Archaeological and Cultural History of Nimogram a Case Study of Buddhist Site in the Swat Valley

ARCHAEOLOGICAL AND CULTURAL HISTORY OF NIMOGRAM A CASE STUDY OF BUDDHIST SITE IN THE SWAT VALLEY

SADEED ARIF

DEPARTMENT OF ARCHAEOLOGY UNIVERSITY OF PESHAWAR 2014

ARCHAEOLOGICAL AND CULTURAL HISTORY OF NIMOGRAM A CASE STUDY OF BUDDHIST SITE IN THE SWAT VALLEY

Dissertation submitted to the Department of Archaeology, University of Peshawar, in partial fulfillment of the requirements for the award of the degree of

Doctor of Philosophy

Approved by:

1. 2. Muhammad Farooq Swati, PhD Meritorious Professor, Department of Archaeology, Supervisor University of Peshawar 3.

Internal Examiner

External Examiner

DEPARTMENT OF ARCHAEOLOGY UNIVERSITY OF PESHAWAR 2014 i

CONTENTS

List of Maps ...... iii List of Plates ...... iv Abbreviations ...... viii Acknowledgements ...... ix Abstract ...... x Maps ...... xii

CHAPTER 1 1. Introduction ...... 1 1.1. Geography of the Swat Valley ...... 2 1.2. Archaeological History of the Swat Valley ...... 3 1.3. History of Archaeological Research in Swat Valley ...... 5 1.4. Subject matter of Nimogram ...... 6

CHAPTER 2 2. Buddhist Art and its origin and development in the Swat Valley...... 8

CHAPTER 3 3. Catalogue of selected sculptures ...... 15

CHAPTER 4 4. Foreign influences on the sculptures of Nimogram ...... 75 4.1. Greek and Roman influce...... 80 4.2. Saka Parthian Influence...... 82 4.3. Kushana Influence ...... 82 4.4. The Kushano Sassanian Influence ...... 83

CHAPTER 5 5. Analysis and Conclusion...... 84 5.1. Descriptive Analysis of the selected sculptures of Nimogram ...... 86 5.2. Jātaka ...... 86 5.3. Life story of Buddha ...... 86 5.3.1. Interpretation of the Dream ...... 86 5.3.2. Birth of Siddhartha and the first seven steps ...... 86 5.3.3. First Bath of the Child ...... 87 5.3.4. Siddhārtha's Horoscope ...... 87 ii

5.3.5. Siddhartha to learns and write ...... 87 5.3.6. Life in Palace ...... 88 5.3.7. Return of Chandaka ...... 88 5.3.8. Great Departure ...... 88 5.3.9. Taming the elephant ...... 88 5.3.10. Conversion of Nanda ...... 89 5.3.11. The First Meditation ...... 89 5.3.12. Worship of Triratna ...... 89 5.3.13. Maitreya in Tushita Heaven ...... 89 5.3.14. Gods Entreats the Buddha to Preach ...... 90 5.3.15. First sermon ...... 90 5.3.16. Bhūmisparśamudrā ...... 90 5.3.17. White dog barked at the Buddha ...... 90 5.3.18. Buddha and Ascetics ...... 91 5.3.19. Presenting the Serpent to Kāśyapa ...... 91 5.3.20. Siddhārtha Exchanging Clothes with a Hunter ...... 91 5.4. Individual Images of Buddha ...... 91 5.5. Individual Images of Bodhisattvas ...... 91 5.6. Secular Scenes ...... 92 5.7. Architectural Elements ...... 92 5.7.1. Stupa Pegs ...... 93 5.7.2. Corinthian Capital ...... 93 5.7.3. Corinthian Pilaster ...... 93 5.7.4. Door Jamb ...... 93 5.8. Garland Bearer ...... 94 5.9. Model stūpa ...... 94 5.10. Pedestal ...... 94 5.11. Description of the Coins...... 94 Conclusion ...... 96 Bibliographic References ...... 98 Plates ...... 108

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LIST OF MAPS

Map 1: Location map of the Swat Valley ...... xii

Map 2: Location map of Nimogram in the Swat Valley ...... xiii

Map3: Ancient Gandhara and Uddiyana ...... xiv

LIST OF PLATES

Pl.1: Base of a model stupa Pl.27: A drum of the of model Stupa with Pl.2: The Buddha in dhyanamudra human figures Pl.3: Standing figures under arches Pl.28: Remains of Four human figure Pl.4: Standing Buddha and Bodhisattva Pl.29: Two standing male figures figures Pl.30: Defaced human figures Pl.5: Sakara and Panchaskha visit the Pl.31: Nude standing figure Buddha Pl.32: The Buddha with a devotee Pl.6: Two standing figures Pl.33: Corinthian column Pl.7: The Buddha in Abhayamudra Pl.34: Triton Pl.8: Standing human figures Pl.35: The first bath of the boddhisattva Pl.9: The Buddha and devotees Pl.36: Defaced figures under arches Pl.10: Human figures in compartments Pl.37: Male standing figure in Pl.11: seated figures with attendants anjalimudra Pl.12: Buddha in dyanamudra Pl.38: Standing devotees figures Pl.13: Standing figures under arches Pl.39: Defaced Buddha and devotees Pl.14: The Buddha and vajrapani figures Pl.40: The Buddha along with Indra and Pl.15: Four Standing figures of the Brahma Buddha Pl.41: The Buddha in dyanamudra Pl.16: A parade led by horses Pl.42: Lower half of a standing figure Pl.17: Horoscope of Siddhartha Pl.43: The Buddha visits a Brahman and Pl.18: Interpretation of Siddhartha’s an ascetic horoscope Pl.44: two compartments each with four Pl.19: A relief panel with human figures standing Buddhas Pl.20: standing male figure holding a Pl.45: The Buddha in dhyanamudra bowl Pl.46: Fragment showing an elephant Pl.21: Remains of an attendents and rider princely figures Pl.47: Standing figures under the arches Pl.22: Buddha, Vajrapani devotee and Pl.48: Standing amorini under arches ascetic Pl.49: Base of a model stupa showing the Pl.23: The Buddha and Vajrapani figure Buddha in dhyanamudra flanked Pl.24: Defaced figures under arch by devotees Pl.25: Remains of three standing human Pl.50: Fragment of a relief panel showing figures the Buddha seated flanked by Pl.26: A kneeling figure and bust of the devotees man Pl.51: A relief panel showing the the Buddha seated flanked by devotees v

Pl.52: The Buddha in dhyanamudra Pl.85: Buddha in dhyanamudra flanked by kneeling devotees Pl.86: Buddha in dhyanamudra under Pl.53: Fragment of relief panel showing arch defaced human figures Pl.87: Prince shooting arrow Pl.54: Defaced figures under arch Pl.88: Two standing figures Pl.55: Turbaned figures Pl.89: Ascetic sitting in hut Pl.56: Atlas figure Pl.90: The great departure Pl.57: Two standing figures Pl.91: First bath of the bodhsattva Pl.58: Row of Figures Pl.92: Seated Buddha in dhyanamudra Pl.59: Rows of three rounded arches Pl.93: Foots of the standing figure Pl.60: Standing figure under arch Pl.94: Two figures holding somthing Pl.61: Standing figures under arch Pl.95: Buddha in dhayanamudra Pl.62: Female figure under arch Pl.96: Bust of the female with acanthus Pl.63: Standing figure under arch Pl.97: Eight human figures Pl.64: Standing female. Pl.98: Kneeling elephant Pl.65: Siddhartha learning and writing Pl.99: Buddha and vajrapani Pl.66: Siddhartha at School Pl.100: Standing Buddha figure Pl.67: figures in standing position Pl.101: Buddha in abayamudra Pl.68: Palace life Pl.102: Two female figures Pl.69: Faewell of Chandaka and Pl.103: Garland bearers Kanthaka Pl.104: Flying human figures Pl.70: Rows of figures under rounded Pl.105: Buddha in dhayanamudra arches Pl.106: Female figure under arch Pl.71: Standing human figure Pl.107: Group of figures Pl.72: Four standing figures Pl.108: Taming of elephant Pl.73: Circular pedestal Pl.109: Two standing male figures Pl.74: Drinking scene Pl.110: Figures of males Pl.75: Presentation of Serpent to Kasyapa Pl.111: Figure in anjalimudra Pl.76: Buddha under arch Pl.112: Standing male figures Pl.77: Standing amorini Pl.113: Buddha in abayamudra Pl.78: Standing figure holding cloth Pl.114: Nude figure holding akimbo Pl.79: Buddha in dhayanamudra Pl.115: Male figure with long shoes Pl.80: Standing male figure Pl.116: Buddha in abayamudra Pl.81: Ascetic holding object Pl.117: Buddha in abayamudra Pl.82: Human figure between acanthus Pl.118: Ascetic in front of hut Pl.83: Circular pedestal Pl.119: Standing Maitreya Pl.84: Seated Buddha crossed leg Pl.120: two standing figures vi

