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   Schist relief of Heracles in the guise of Vajrapāni
Schist relief of Heracles in the guise of VajrapāniLarger image
Schist relief of Heracles in the guise of Vajrapāni
Schist relief of Heracles in the guise of Vajrapāni
Schist relief of Heracles in the guise of Vajrapāni
Schist relief of Heracles in the guise of Vajrapāni
Schist relief of Heracles in the guise of Vajrapāni
  Larger image
© 2006 The British Museum

AD 100-400
From Pakistan

This is a fragment of a larger sculpture which would have illustrated a scene from the life of the Buddha. The surviving portion shows clean-shaven Buddhist monks and Vajrapāni – the Bodhisattva with a vajra or thunderbolt. The figure of the Bodhisattva was inspired by classical images of Heracles and retains the skin of the Nemean lion over his head.

Height: 610 mm; Width: 260 mm
The British Museum Asia OA 1970,0718. 1
Religion and the Royal Cult of Oesho
Religion and the Royal Cult of Oesho
Heracles in Asia
Heracles in Asia
Coins and kingship
Coins and kingship
Buddhism under Kushān rule
Buddhism under Kushān rule

The Buddha in symbols
The Buddha in symbols
The origin of the Buddha image
The origin of the Buddha image
Heracles in Asia

Heracles was one of the ‘heroes’ of Greek mythology – men who were half human and half god. His image first appears in Asia on the coins of Alexander the Great (reigned 336-323 BC). Both Heracles and Alexander were thought to have attained immortality through their achievements. As the son of Zeus, Heracles was semi-divine and enjoyed a cult-following. Small metal sculptures and seals with his image were imported into Asia until the 2nd century AD. On these objects, Heracles is normally shown holding a club with the skin of the Nemean lion over his arm or head. The slaying of the lion of Nemea was the first of the ‘Twelve Labours of Heracles’ – a series of tasks which required great physical strength and mental discipline.

In the Buddhist world, Heracles was used as a model for Vajrapāni – the Bodhisattva (individuals who defer final Enlightenment so as to dedicate their lives to the welfare of all beings) who holds a vajra or thunderbolt in his hand. This translated the war-like qualities of Heracles into the spiritual realm, his heroism being directed toward the defeat of passion and ignorance. This adaptation of Heracles shows that religious imagery frequently changed in meaning before it changed in appearance, a phenomenon found in the early Christian iconography of this period.

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© 2005 The British Museum