Gandharan art, the Buddha is often shown under the protection of the Greek god Herakles, standing with his club (and later a diamond rod) resting over his arm. This unusual representation of Herakles is the same as the one on the back of Demetrius' coins, and it is exclusively associated to him (and his son Euthydemus II), seen only on the back of his coins. Soon, the figure of the Buddha was incorporated within architectural designs, such as Corinthian pillars and friezes. Scenes of the life of the Buddha are typically depicted in a Greek architectural environment, with protagonist wearing Greek clothes. Gods and Bodhisattvas Deities from the Greek mythological pantheon also tend to be incorporated in Buddhist representations, displaying a strong syncretism. In particular, Herakles (of the type of the Demetrius coins, with club resting on the arm) has been used abundantly as the representation of Vajrapani, the protector of the Buddha. Other Greek deities abundantly used in Greco-Buddhist art are representation of Atlas, and the Greek wind god Boreas. Atlas in particular tends to be involved as a sustaining elements in Buddhist architectural elements. Boreas became the Japanese wind god Fujin through the Greco-Buddhist Wardo/Oado and Chinese Feng Bo/Feng Po ("Uncle Wind"; among various other names). The mother deity Hariti was inspired by Tyche. Particularly under the Kushans, there are also numerous representations of richly adorned, princely Bodhisattvas all in a very realistic Greco-Buddhist style. The Bodhisattvas, characteristic of the Mahayana form of Buddhism, are represented under the traits of Kushan princes, completed with their canonical accessories. Cupids Winged cupids are another popular motif in Greco-Buddhist art. They usually fly in pair, holding a wreath, the Greek symbol of victory and kingship, over the Buddha. These figures, also known as "apsarases" were extensively adopted in Buddhist art, especially throughout East Asia, in forms derivative to the Greco-Buddhist representation. The progressive evolution of the style can be seen in the art of Qizil and Dunhuang. It is unclear however if the concept of the flying cupids was brought to India from the West, of if it had an independent Indian origin, although Boardman considers it a Classical contribution: "Another Classical motif we found in India is the pair of hovering winged figures, generally called apsaras." (Boardman) Scenes of cupids holding rich garlands, sometimes adorned with fruits, is another very popular Gandharan motif, directly inspired from Greek art. It is