Pl.121: Budhha and devotees Pl.157: Standing male figures Pl.122: Buddha seated under a tree Pl.158: Ascetic near hut Pl.123: Two male figures holding Pl.159: Ascetic near hut something Pl.160: Maitreya in Tushita Heaven Pl.124: Great Departure Pl.161: Male and female figure Pl.125: Seated Buddha Pl.162: Haloed Buddha in abayamudra Pl.126: City godass Pl.163: Birth of Siddhartha Pl.127: Standing male figure Pl.164: Standing amorini under arch Pl. 128: Bracket having male figure Pl.165: Birth of Siddhartha Pl.129: Seated figure Pl.166: Standing Boddhisattva Pl.130: Standing Buddha in abayamudra Pl. 167: Birth of Siddhartha PI.131: First seven steps Pl. 168: Standing Harithi Pl.132: Buddha in dhyanamudra Pl.169: First Serman Pl.133: Buddha in dhayanamudra Pl.170: A friez showing busts of figures Pl. 134: Buddha in dhayanamudra Pl.171: Seated human figure Pl.135: First Meditation Pl.172: Siddhhartha at school Pl.136: Buddha and devotees Pl.173: Love scene Pl.137: Circular pedestlal having Buddha Pl.174: Standing Buddha Pl. 138: Figure of Yaksha Pl.175: Turbaned human figure Pl.139: Head of Buddha Pl.176: Buddha in abayamudra Pl. 140: Figure of city godass Pl.177: Buddha in dhyanamudra Pl.141: Buddha holding bowl Pl.178: Buddha in abayamudra and Pl.142: Male rider devotees Pl.143: Figure of female Pl.179: Standing figure in anjalimudra Pl.144: Kneeling figures under arch Pl. 180: Buddha in dhyanamudra Pl.145: Wheel and triratna Pl.181: Seated Buddha and devotees Pl.146: Haloed Buddha Pl.182: Decorative cornice Plece Pl.147: Visit of Indra and Panchasikha Pl.183: Circular Pedestal Pl.148: Standing Buddha Pl.184: Three seated Buddhas in Pl.149: Head of Buddha dhayanamudra Pl.150: Human figure Pl.185: Buddha in dhayanamudra Pl.151: Head of human figure Pl.186: Offering of Bowls to Buddha Pl.152: Buddha in abayamudra Pl.187: Female heads Pl.153: Buddha in abayamudra Pl.188: Great Departure Pl.154: Standing Buddha Pl.189: Buddha with dog Pl.155: Buddha in abayamudra Pl.190: Torso of two figures Pl.156: Standing human figures Pl.191: Buddha and Vajrapani vii

Pl.192: Pair of torso Pl.219: Standing figures holding offering Pl.193: Naked standing figure Pl.220: Seated figure under arch Pl.194: Two standing human figures Pl.221: Figure of male female Pl.195: Standing boddhisattva Pl.222: Flying amorinis Pl.196: Human figures holding torso Pl.223: Seated Buddha Pl.197: False bracket having seated figure Pl.224: Buddha in abayamudra Pl.198: Standing female figure Pl.225: Buddha in Magada Cave Pl.199: Seated Buddha and Indra and Pl.226: Boddhisattva in abayamudra Brahma Pl.227: Buddha head Pl.200: Atlas figure Pl.228: Buddha in abayamudra holding Pl.201: Male figure under arch bowl Pl.202: Buddha in abayamudra Pl.229: Buddha in abayamudrapose Pl.203: Kneeling figure in anjalimudra Pl.230: Buddha in abyayamudra Pl.204: Buddha and vajrapani Pl.231: Boddhisattva and attendents Pl.205: Standing human figure under arch Pl.232: Buddha presenting serpent to Pl.206: Seated Buddha in dhayanamudra Kasyapa Pl.207: Bhumisparsa mudra Pl.233: Winged Atlas Pl.208: Two standing figure holding cloth Pl.234: Animal with rider Pl.209: Harithi with child Pl.235: Siddhartha exchange cloth Pl.210: flying amorinis Pl.236: Figure of Yaksh Pl.211: Standing Male figure PI.237: General View of the Site Pl.212: Figure of Atlas PI.238: Main stupa having stairs and votive stupas Pl.213: Circular Pedestal PI.239: General view of main stupa and Pl.214: Buddha in dhayanamudra votive stupas Pl.215: Standing Boddhisattva PI.240: General view of monastery Pl.216: Buddha in dhyanamudra

Pl.217: Buddha in abayamudra Pl.218: Two standing figures holding offerings

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Abbrevations

ANP Antiquities of Northern Pakistan AP Ancient Pakistan ARG Archaeological Reconnaissance in Gandhara ASI Archaeological Survey of India ASIR Archaeological Survey of India Report ASR Archaeological Survey Report CII Corpus of Inscriptionum Indicarum EI Epigraphia Indica EW East and West IAM Italian Archaeological Mission IGI Imperial Gazetteer of India IsIAO Instituto Italiano Per, L, Africa E L, oriente IsMEO Instituto Italiano Per II Medio ed Estremo Oriente JAC Journal of Asian Civilizations JCA Journal of Central Asia JPAF Journal of Pakistan Archaeological Fourm JPHS Journal of Pakistan Historical Society JSSH Journal of Social Sciences and Humanities LMB Lahore Museum Bulletin MASI Memories of Archaeological Survey of India NCCR National Center of Competence in Reserch n. d. No date PA Pakistan Archaeology PJHC Pakistan Journal of Histry and Culture Pl. Plate SAS South Asian Studies SAA South Asian Archaeology QAU Quaid-i-Azam University TIAC Taxila Institute of Asian Civilizations UoP University of Peshawar

ACKNOWLEDGEMENTS

The current research work would not be possible without the moral support and intectual supervision of Prof. Dr. Muhammad Farooq Swati. I am also grateful to Prof. A.H Dani for his guidance on the Buddhist Art of Gandhara. I am also idebeted to Prof. Fareed Khan, Dr. M. Ashraf Khan and Abdul Gafoor Lone for assistance of data of Buddhist art of Swat Valley. I thank Dr. Fazal Dad Kakar for granting me permission to study the cultural material of Nimogram.

I am also thankful to Luca Maria Olieveri for his keen cooperation to study the culture materials excavated by the Italian mission in the camp office at SiaduShrif Swat.

I also appreciate help given to me in various ways by the following at the Institute of Archaeology and Anthropology University of Peshawar, Dr. Taj Ali, Dr. M. Naseem Khan, Dr. Gul Rahim, Dr. Mukhtar Durrani, Dr. Zakirullah Jan, Ibrim Shah, Qazi Naeem, Zarawar Khan Naeem Bacha, Asim Amin, Asad Ali and Gulzar Khan.

I can not ignore the help of my colleagues at TIAC Dr. Ghani-ur-Rahman, Rafiullah Khan and my student Muhammad Ibrahim.

I would like to be very thankful to Dr. Badshah Sardar of AIOU Islamabad, who always was cooperative and helpful.

In the last I will mentiond the positive attitude of my family members Dr. Amjad Zaman, Sajid Ahmad my wife Sadia and my minor kid Zaidan Khan, they always support my study and research activities.

