Loukas Christopoulos was invited to Woosuk University in Korea, where he gave a lecture on Hellenism in China, within the framework of the Korean Society for Dunhuang and Silk Road Studies. The main topic of his speech was the story of King Xiutu.
Lucas Christopoulos has explored the intriguing possibility that Greco-Bactrian rulers, and in particular a figure identified with King Xiutu (Savior), may have transported Greco-Roman religious iconography – and specifically the figure of Zeus – to the Chinese region of Gansu during the 2nd century BC. His study links archaeological findings, ancient Chinese chronicles, and Greco-Bactrian traditions to argue that a golden statue of Zeus was once located in Gansu and that this deity influenced the development of the Chinese god of Heaven (Tian) and even the image of Buddha.
Christopoulos begins his analysis by examining historical texts, particularly the Book of the Khans, which describes how Emperor Wu of the Han Dynasty (Han Wudi) seized a “golden man” used for sacrifices to Heaven from a local king during his military campaigns in Gansu. This statue was later honored in the Ganquan Palace. Christopoulos identifies the local king with Xiutu, whose name he interprets as a Chinese transcription of the Greek title “Savior” – a characteristic title of Hellenistic kings.
The "golden man" is speculated to have been a statue of Zeus, possibly imported or inspired by those of Greco-Bactria. Christopoulos connects it with Dionysian rituals and Greco-Indian syncretistic worship, especially in the Bactrian regions, where Greek and local traditions merged. The statue may have had outstretched arms (in a pose similar to representations of Zeus or Buddha) and may have been used in sacrificial ceremonies.
To support this view, the author examines similarities between this statue and other Greco-Buddhist images found in Central Asia. He emphasizes the role of Greco-Bactrian elites and their eastward campaigns, arguing that Xiutu/Savior may have been such a figure who spread Hellenistic culture to China. He also notes that the use of golden statues of deities was common in Greek religion and that Chinese sources mentioning the use of the statue for sacrifices to Uranus fit with the worship of Zeus as the god of the sky and supreme deity.
Christopoulos also notes the similarities of the “golden Zeus” with later Buddhist iconography in China. He argues that this early image may have influenced the visual representation of the Buddha in the region, highlighting common features such as the standing posture, solar symbols, or the position on a throne or lotus. The combination of Greek and local religious traditions may have contributed to the development of the iconography of sacred figures in Chinese religious art.
In conclusion, this study suggests the existence of a significant – but often overlooked – Hellenistic presence in the early Chinese imperial territories. Through a combination of philological, linguistic and iconographic evidence, Christopoulos argues that Greco-Bactrian influences reached deeper into China than previously believed, leaving their mark on both material culture and religious thought. The golden statue of Zeus/Savior may constitute a crucial point of contact between Greek and Chinese cultures during the Han dynasty.
photos by author
