Greco-Buddhist art in the context of "Cruciform halo"

A halo (from Ancient Greek ἅλως, hálōs, 'threshing floor, disk'), also called a nimbus, aureole, glory or gloriole (Latin: gloriola, lit. 'little glory'), is a crown of light rays, circle or disk of light that surrounds a person in works of art. The halo occurs in the iconography of many religions to indicate holy or sacred figures, and has at various periods also been used in images of rulers and heroes. In the religious art of Ancient Greece, Ancient Rome, Christianity, Hinduism, and Buddhism (among other religions), sacred persons may be depicted with a halo in the form of a circular glow, or flames in Asian art, around the head or around the whole body—this last form is often called a mandorla.

Halos may be shown as almost any colour or combination of colours, but are most often depicted as golden, yellow or white (when representing light) or as red (when representing flames). The earliest artistic depictions of halos were probably in Ancient Egyptian art.

Parthian art was Iranian art made during the Parthian Empire from 247 BC to 224 AD, based in the Near East. It has a mixture of Persian and Hellenistic influences. For some time after the period of the Parthian Empire, art in its styles continued for some time. A typical feature of Parthian art is the frontality of the people shown. Even in narrative representations, the actors do not look at the object of their action, but at the viewer. These are features that anticipate the art of medieval Europe and Byzantium.

Parthian sites are often overlooked in excavations, thus the state of research knowledge in Parthian art is not complete. The excavations at Dura-Europos in the 20th century provided many new discoveries. The classical archaeologist and director of the excavations, Michael Rostovtzeff, realized that the art of the first centuries AD from Palmyra, Dura Europos, and also in Iran as far as the Greco-Buddhist art of north India followed the same principles. He called this art style Parthian art.

Abhijñā (Sanskrit: अभिज्ञा; Pali pronunciation: abhiññā; Standard Tibetan: མངོན་ཤེས mngon shes; Chinese: 六通／神通／六神通; pinyin: Liùtōng/Shéntōng/Liùshéntōng; Japanese: 六神通, romanized: Rokujinzū/Rokujintsū) is a Buddhist term generally translated as "direct knowledge", "higher knowledge" or "supernormal knowledge." In Buddhism, such special knowledge is obtained through virtuous living and meditation. The attainment of the four jhanas, or meditative absorptions, is considered a prerequisite for their attainment. In terms of specifically enumerated knowledges, these include mundane extra-sensory abilities (such as seeing past lives and various supranormal powers like levitation) as well as the supramundane, meaning the extinction of all mental intoxicants (āsava).

The Standing Buddha of the Tokyo National Museum is an example of Greco-Buddhist statuary. Comparable ones can be found in the Guimet Museum in France, and in the National Museum, New Delhi besides various other museums of South Asia. The statue is dated by the museum to the 1st or 2nd century AD.

Maitreya (Sanskrit) or Metteyya (Pali) is a bodhisattva who is regarded as the future Buddha of this world in all schools of Buddhism, prophesied to become Maitreya Buddha or Metteyya Buddha. In some Buddhist literature, such as the Amitabha Sutra and the Lotus Sutra, he is also referred to as Ajitā (Invincible, Unconquerable). In Tibetan Buddhism he is known as the "Lord of Love" or the "Noble Loving One" (Pakpa Jampa). The root of his name is the Sanskrit word maitrī (Pali: metta; meaning friendliness, loving-kindness). The name Maitreya is also related to the Indo-Iranian name Mitra. In Hinduism, Maitreya is prophesied to be the king of Shambala, which is also the birthplace of the Kalki Avatar.

In all branches of Buddhism, Maitreya is viewed as the direct successor of Gautama Buddha. As the fifth and final Buddha of the current kalpa (eon), Maitreya's teachings will be focused around re-establishing the Buddha's Dharma on Earth. According to scriptures, Maitreya's teachings will be similar to those of Gautama (Shakyamuni). The arrival of Maitreya is prophesied to occur during an era of decline when the teachings of Gautama Buddha have been disregarded or obliviated.

Greco-Buddhism or Graeco-Buddhism was Buddhism within the Hellenistic period of South and Central Asia, resulting in Greek cultural syncretism developing between the 4th century BC and the 5th century AD in Gandhara, which is located 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.

Cultural interactions between ancient Greece and Buddhism date back to Greek forays into the Indian subcontinent from the time of Alexander the Great. A few years after Alexander's death, the Easternmost parts of the empire of his general Seleucus were lost in a war to the Mauryan Empire, under Chandragupta Maurya. The Mauryan Emperor Ashoka converted to Buddhism and helped spread the religion throughout his domain, as recorded in the Edicts of Ashoka. Thus resulting in Buddhism reaching the Greco-Bactrian kingdom, a successor of the Seleucid Empire.

Gupta art is the art of the Gupta Empire, which ruled most of northern India, with its peak between about 300 and 480 CE, surviving in much reduced form until c. 550. The Gupta period is generally regarded as a classic peak and golden age of North Indian art for all the major religious groups. Gupta art is characterized by its "Classical decorum", in contrast to the subsequent Indian medieval art, which "subordinated the figure to the larger religious purpose".

Although painting was evidently widespread, the surviving works are almost all religious sculpture. The period saw the emergence of the iconic carved stone deity in Hindu art, while the production of the Buddha-figure and Jain tirthankara figures continued to expand, the latter often on a very large scale. The traditional main centre of sculpture was Mathura, which continued to flourish, with the art of Gandhara, the centre of Greco-Buddhist art just beyond the northern border of Gupta territory, continuing to exert influence. Other centres emerged during the period, especially at Sarnath. Both Mathura and Sarnath exported sculpture to other parts of northern India.

The Tokyo National Museum (東京国立博物館, Tōkyō Kokuritsu Hakubutsukan) or TNM is an art museum in Ueno Park in the Taitō ward of Tokyo, Japan. It is one of the four museums operated by the National Institutes for Cultural Heritage [ja], is considered the oldest national museum and the largest art museum in Japan. The museum collects, preserves, and displays a comprehensive collection of artwork and cultural objects from Asia, with a focus on ancient and medieval Japanese art and Asian art along the Silk Road. There is also a large collection of Greco-Buddhist art. As of April 2023, the museum held approximately 120,000 Cultural Properties, including 89 National Treasures, 319 Horyuji Treasures, and 649 Important Cultural Properties. As of the same date, the Japanese government had designated 902 works of art and crafts as National Treasures and 10,820 works of art and crafts as Important Cultural Properties, so the museum holds about 10% of the works of art and crafts designated as National Treasures and 6% of those designated as Important Cultural Properties.The museum also holds 2,651 cultural properties deposited by individuals and organisations, of which 54 are National Treasures and 262 are Important Cultural Properties. Of these, 3,000 cultural properties are on display at one time, with each changing for between four and eight weeks. The museum also conducts research and organizes educational events related to its collection.

The facilities consist of the Honkan, holding the Japanese Gallery; the Heiseikan and Hyokeikan, holding special exhibitions; the Toyokan, holding the Asian Gallery; the Gallery of Horyuji Treasures, holding important relics originally preserved at Nara's Horyu Temple; the Kuroda Memorial Hall, holding a collection of works by Kuroda Seiki; and the Research and Information Center. There are restaurants and shops within the museum's premises, as well as outdoor exhibitions (including the Kuromon) and a garden where visitors can enjoy seasonal views.