ABSTRACT

The current research is focused on an important cultural material, exclusively sculptures, excavated from the Buddhist site of Nimogram in Swat. The antiquities discovered from this site in the late sixties, now lying in the Swat Museum, have not been studied in depth. Only a preliminary report was published by the Department of Archaeology and Museums, Government of Pakistan in 1968 (Pakistan Archaeology 1968: 116). As such, we decided to study these unique pieces of sculpture, which remained hidden from the scholarly world for about five decades. We have made an effort here to trace the history of the collection, classify it on the basis of style, analyze it for the subject matter, kind of material and workout its chronology by correlating it to the already established sequence of the Swat Valley. The main objective of the current research is to examine and evaluate the study material for its religious, cultural, historical and artistic importance, overlooked so far. Where there was necessary, we have also traced foreign cultural influences on the collection and have carried out its comparative study for the establishment of chronology.

The chronology is established on the basis of style, which indicates that the earliest sculptures were produced during the Saka-Parthian period. The artistic activities reached to the climax in the Kushan time. The height of figures of this site, generally, is rather more than those from other Buddhist sites of the valley. The cultural material also shows that the site was intact up to the Kushano-Sasanian period, i.e., circa early fourth century CE. The reliefs from Nimogram throw a floodlight on the cultural life of the ancient people, for example, skilfully depicted costumes from the princely class to the poor, furnished houses, weapons, sport objects, armour, ornaments, elephant and horse saddles, carts and carriages, horses, yokes, tools, agricultural implements, cult objects, musical instruments, etc. People are portrayed at work: playing, worshiping, and engaged in acts of devotion, marriage, donation, and all sorts of activities. As well as the musicians, ascetics and wrestlers depicted there in not only display the cultural diversity of ancient Uddiyana, but, also, suggest a base for the genesis of folk tales of the Swat Valley.

To sum up our research, the dissertation is divided in five chapters. The first chapter discusses geography, cultural history and an account of archaeological investigation in the Swat Valley. The second chapter deals with origin and development xi of the Buddhist Art in the valley. Activities of the Italian Archaeological Mission and major archaeological sites in chronological sequence are also discussed here, in addition to major rock carvings and inscriptions. The third chapter comprises catalogue of the selected sculptures that is prepared with the help of consulting primary and secondary sources. The Buddhist art of the valley was continually enriched by foreign cultural influences at different periods of time. Such elements in the cultural material of Nimogram are traced in depth in chapter four. Chapter five deals with the descriptive and analytical analyses of the selected sculptures, which illustrate almost all major events related to the life of the Buddha. The style of the sculptures shows that all the figures are carved with great care, keeping the socio-cultural environment of the area in view. The artist has tried to display natural mobility of the figures. Architectural members, either carved individually or shown in relief panels, indicate contemporary building tradition of the valley. The figures and decorative elements chiselled on the architectural members of the main and votive stupas as well as those of the monastery are also given due attention in the present study.

xii

Location map of Swat Valley. (Google, 2014) (Google, Valley. Swat map of Location

Map 1: Map 1:

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Location mapof Nimogram Swat (Asia society,2014)

Map 2:

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Map 3: Ancient Gandhara and Uddiyana

CHAPTER 1

INTRODUCTION

The Swat Valley is situated at the foothills of the Himalayan range in Malakand Division in the Khyber Pakhtunkhwa Province of Pakistan. It is located 257 kilometers to the north-west of Islamabad capital territory and 176 km to the north-east of Peshawar, the provincial capital. Its main stream the River Swat (ancient Suvastu) rises in the Hindu Kush range from where it flows down across the valley in the south and south west. The capital of District Swat is Saidu Sharif, while Mingora is the main town and commercial center. It was a small vassal princely state, until it was included in present Pakistan in 1969 (Rome, Sultan 2008: 10).

Buddhism prevailed in the Swat Valley over a millennium after its introduction over there in the 3rd century BCE at least (Smith & Spear 1985:97-98). It was an attractive place for foreign invaders and holy place for religious activities. The interest shown by the Chinese and Korean pilgrims in social, cultural and religious life which they have described along with landsape of the area stands prominent. Various Korean and Chinese pilgrims visited the snowy mountains, the Pamir and Hindukush chains to reach Swat (Tucci 1958: 279). It is important to note that Swat was one of the numerous Valleys of Uḍḍīyāna an ancient province. Fa-Hian, a Chinese pilgrim who visited Swat in the 5th century BCE, recorded 500 Buddhist monasteries an here, all belonging to the Hinayana cult (Legge 1886:28). In the 7th Century BCE another Chinese travellor Hieun Tsang recorded 1400 Buddhist monasteries with 18000 buddist priests in the Swat Valley (Beal 1969:120). Sung Yun, visited the Uḍḍīyāna in 519 CE to seek religious books. He used the same route as by Fa-Hian and recorded that stupas and monasteries were still intact having three hundreds monks in one of the monastery Talo he recorded 6000 gold images. Talo is identified the Buddhist ruins of Butkara-I (Stein 1929: 14; Tucci 1958: 279).

In ancient Tibetan literature the Swat Valley is represented as Orgyan or Urgyan, which had always been a holy place of the Tibetans because it has was the birth place of Padmasambhava, the second Buddha and the real founder of Tibetan Buddhism (Tucci 1958: 279). Hundreds of stupas were constructed and beatified with Buddhist sculptures out of the religious zeal through the centuries. Due to its significant geographical 2 location, it had important strategic links with the centuries old caravan routes which facilitate commercial as well as cultural links between ancient China and the West.

1.1.Geography of the Swat Valley The Northern part of Pakistan played a very important role in ancient times. It is a land of flowers and snow-covered mountains. In the first millennium CE, when trade between the civilizations of Asia flourished and the Silk routes were important avenues of commerce, this region gave birth to different arts. It was the of Buddhist civilization and center of cultural diffusion. This region on the right of the Indus was occupied by two ancient states namely Gandhara and Uḍḍīyāna. The former included the present Peshawar Valley, while the later covered almost the entire Malakand Division.Swat was one of the many valleys in ancient Uḍḍīyāna.

Topographically, Swat is mostly a mountainous area which is divided into two different parts called, Swat-Kohistan and Swat proper. Swat- Kohistan mainly mountaneous part is located in the northe while Swat proper comprises southern part of the Swat District. Adminstratively, Swat proper is further divided into bar (upper) and kuz (lower) (Rome, Sultan 2008: 15). Bar Swat has narrow river flowing through narrow villeges or gorges the cliffs of which are covered by pine forests. The kuz Swat extends from the Landakai region, a few kilometers above the junction of the Swat and Panjkora rivers, down to Kalangai in the south-west. Kuz Swat is wide and the fields on both sides of the river are full of wheat paddy fields and wild plants. The villages here are prosperous and surrounded by fruit orchards. H W Bellew gave different view of this division.

“The Swat valley is divided into three local districts, viz., Ranizai, Kuz Swat and Bar Swat” (Bellew, 1977: 40).

The Swat Valley lies between 34° 10′ to 35° 52′ north latitudes and 72° 06′ to 73° 20′ east longitudes in Khyber Pakhtunkhwa former North Wast Frontier Province of Pakistan (Ali & Khan, 1991: 97) (see Map 1). Districts Ghizer and Chitral are situated to the north of the Swat Valley, District Dir to the west, District Kohistan and Shangla to the east side, while provincially administered Malakand area and District Buner share their boundary with it in the south. The elevation of the Swat Valley above the sea level is not uniform, it starts from 2000 feet at the junction of the the both Swat and Panjkora rivers and suddenly rises in the north where height rof the peaks range from 15,000 to 22,000 3 feet (Distirct Census Report 1998:1).” In the Swat District, there are numerous picturesque spots in the valley; the valleys are lush green with thickly forested mountains, some of them permanently under snow.

Swat is generously favoured by nature. Its fascinating landscapes, snow-covered mountains, fruit-laden orchards and attractive tourist destinations are some of the God gifted bounties of this fertile land.

1.2. Archaeological History of the Swat Valley The Swat Valley occupies a unique position in geographical, political, social, religious and cultural history of Pakistan. It commands important strategic position and communication through one of the main highways that connected Tibet and China in the east with Central Asia, Greece and Rome in the west. The sixty year of archaeological research has pushed the sequence of human settlement in Swat back to 5000 years (Stacul 1987:115).

