly through his representation on coins featuring the Bactrian legend Mirro, indicating cultural integration.

When did the fully developed iconography of Mithra first appear in Central Asia?add

The fully developed depiction of Mithra emerged in the 5th century AD, reflecting deeper integration of solar deities in the region's iconography.

What are the oldest depictions of Indian Sūrya found in South Asia?add

The oldest known representations of Sūrya date back to the Śuṅga period, particularly notable engravings at Bodhgayā and Bhājā Vihāra, emphasizing his role in dispelling darkness.

How did Indo-Greek artists influence the artistic expressions in Gandhāra?add

Indo-Greek sculptors effectively merged Greek and Indian elements in artworks, as seen in toilet trays, illustrating the syncretic cultural heritage prevalent in Gandhāra.

About the author
Osmund Bopearachchi
University of California, Berkeley, Faculty Member

I am a numismatist, art historian and archaeologist. I am the Emeritus Director of Research of the French National Centre for Scientific Research (C.N.R.S.-E.N.S. Paris), former Adjunct Professor of Central and South Asian Art, Archaeology, and Numismatics, University of California, Berkeley and former Visiting Professor and Member of the Doctoral School of the Paris-Sorbonne University. B.A. from the University of Kelaniya (Sri Lanka), and B.A. honours, M.A., M.Phil., Ph.D. from the Paris 1 Sorbonne University, and a Higher Doctorate (Habilitation) from the Paris 4 Sorbonne University.

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Abstract. Like many ancient cultures, in Hindu tradition too Sun is considered to be the most prominent divinity in the cosmos and has been part of invocation and festivities since the ancient past. While testing the hypothesis that the city plan of Varanasi has developed according to a cosmic order, it is observed that the temples and shrines related to Sun (Aditya) are placed in a meaningful spatially manifested pattern corresponding to the cosmic geometry and the movement of sun, the association of cosmic north and Kashi-North, and the celebrating seasonal festivities in a sequential order referring to solstices and equinoxes. Probably, this pattern had grown in pre-Brahmanical tradition, and later on superseded by the Shaiva tradition, however they are still part of active veneration and festivities. The nomenclature and iconographic features of all the fourteen Sun images in Varanasi further indicate the mythological links to belief systems and the inherent scientific meanings that were codified in the mystical tradition and continued as part of religious tradition. Keywords: cosmic order, equinox, mythology, sacred geometry, spatial pattern, solstice, sun images, zodiac.

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Morphology of Roman Iconography in Gandhara
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Herodotus said Circumstances rule men; men do not rule circumstances. We begin at the nearest source to recreate what it was at the outset in the multicultural Greco-Kushan Yavanarajya in South Asia straddling East and West, home to a fusion of Greco-Roman mystery cults and the Imperial cult of Rome. 1 The implications of syncretism under particular local circumstances appear in the ecclesiastical bust of a bearded man wreathed in grapevine holding a skyphos wine cup on a Taxila silver plate similar to other portrait sculptures in Gandhara resembling the bearded nude Lycurgus in ankle-length soft socks emerging from the coils of grapevine raising a Benediction Hand called Karana Mudra in Gandhara blending different cultural and religious traditions of West Asia (0.1-3). The mural painting in the Hypogeum commissioned by the Yarhai family in 108 CE depicts a bower of grapes in which Ḥairan in the sartorial elegance of a Roman Senator raised on a pedestal cradles his Benediction Hand in his himation to confirm protection offered by the apotropaic sign in the necropolis of Palmyra in Syria. 2 The Hypogeum of Ḥairan, discovered by Harald Ingholt between 1924 and 1925, is contemporary to the Maghera Well Inscription near Mathura, asserting the multicultural Greco-Kushan domain Yavanarajya in South Asia that for over 200 years flourished as a major player in the caravan trade and in maritime exchange via the Euphrates, the Red Sea, and the Indian Ocean. 3

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An Image of the Sun God with Planetary Deities from Belkash, Purba Bardhaman District
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The paper embodies the study of a Sūrya image recorded during my investigation in the district of Bardhaman, West Bengal, India. The sculpture was salvaged from the Damodar River six years back as informed by the villagers of Belkash, district of Purba [East] Bardhaman. The icon of the deity is presently enshrined and under active worship in one of the ruined terracotta temples of the village Belkash .

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(Master's Dissertation) Patterns of Hybridity and Culture Contact as seen in the Iconography of the Gandhara Palettes
Christos Nicolaou

In this dissertation, I investigate the relationships between Greek, Sanskrit, and local religious practices in the Gandhara region of Northwest India as expressed in a set of the so-called Gandharan palettes (also known as cosmetic or toilet trays, Falk, 2012, 89-92). I will specifically look at how different artistic and religious tropes were utilised in the palettes’ imagery, which traditions they drew from, and how the balance between said tropes changed over the timespan of the palettes’ use from the 2nd Century BCE to the 2nd Century CE. I will then use these insights to show how specifically these tropes were re-appropriated or mixed to create a truly local tradition. My main questions revolve around what the palettes were used for and how their iconography borrowed and re-interpreted tropes from other cultural spheres. I use these to understand how these tropes were mixed together to bring forth a new symbolic vocabulary.

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The Gods of the Directions in Ancient India: Origin and Early Development in Art and Literature (until c. 1000 A.D.)
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This is a slightly revised version of my doctoral thesis, in which I have attempted to assemble all the available evidence on the genesis and early development of the directional guardians in Indian culture (mainly Brahmanical / Hindu). The term "Ancient India" should not hide the fact that this group of minor deities continues to occupy an important place in Indic religious practices.

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