In Japan, Buddhist art started to develop as the country converted to Buddhism in 548 CE. Some tiles from the Asuka period, the first period following the conversion of the country to Buddhism, display a strikingly classical style, with ample Hellenistic dress and realistically-rendered body shape, characteristic of Greco-Buddhist art.
Other works of art incorporated a variety of Chinese and Korean influences, so that Japanese Buddhist art became extremely varied in its expression. Many elements of Greco-Buddhist art remain to this day however, such as the Heracles inspiration behind the Nio guardian deities in front of Japanese Buddhist temples, or representations of the Buddha reminiscent of Greek art such as the Buddha in Kamakura .
Various other Greco-Buddhist artistic influences can be found in the Japanese Buddhist pantheon, the most striking of which being that of the Japanese wind god Fujin.
In consistency with Greek iconography for the wind God Boreas, the Japanese wind god holds a draping or "wind bag" with his two hands, above his head, in the same general attitude. The abundance of hair has been kept in the Japanese rendering, as well as exaggerated facial features.
Another Buddhist deity, named Shukongoshin, one of the wrath-filled protector deities of Buddhist temples in Japan, is also an interesting case of transmission of the image of the famous Greek God Heracles to the Far-East along the Silk Road. Heracles was used in Greco-Buddhist art to represent Vajrapani, the protector of the Buddha, and his representation was then used in China and Japan to depict the protector gods of Buddhist temples .
Finally, the artistic inspiration from Greek floral scrolls is found quite literally in the decoration of Japanese roof tiles, one of the only remaining element of wooden architecture throughout centuries. The clearest ones are from 7th century Nara temple building tiles, some of them exactly depicting vines and grapes. These motifs have evolved towards more symbolic representations, but essentially remain to this day in many Japanese traditional buildings .
Other works of art incorporated a variety of Chinese and Korean influences, so that Japanese Buddhist art became extremely varied in its expression. Many elements of Greco-Buddhist art remain to this day however, such as the Heracles inspiration behind the Nio guardian deities in front of Japanese Buddhist temples, or representations of the Buddha reminiscent of Greek art such as the Buddha in Kamakura .
Various other Greco-Buddhist artistic influences can be found in the Japanese Buddhist pantheon, the most striking of which being that of the Japanese wind god Fujin.
Another Buddhist deity, named Shukongoshin, one of the wrath-filled protector deities of Buddhist temples in Japan, is also an interesting case of transmission of the image of the famous Greek God Heracles to the Far-East along the Silk Road. Heracles was used in Greco-Buddhist art to represent Vajrapani, the protector of the Buddha, and his representation was then used in China and Japan to depict the protector gods of Buddhist temples .