The Neolithic period spaning from the 2nd half of the 3rd millennium BCE in the Swat Valley is subsequently evoleved into culture of the Indus Valley, Taxila, Kashmir and also Southern China (Stacul 1987:33, 1976:239). Dated to the beginning of 2ndmillennium BCE, various settlement sites associated with extensive cemeteries, such as Leobanr-I and III, Birkot Ghundai, Aligrama, Gogdara, and Kalako Dheri have been scientifically excavated (Stacul 1977:98, 1980:55-66, 1995:98; Stacul & Tusa 1975:151). This proto-historic and the Gandhara Grave Cultures of the Valley are dated to 2970 and 1800 BCE respectively. Likewise, Iron Age cemeteries are widely scattered throughout Dir and adjoining areas of Bajaur, Chitral, Peshawar and Taxila in Pakistan (Stacul 1966: 25). Similar grave culture is found in northern part of Afghanistan, Iran and Turkmenistan (Dani 1978: 42-56).

Alexander conquered Swat in 327 BCE. The local chiefs of Uḍḍīyāna (present Malakand Division) generally may have remained subordinate to the neighboring major powers Iranian, Bactrian, Greek, Scytho-Parthian, Kushan, and Hindu Shahis respectively, followed by the invasion of Sultan Mehmud of Ghazni at the dawn of 11 th century CE (Inam-ur-Rahim & Viaro 2002: 60).

Buddhism was introduced to Swat by Ashoka, the Mauryan Emperor, in 256 BC (Smith & Spear 1985:97-98), however, there are archeological and literary evidence that Buddhism reached here much earlier, at least, in the fourth century BCE. Kanishka, the 4

Kushan Emperor (128 CE), like Ashoka rendered great services to Buddhism. He also sent Buddhist missionaries to different lands and countries. Hundreds of small and large size stupas and different monasteries were built or modified in the Swat Valley. Some of the sculptures and other antiquity found at these sites are master pieces of Gandhara art. They depict religious scenes with foreign influences (Inayatur Rahman 1989:88). Buddhist pilgrims from Tibet and China came to Swat to see the holy places attributed to the Buddha, who never came here physically, but spiritually several times to perform miracles (Beal 1969:125). Inscriptions mention that the Buddha relics were enshrined at many places in the Swat Valley (Beal 1969). The Chinese pilgrim Hiuen Tsang paid visit to the Swat Valley in the 7thcentury CE as mentioned above, referred to Ming-Chili, identified with modern Mingora, where he saw the biggest Buddhist monastery of Ta’lo (Stein 1930).

Swat was popoler for fascinating and attractive legends of spirits, demons and magic in the 8th century C.E. The village of Udigram produced a mighty magician and exorcist Padmasambhava (Wentz1978:22). The celebrated great king of Swat, Indrabhuti, wrote Buddhist Tantric commentaries. Swat, known as Uddiyāna Pitha, is ranked among the four Tantric centers of the sub-continent (Tucci 1958:250). It saw the rise and down fall of the Hinayana, Mahāyāna, Vajrayāna, and Tantrayāna Buddhism and the remergance of Hinduism (Beal 1969:120).

Buddhism could not be revived in Swat after the Hindu Shahis established their rule in this area. At the start of the 11th century AD, the region was taken over by the Muslim ruling dynasty of Ghazna. Sultan Mehmood Ghaznavi defeated Raja griha, the last resort of the Hindu Shahis at Udigram (Abdur Rahman 1979:118).

There are hundreds of Buddhist sites in the Swat Valley; some are excavated systematically while others are still lying unexcavated. The present scholar has selected Buddhist sculptures from Nimogram for his research. The site has rendered a large number of sculptures with distinct features among all Buddhist sites excavated in the Valley. It is to be noted that a site of such importance as Nimogram has never been recorded by early travellors/pilgrims and historians. The treasure hunters have destroyed this site although to some extent, yet systematic excavations there brought to light a complex of great importance revealing three main stupas in a row from north to south and large number of antiquities. (Pakistan Archaeology, 1968: 116). 5

The site located in a glen facing east is encompassed by mountain-ridges on the north, west and south (see Map 2). It is situated in the Shamozai sub-valley, lying in the south-west of main Swat Valley on a raised but some what flat ground, locally called as sabunkhpa close to the south of Nimogram village. The site of Nimogram is about 45km from Saidu Sharif and 22km from Barikot village (Barikot Gundai) on the right bank of the river Swat. It was reported in 1966 and systematically excavated in 1968-1969 by the Federal Department of Archaeology and Museums, Government of Pakistan (Pakistan Archaeology; 5, 1968: 116).

The site contains three large stupas in a row, a vihara (monastery) and 56 votive stupas all around on a paved floor. The cultural material reported comprised 467 schist stone sculptures, 43 stucco fragmentary pieces, 05 Kushans copper coins and 02 sacred relic caskets are now the sole property of the Directorate of Archaeology and Museums, Government of Khyber Paktunkhwa.

The material excavated from this signifant site convey the possibility of gaining better understanding of the decorative panorama of this significant site as well as an opportunity to study Buddhist period sculptures which show not only the artistic evolution but also preserve the cultural history and contemporary mythological concepts of the area.

1.3. History of Archaeological Research in the Swat Valley Pre-planned and systematic archaeological activities in the Swat valley started with the first survey carried out in 1926 by Sir Aurel Stein (Stien 1930:46). He followed the itineraries of the Chinese pilgrims and was able to locate and identify some important Buddhist shrines. Later on F Barger and P Wright carried out survey and excavated various ancient sites in 1939, particularly at Barikot (Barger & Wright 1941:1-6). The Italian Mission of IsMEO working in the Swat Valley with the active collaboration of the Federal Department of Archaeology and Museums, Government of Pakistan, excavated Butkara-I and Udigram. They also excavated the sites of Leobanr-I & III, Birkot Ghundai, Aligrama, Katelai, Butkara-II, Gogdara, Panr, Saidu Sharif, Kalako Dheri, and Ghalegai (Tucci 1958:291-292).

Since 1968 the Department of Archaeology, University of Peshawar, and the Federal Department of Archaeology and Museums, Government of Pakistan, carried out explorations and systematic excavations in the Swat valley. Vast area was explored and 6 new archaeological sites were reported and the culture profile of the already known sites were re-examined and checked (Khan 2011: 82). The study made by different archaeological missions to Pakistan, more specifically excavations of various archaeolgicla sites have added to develop a more authentic chronology of the Buddhist period in the Swat Valley (Khan 2011:81). The Department of Archaeology and Museums conducted important archaeological field research in the Swat Valley and Buner in 1991-94 under the project titled “Survey of Archaeological sites in Ancient Gandhara” and reported 60 new significant archaeological sites in the Swat Valley (Khan 1996: 80). It also excavated the Buddhist sites of Nimogram, Baligram, Gumbatuna, Dadahara, Malam Jaba, Tokar Dara, Asan Kote and Buchkhan stupa at Palai (Khan 2011: 86)

The Department of Archaeology, University of Peshawar, in 1980 conducted the project under the name of Gandhara Archaeological Project, and reported dozens of new Buddhist sites in the Swat Valley. M. Farooq Swati, a faculty member of the Department of Archaeology, University of Peshawar also carried out an archaeological survey on the right bank of the Swat river and documented 28 new sites (Swati 1997:151). A brief survey was conducted by M. Farooq Swati, M. Naeem Bacha and Jehan Mulk in Shangla and Swat and discovered 56 archaeological sites (Swati 2002:217). The University of Peshawar systematically excavated the Buddhist sites of Bukara III, Marjanai, Loebanr, Shnai-sha, Tirat in Madyan Tehsil, Matkanai, Parrai, Baghrajai and Charg Patai, Gumbatai, Guligram, Pataka Khiamdara (Khan 1995: 3). Badshah Sardaran M.Phil student of the University of Peshawar recorded a dozen of rock art sites, in the Swat Valley (Sardar 2005:7). Similar type of Sites were also reported from Brangola, Dir Valley, representing Mahayanic and Brahmanic cult images (Khan 1994:455). The systematic excavation is still going on in the Swat Valley by the Italian Mission to Pakistan under the leadership of Luca Maria Olieveri. The present scholar participated in the excavations of Balo Kalley Gumbat, Birkot Ghundai, Gogdarra IV and Saidu Sharif stupa with the Italian Mission in 2011. The scholar also registered hundreds of artifacts of the Balo Kalley Gumbat in the camp office of the Italian Mission in Saidu Sharif Swat.

1.4.Subject Matter of Nimogram Nimogram is of great importance due its architecture as well as its unique cultural material reported from here. The excavation of two seasons yielded a good number sculptures, coins, pottery and other minor objects of the daily life. The sculptures are in 7 typical Swat style and have close similarity with those excavated from the other in the Valley. All important episodes from the life of Buddha have been executed beautifully in green schist and soap stone which are abundantly available in the neighborhood of the site. Our main focus here is on 236 pieces of relief sculptures retrived from here and which are described in detail in Chaper 3 below.

CHAPTER 2

BUDDHIST ART AND ITS ORIGIN AND DEVELOPMENT IN THE SWAT VALLEY

The Buddhist sites of Butkara I, Butkara III, Panr I, Saidu Sharif I, Abba Saheb China, Tokar- Dara 1, Tokar- Dara 2, Amulak Dara- 1, Nimogram, Baligram, Gumbatuna, Dadahara, MalamJaba, Asan Kote, Buchkan stupa Palai, Marjanai, Loenbanr, Shnai-sha, Mat Kani, Baghrajai, Charg Patai, Gumbatai, Guligram, Andandheri, Chatpat, and Damkot have yielded a large number of Buddhist sculptures. These sites were systematically excavated by different local as well as foreign missions working in the Swat Valley. Most of the sculptures reported from these Buddhist sites in here are worked in a varities of material such as schist stone, stucco and terra-cotta. The schist stone was extracted from the near by hills of District Swat, Dir, and Buner. These sculptures shows various jataka stories and scenes of the Buddhist cult such as the birth scene of the Buddha, his childhood his renunciation enlightenment, attainment nirvana under the bodhi tree, the first sermon in the Deer Park at Sarnath, and other episodes from his birth to death, the distribution of his creamated remains and their burial in stupas at various places. Besides this, there are also found several non-Buddhist deities, Hindu gods like Indra, Brahma, Panchika and Hariti, the naga, the garuda, the yaksha and Yakshi along with the Greek deities such as Athena, Harpocrates, satyrs and the different architectural elements of western origin. Individual image of the Buddha, either standing or seated, are seen in many different poses including abayamudrā and dhyanamudrā, dharmachakramudrā and bhumisparsamudrā. Padmapani the lotus holder and avalokiteśvara the god of mercy was populer in later Buddhism in Swat was popular (Khan 1993: 14). A large number of architectural elements executed in the panels such as Corinthian and Persepolitan colums and pilasters are found at various archaeological sites and monuments in the Swat Valley.

In Swat the artists, with the help of the Buddhist iconographers, worked hard and produced marvellous pieces of art in stone, stucco, etc., representing interesting architectural decorative elements. But these designs have nothing to do with the Buddhist philosophy rather, they were copied from the existing cultural environment and were used to frame the scenecs. 9

Further more Persepolitan and Corinthian capitals, carinated arches and medallions and cornices are also found. Other decorative elements, whether indigenous or of foreign origin, such as rosettes, lotus flowers, acantus leaves, pipal( Banyan) vine scrolls, bead-and-reel saw-tooth stepped pyramidial motifs, leaf and dart, mouldings etc. are pictured in relief sculptures. Also in many examples we find cornices decorated with rope borders and railing with band of acanthus leaves.

It is noteworthy that legendary scenes shown in the sculptures so widely are defined either by Persepolitan colums with addorsed animals (bull or lion), Corinthian capitals or other architectural designs.

Numerous examples exposed or empanelled Corinthian Pilasters door frames dwarfs are mainly found in the scenes, depicting the most important aspects of the Buddha’s life the conception, the birth, the archery-contest, the first meditation, the renunciation, the great departures, entreatment to preach, and the first sermon.

Among the animals depicted as decorative elements in the sculptures, horse, camel, elephant, lion, ram, antelope, peacock, monkey, etc., stand out clearly, especially in pieces showing the transportation of the Buddha’s relics in chariot drawn by antelope. Camel or horse. The ram has been represented when the Buddha, as a child, was going to school accompanied by other children of the Sakya tribe.

The Buddhist art of the Swat Valley is purely a religious art and the real mirror of moral as well as spiritual life of those who practised this indigenous art. The art revolved around the Buddha who preached the philosophy of life rather than a religion. The Buddha, a historical person who lived a mortal and tangible life, was gradually turned into a supernatural being as represented in the Buddhist art of the Mahayana tradition. His representation in an appropriate form is a great contribution of the Buddhist art and one of the Asia’s greatest artistic achievements. His figure always occupies the main position in composition of devotional groups on stone panels and depicting stories woven around his life. The scope and importance of this indigenous art was not limited entirely to sacred religious subject; it comprises many other aspects of his life. There are panoramic views of the people busy in various dynamic activities such as lovers, dancers performing dances, musicians playing musical instruments, travelers, ascetics, wrestlers and even robbers have been depicted very artistically. Costumes of local people, weapons for war, and hunting, various musical instruments, toilet trays, beautiful jewellery, tools, carts, and carriages all are depicted in stone and stucco. The lower level of life is depicted by 10 significant group of dwarfs and atlantes, while common imagination and beliefs are depicted by equally significant groups of yakshas and yakshinis and the host of foreign figure, secular and religious. Among the subjects introduced from the classical world are the sphinx, griffin, centaur, hippocamp, atlantid and eros, but they were used for decorative purposes rather than a devotional.

The Buddhist art of the Swat Valley which particularly includes legends, stories and glimpses of contemporary Buddhist life mostly based on the religious tradition practiced by the people for a long time. However, the artistic tradition of the Swat Valley remained distinct from that of Gandhara in general. The development of the Swat style of sculptures takes a number of routes. The Buddhist sculptural art of the Indus region did, begin in Swat and its distinctive style was eventually transmitted to neighboring states of Gandhara and Afghanistan (Swati 1997:5). The earliest relief reported from Butkara III is very rough. Its architectural as well as figural representation shows three basic important traditions, i.e., local, Bactrian and Indian, from the amalgamation of which evolved the Swat style. The Later reliefs reported from the Swat Valley are shallow as if the workshop have followed the Indian tradition of carving as shown on the railings of the Bharhut stupa in India dated to 150 BCE (Smith V.A 1962:13). The bodies of the Swat style sculptures are shorter and normally have broad round or square, flatter faces as compared to the typical Gandharan sculptures. The sculptures of Swat Valley have straight high bridged nose while Gandhara art have oval or triangular faces. The eyes of of the sculptures in Swat are shallow and prominent. In short the human figure in typical Swat style are not idealized, but naturalized. The clothes in Swat relief, the folds are wrought out with incisions or deep cuts. The drapery of the female figures in Swat sculptures are full and heavy, while the later period sculpture of Tantric Buddhism have some Indian Influence. The figures in Swat Valley are active and performing certain actions and are posed frontally, with three quarter profile from the front rarely from the back but true profile is very rare while some figures are frontally stressed. Symbolism in the Buddhist Art of the Swat also existed and Buddha, Bodhisatva and other important figures were represented. The symbols were represented in larger size as compared to the other surrounding figures while reality is represented in the figures. (Swati 1997:6) The archaeological sites located on the trade route of Valley have foreign culture influence, while the sites located on the border of Gandhara have influence of Gandharan style (Marshal 1960: Fig.122). 11

The deep and comparative study of the Buddhist art of Swat shows that it is quite different from the Buddhist art of the neighbouring Gandhara. The kingdoms of Uddiyana, Kapisa, Gandhara and Bactria at times, more or less, were united under social, religious and cultural bonds. Therefore, the art flourished in these regions have similar characteristic features and on the basis of which it is termed as the Indus-Oxus School of Buddhist Art. In Swat there were many small art zones or workshops, one in each sub-valley, each with distinct artistic features. (F. Swati 1998:27)

Jambil Valley is one of the zonal workshop. In this valley many important archaeological sites were excavated by Italian mission to Swat as well by the Department of Archaeology University of Peshawar. Butkara I, Panr and Butkara III are the important archaeological sites. The typical features of the figures of this region are their small statures, broad round and prominent faces and bold and heavy physical make up. The drapery of the figures are in Indian style with also of the great Kushan and the west (F. Swati 1997: 17)

The second workshop is the Shamozai Valley zonal Workshop. The important archaeological sites in this sub Valley are the Nimogram, Marjanai, and Chatpat. Prominent features of this zonal workshop are that the typical features of this workshop are attenuated but physically short stature figures are also obsreved. Faces are most commonly flat and tend towards the length but the typical round faces with the elongated noses are also clearly visible. The figures were typical Indian and Central Asian costumes as well. The heavy drapery folds of typical greater Gandharan style could be observed. Clear lines and curve making are very prominent and deep. There is clear mobility in the execution of figure. (F.Swati: 1997: 18)

The third zonal workshop is the Ilam Khawar Valley zonal workshop. There are different Buddhist sites but scientifically investigated site is the Shanaisha stupa excavated first by the Dederal Department of Archaeology and Museums and than by the Department of Archaeology University of Peshawar. In this small zonal workshop the bodies of the figures are of normal stature, robust with long beautiful fleshy faces. Mostly the figures are executed in Central Asian and western styles and Indian drapery. The figures are enlarge and are more active doing something (F. Swati 1997: 19)

The Uddiyana style is quite distinct from other regional style of the Indus-Oxus region and it seems that this style spread in the west to Bacteria and in the south and south east to Gandhara and Taxila respectively. That is why the sculptures reported from the 12 earliest levels in these distant zones have some similarities with those from Swat. The rudimentary stage of experimentation and elements of foreign cultural influence on the early sculptural workshop of the Swat Valley supported by archaeological, context suggest that Buddha image was created for the first time here in Uddiyana. Zonal variations in the Uddiyana style shows that number of craft groups might have been active in different territories of the Valley. These craft-groups are termed as Zonal Workshops (F. Swati 1998:32).

As far as the development of Gandhara Buddhist art in Swat is concerned it began at in Indo Scythian period, in the last decade of the 1st century BCE The representation of the figures at this stage was very crude and rough, stiff, frontal and drawing like. While the composition was balanced with simplification of the physical body volume bringing focus on different body parts such as legs, eyes and hands. The dresses folds were wrought out as clear incised lines and dense parallel grooves are common features. Execution of the lord Buddha figures was very rare right from the very beginning of the Buddhist art. He is usually found in seated and rarely in standing position with one hand gestures of meditation as well as reassurance pose. (Faccena 2003: 297)

The second stage of the indigenous Buddhist art began in the last decade of the 1st century probably CE 80 to 90 CE. The stiffness frontality features (schematic physical composition of the frontal view) and drawing like attention was tranform into flexibility and greater mobility. The figures became more refined and beautiful and the maturity and refinement of the art can easily be noticed at this stage. The dresses folds were absolute free billowing and parallel prominent lines. Besides seated and standing figures of the lord Buddha was also noticed. Dharmacakra mudrā (the pose of the turning of the wheel of the law) was started at this important stage. The throne of the lord Buddha was mostly decorated and the hallo became larger comparatively (F. Swati 1997: 12).

The third stage was the Kushan-o-Sansnian and Kidara –Kushana period. Durning this crucial period the Buddhist art became well advanced to produce any style current or past. The figurese made with clear prominent chin beautifully carved on the longer head, narrowing of the both eyes under elaborate upper lid with sharp edges of eyebrow. Various forms of mudrās (poses) were introduced at this crucial stage of the Buddhist art. The dresses became thinner and thinner with beautiful flattened strips and clear ribs like strings (Zwalf 1996: 70). 13

The Buddhist rock sculptures are the significant part of the Buddhist art of the Swat. Actually it is comparatively a large scale artistic production which flourished and developed in the Swat Valley during the 7th and 8th century CE whose subject matter are entirely Buddhist in nature with only a few examples as in the case of those representing Surya, Ganesha, and Shiva. Usually executed on the rock walls as well as on roughly and crudely cut stelae, these sculptures mostly represent the last but not least artistic expression of the Buddhism in the Swat Valley. Significantly they usually focused on ancient sacred areas, at that time already destroyed if not yet completely in ruins forms (Sardar 2009: 191).

The Buddhist period rock reliefs usually represent dhyani Buddha often together with bodhisattvas. The Buddha figure is wearing a typical Gandharan robe covering both the shoulders. Lord Buddha in distinctive style in a late period as is clear from the semi- circular fall of the drapery in front of their throne. These rock reliefs’ bears no inscription and some of them were created by craftman as reflected from the site of Ghaligai and Jahanabad Buddha. All the relief clearly belongs to Buddhist context attested by the fact that they are situated near to the sacred areas of the Buddhist sites (Sardar 2009: 192).

The second group includes the bodhisattvas most of whom are the figures of avalokitesvara and padmapani. These bodhisattvas shows influence from the Gupta classical type. They show the magnificiant dresses of the Gupta classical art. The image of Padmapani in Dir, Buner and Puran Valley probably seem to belong to the 6th, and 8th century CE when the typical Indian influences had brought here in the Gupta artistic characteristics in this particular region (Olivieri 1994: 477). Most of the Buddhist reliefs were found in the surrounding of the sacred monastic areas, which shows that they most probably be dedicated to the Buddhist sacred areas and some sort of very close association and interaction with those of sacred monastic places.

There are numerous rock inscriptions along the trade routes in the Swat Valley. These inscriptions are in Kharoshti, Brahmi, Proto Sharada, Nagrai, Persian and Arabic. The interesting among them are the three Brahmi inscriptions of Jahanabad (Sardar 2009: 193).

These inscriptions were engraved by the Buddhist monks for propagation of Buddhism. The Brahmi script of religious verses attested the fact that Swat once remained an active center of Buddhism (Olivieri 1994: 477). 14

Some Buddhist rock paintings were also reported in Kukrai village in Swat Valley. In this painting some human figures are worshiping the stupa (Sardar 2009: 192)

The Buddhist sites throughout the Swat Valley attest that Buddhist faith was very popular in the entire Swat and it was highly patronized by the different ruling dynasties during different periods of time. All the Buddhist elements represented in stone in the region of greater Gandhara were available in the Buddhist art of Swat Valley. But the Swat style is different from that of the greater Gandhara due to socio-economic condition of the region. Throughout the historical context from 3rd century BCE to the 8th century CE the Swat Valley remain strictly Buddhist which mean that all the invaders and emigrants that settled in there during this period were also absorbed into Buddhism in the course of time. Nevertheless, the new settlers always contributed some of their traditions to Buddhist pantheon. (Tucci 1958:281)

CHAPTER 3

CATALOGUE OF SELECTED SCULPTURES

PI.1 Inv. No. NG-1 Mat. Soapstone Size.4.15”x10.5” Fragment of the Base of a model stūpa. The figured portion is bordered on the bottom with two rounded torus and the top is bordered by a row of brackets surmounted by a rounded cornice. Each of the four sides contains four identical Buddhas each seated on a low platform. The Buddha figures hold their hands in dhyāna mudrā and have legs folded in padmāsana. The Buddhas are haloed. Branches from the trees that flank the figures bend towards the edge of the haloes. The hair is shown by a wavy line with a prominent uṣnīṣa. At each edge of the square platform is a Gandhāran-Corinthian pilaster with a bevilled flute, concave at the top, on each shaft.

PI.2 Inv. No. NG-2 Mat. Black Schist Size.Ht 2.5” Fragment of a carved frieze defined above and below with a plain fillet. On the right side of the panel, a Buddha sits under a tree in padmāsana with his hands in dhyāna mudrā. He is surrounded by a full body halo decorated with a simple incised line. The halo is framed by a branch on either side. To the Buddha’s right, a worshipper kneels with hands held forward in a posture of devotion or probably making an offering. The figure has curly hair and either a wing or the cloth of the robe flung up behind.

PI.3 Inv. No. NG-3 Mat. Light Green Schist Size.Ht 3.5” Fragment of a flat frieze reprsented above with a clear band of lanceolate leaves and below by a straight beautiful plain fillet. In the figured portion, a figure stands under each of three rounded arches with carinated and voluted exteriors. The central figure stands leaning on a half pillar. The figure to his right wears a tunic and trousers. The rest of figuresappears to wear only a loin cloth and moving towards his right. Round shape objects hand from the volutes at the edges of the arches. The panels are separated by Gandhāran – Persepolitan columns. The carving is entirely shallow. 16

PI.4 Inv. No. NG-4 Mat. Black Schist Size.Ht. 5.5” Fragment of a carved frieze with a row of standing Buddhas and a boddhisattva accompanied by attendants. The relief is decorated with a leaf and dart cornice. On the bottom is a plain fillet. The figured portion of the relief has 11 figures, six standing in the foreground and five torsos in the background. From the right, the first standing figure is little bid damaged but seems to be a Buddha, holding the robe with his left hand and his right likely raised in abhayamudrā. The second standing figure also is a Buddha, with his right hand raised in abhayamudrā while his left hangs pendant. His hair is topped by the uṣnīṣa and earlobes are elongated. The third standing figure is haloed but similar iconographic characteristics with the first figure. Next to him is a bearded full sized figure of Vajrapāṇi who seems to be leaning towards the figure to his right, a haloed, turbaned figure, may be a bodhisattva. This figure wears jewels around his neck and on his ears and a robe that leaves his right shoulder bare. The last of the standing figure is show Buddha figure in abhaya mudrā. The three figures in the background each appear to hold a vajra and looking towards the figure to their left. The first two appears to be clean shaven while the third is bearded and hold a whisk in addition to the vajra. The figure which hovers to the left of the turbaned figure holds a whisk as well as a vajra and is bearded.

PI.5 Inv. No. NG-5 Mat. Black Schist Size.Ht. 7.15” This relief repesents the visit of Śakra and Pañchāsikha to the Buddha. The upper and lower framing of the narrative panel is mostly damaged but seems to be a plain fillet, into which the narrative portion of the relief may have intruded. On the right edge of the panel, a frame was carved with a figure emerging from it with arms extended in front of the frame. The figure is quite damaged though the general form shows a bearded male figure wearing a crown as he looks towards his left. The large panel is much defaced. The haloed Buddha sits in a cave with his right hand holding the edge of his drapery while the left is raised in the abhaya mudrā. Beneath the cave, a ram reclines and the head of an unknown animal can be discerned on the lower righ corner of the cave. On the Buddha’s right, Pañchāsikha moving with his right foot raised as though to climb up towards the cave. While much damaged, his arms seem to extend, presumably holding the harp he plays for the Buddha. Another figure seems to follow behind. To the Buddha’s left in the 17 upper portion of the rocks surrounding the cave, sits a figure maybe Vajrapāṇi, his posture reinforcing his role as protector with his right hand on his knee and the left raised to hold the vajra.

PI.6 Inv. No. NG-6 Mat. Black Schist Size.Ht. 3” Fragment of a flat relief decorated with a leaf and dart moulding above and remains of a Gandhāran-Corinthian pilaster at the left edge. Two human figures stand facing each other. The one on the left wears short tunic and trousers, raises his arm while the other wearing a long robe, holds in his left arm akimbo. The latter figure holds in his right hand a long object, touching the ground?

PI.7 Inv. No. NG-7 Mat. Black Stone Size.Ht 4.5” Fragment of a flat relief defined above by a horizontal moulding decorated with border of lanceolate leaves above and below by a defaced fillet. There is a plain vertical border and a tenon on the left side of the panel. It depicts a seatedhaloed Buddha on a low platform placed under stylized branches of a tree. The figures raises his right hand, now broken off, probably in abhayamudrā while the left hand is completely chipped off. Theuṣnīṣa is prominent and earlobes are elongated. On the right side of the Buddha a young acolyte stands in añjalimudrā.

PI.8 Inv No NG-8 Mat. Black Schist Size.Ht 3.15” Fragment of a defaced relief, bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. The frieze is divided into compartments separated by Gandhāran – Corinthian pilasters. Each pilaster hadsquar shaft, which is decorated with arectangular groove. Two figures inhabit each of the compartments. Movements of the figures are vigorous, and seem to be actively engaging with each other. It is very difficult to define each of the scenes shownin the four compartments of this defaced relief panel. The two figures in the second compartmentfrom the left hold shields of different sizes, whole those in the remaining compartments seem to hold hems of their robes. 18

PI.9 Inv. No. NG-9 Mat. Black Schist Size.Ht 2.75” Fragment of a much defaced relief panel bordered on the top by a cornice decoratred with leaf and dart cornice and at the bottom with a plain fillet. The relief is divided into compartments, separated by square Gandhāran – Corinthian pilasters. The shaft of each pilaster is decorated with a rectangular sunk panel. The movement of the figures shows that they are actively engaged with each other. It is difficult to describe details of the figures because the panel is much damaged.

PI.10 Inv. No. NG-11 Mat. Black Schist Size.Ht 3” Fragment of a much defaced relief, decorated on the top with a leaf and dart cornice and at the bottom with a plain fillet. An empanelled tree with drooping branches is carved at the right edge of the panel. The relief is divided into compartments separated by Gandhāran – Corinthian pilasters. Shaft of each pilaster is decorated with a rectangular groove. The movement of the figures shows that they are actively engaged with each other. All the compartments depict a couple of standing figures in different poses.

PI.11 Inv. No. NG-12 Mat. Black Schist Size.Ht 3” Fragment of a relief bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. The relief is divided into four compartments by square Gandhāran – Corinthian pilasters. Each pilaster shaft is decorated with rectangular sunk panel. Two figures inhabit each of the compartments. The movements of the figures are vigorous, and seem to be actively engaged with each other.

PI.12 Inv. No. NG-13 Mat. Black Schist Size.Ht 4.5” Fragment of a curvilinear frieze divided into two compartment by an enclosed Corinthian pilster. It is bordered by a plain band above and three tiered base, a rounded torus and a plain platform at the bottom. In each compartment, a Buddha is seated crossed legs on a low platform in a typical padmāsana and his hands held in dhyānamudrā. The figure on the right has wavy hair, prominent uṣnīṣaand elongated earlobes. He is haloed and branches of a Bodhi tree framing his head on both the sides. He is flanked on his rightby a kneeling figure, in añjali mudrā, wearing a turban with the knot placed towards 19 the back. The Buddha figure in theleft compartment isdefaceds. A seated devotee in añjali mudrāto his left is wearing a turban (?) and ear pendants.

PI.13 Inv. No. NG-14 Mat. Black Schist Size.Ht 5.15” Fragment of a relief panel with standing human figures under arches, divided by Indian Persipolitan pilasters. The figure under the right arch is probably the Buddha inabhayamudrādressed in Indian style. The lower part or register, separated by a band of laurel leaves, shows defaced heads of human figures engaged with each other.

PI.14 Inv. No. NG-15 Mat. Black Schist Size.Ht 5” Fragment of a defaced flat relief representd below by a plain fillet and above by a compressed leaf motif, placed between thin fillets. The figured portion of the relief depicts the Buddha with attendants and abeareded Vajrapāṇi. Faces of the figures are not clearly visible. The Buddha on the right has uṣnīṣa, elongated earlobes and his right hand is raised inabhayamudrā, while the left holding hem of the drapery. The Vajrapāṇi has wears a short tunic clinched at the waist with a belt and trousers.

PI.15 Inv. No. NG-16 Mat. Light Green Stone Size.8”x10.5” Fragment of a flat defaced relief, bordered at the top and bottom by plain fillets. It depicts a row of standing Buddha figures interspersed with tree branches between them. Faces of all the figures are chipped off and badly damaged. The figures are almost similarand each having haloes, uṣnīṣa and elongated earlobes typical of the Buddha. They hold their right hands in abhayamudrā.

PI.16 Inv. No. NG-18 Mat. Grey Schist Size Ht 8.5” Fragment of a curvilinear relief divided into two registers by a horizontal flat band and is framed on the top and bottom by plain boders. The lower register has two compartrments, separated by an encased Corinthian pilaster. The right compartment depicts a parade led by two riders on a horse andtwo elephantswith drivers approaching behind. The compartment on the left showshuman figures but due to much damage further detail cannot be extracted. The episodes in the lower register indicate some sort of 20 celebration (?). The upper register shows a row arches with seated Buddhas figures in padmāsana on a platform either in abhayamudrā or dhyānamudrā.

PI.17 Inv. No. NG-19 Mat. Black Schist Size.Ht 8.5” Fragment of a curvilinear relief with two registers. The top of the relief is decorated with a leaf and dart band with a plain filet above it, the middle by a band of overlapping lanceolate leaves and the bottom is broken. The rest of the panel in the lower register is bordered on the left by an enclosed column, with one side of the panel is broken. The scene in the lower register is theHoroscope of Siddhārtha. The seated sage holds the haloed child while Māyā, his mother standing nearby. The partial figure of an attendant stands behind Māyā. In the upper register, two Buddha’s in padmāsana are seated on a continuous plinth. The figure on the right in abhayamudrā and the left under a Boddhi tree in dhyānamudrā.

PI.18 Inv. No. NG-20 a Mat. Black Schist Size.L 15.25” Fragment of a curvilinear relief with two registers. The top of the relief is bordered by a leaf and dart band with a plain filet just below it, the middle, by a band of overlapping lanceolate leaves with thin plain filets above and below. The upper register is showing a standing human figure in front of chaitya arch flanked by persepolitan pilasters. Pilaster to the left is partially broken. The lower half of the bottom registered is missing. Bustof ascetic is shownto right and heads of two othe figures are visible frontally. To the left of the lower register is a head of figure looking to left.

PI.19 Inv. No. NG-20 Mat. Black Schist Size.L 19.75” Fragment of a curvilinear relief with two registers. The top of the relief is bordered by a leaf and dart band with a plain filet just below it, the middle, by a band of overlapping lanceolate leaves with thin plain filets above and below. The lower half of the bottom registered is missing. The upper register is showing two chaitya arches separated by a persipolitan pilaster. Each arch shows a standing figure. The lower register is proably showing Interpretation of Siddhārtha’s Horoscope. There is an enclosed Corinthian pilaster to the left. 21

Pl.20 Inv. No. NG-21 Mat. Black Schist Size.Ht 7” Fragment of a curvilinear relief with two registers. The top of the relief is broken. The two registers are divided by a band of overlapping lanceolate leaves while the bottom is too damaged and do not show the original ornamentation. The scene in the lower register contains a figure, who appears to be male, moving to his left and is holding a bowl in both hands. The figure seems to have emerged from the doorway behind him. The door seems to be opend inwards. The background is decorated with a geometric pattern, clearly shows a city wall. In the upper register, is showing a headless seated figure of Buddha frontally holding the hem of drapery in the left hand.

PI.21 Inv. No. NG-22 Mat. Black Schist Size.Ht.7” Fragment of a relief panel bordered on the left side by a empanelled column and on the bottom by a simple plain stone base. The figured portion depicts three humanfigures. The two figures on the right sit on a piece of cloth covered bench, one in european position, the other with the right leg crossed over the left which hangs down. Both bejeweled figures wear Indian garb and have chests bare. Their hand gestures shows conversation with each other. On their right, a standing figure dressed in a short tunic and trousers turns towards them.

PI.22 Inv. No. NG-23 Mat. Black Schist Size.Ht 6.5” Fragment of a curvilinear relief with remnants of two figured registers divided by two bands with decorative motifs, the top have a band of overlapping lanceolate leaves, the bottom, a tier with an undulating vine interspersed with pipal leaves. The bottom portion is partially missing with only wine scrolls. In the left side of the upper register, the Buddha, with Vajrapāṇi standing behind him, stands surrounded by a full body halo while a large figure kneels before the Buddha. On the right side of the panel, an ascetic sits before a hut as another figure, now much broken, approaches.

Pl.23 Inv. No. NG-24 Mat. Black schist. Size 19” x 16½” Portion of a circular base, likely a miniature stūpa model. Decorated below by plain fillet and above by a cornice of brackets under a plain cornice. The figured portion 22 contains three compartments separated by Corinthian pilasters. Each compartment is showing two standing human figure of Buddha with various gestures and seems to be engaged with each other.

Pl.24 Inv. No. NG -26 Mat. Black Schist. Size.L.14” Fragment of a curvilinear relief topped by a cornice decorated with a double rowsof poited leaves. The cornice is supported by two persipolitan pilasters, which divides the panel into three compartments. Each compartment is showing the human figure.

Pl.25 Inv. No. NG-27 Mat. Black Stone. Size.L.6½”. Fragment of a relief defined on the bottom with a fillet much demaged. The figured portion shows three standing human figures with the one in the middle in mid- stride. The figures wears typical Kushan dress.

Pl.26 Inv. No. NG-28 Mat. Soap Stone. Size.Ht.3”. Fragment of a relief. On the right is the head of a figure emerging from the ground, before him the trousered leg of a figure who perhaps held the staff that is seen in front of a protruding frame on the other side of which is a haloed and turbaned kneeling figure. Though the damaged fragment can only suggest a narrative, the head emerging from the ground, with a standing figure before him may indicate this is a fragment of a scene depicting the great departure, when the bodhisattva leaves the palace.

Pl.27 Inv. No. NG-29 Mat. Soap Stone. Size.W 1.5” Fragment of a circular stūpa storey with the remains of three panels and two empanelled figures serving as dividers. The entire bottom part of the panel is broken. From the right, the first panel contains three figures, the haloed Buddha, his right hand in abhaya mudrā, faces the figure on his left. This figure has an arm raised perhaps to throw an offering. Behind the Buddha stand a youthful figure with an athletic physique. We might expect to see Vajrapāṇi in this place but in this instance, there is no evidence of a vajra in the remaining fragment. Next is an empanelled figure who appears to hold a 23 musical instrument to his mouth. The figure faces the panel to the left in which a turbaned male figure sits under a canopy with a female figure on either side and a male torso behind the female figure to his right. The females are shown in poses that suggest movement, perhaps dancing. To the left of this panel is another empanelled male figure and finally the head of a female figure in what would have been another narrative panel.

Pl.28 Inv. No. NG-30 Mat. Soap stone Size.W 1.5” Fragment of a circular stūpa storey. The remaining panel was framed by an empanelled pilaster on the right. The left edge shows only the scant edging of another panel or perhaps a doorframe. The remains of four figures are in the figured portion, two robed figures, one brahmacārin who holds a water pot, wears a skirt as well as a sacred thread over his shoulder, and a female figure wearing jewels and an elaborate headdress who may hold a flower in her right hand. The iconography, while fragmentary, lends itself to an identification as the Dīpaṇkara Jataka.

PI. 29 Inv. No. NG-57b Mat. Soap stone Size.2”x3” Fragment of pedestal with defaced moulding on both sides. The figures portion consist of two standing male figures performing some actions, the right side figure is most probably Buddha in, abhayamudrā, the left side of the figure in anjalimudrā while the Gandharan-Coranthian pilaster is on the right side.

Pl. 30 Inv. No. NG-68 Mat. Soap stone Size.Ht.3”. Fragment of a relief bordered at the bottom by a plain fillet and broken across the top. The figure portion showsonly human foot in a standing position. Gandharan- Corinthian pilaster is on the both side of the figure.

Pl. 31 Inv. No. NG-73 Mat. Black schist. Size.Ht. 3½”. Fragment of a relief bordered at the bottom by a plain fillet and broken across the top. Portionsof two arches remain. On the left, only the feet of a figure and lower portion of an arch remain. The other arch has grape clusters hanging from the volutes. The inside 24 of the arch is decorated with a row of scales that surround a nude putto standing figure. The arch has been separated by a column.

Pl. 32 Inv. No. NG-75a Mat. Soap Stone. Size.Ht. 3”. Fragment of the part of a square pedestal showing Buddha under pipal tree along with devotees, Gandharan Corinthian pilasters at each corner. The Lower part is broken.

Pl. 33 Inv. No. NG- 75b Mat. Soap stone Size.Ht.3” Fragment of the part of a square pedestal showing Buddha with devotees under papal tree separated by Gandharan Corinthian pilaster at each corner. The top of the Pedestal was decorated with moulding having geometric designs. The lower part is missing.

Pl. 34 Inv. No. NG- 76 Mat. Soap stone Size.Dia 7.15” Fragment of a circular discsurface bordered at the bottom by a plain fillet with the molding at the top damaged. The narrative represents Vajrapani or Greek god triton, the scroll with his fish tail in standing position, each side of the figure is decorated with scroll design, Gandharan-Corinthian pilaster on the right side.

Pl. 35 Inv. No. NG- 91 Mat. Green Schist. Size.Ht. 7”. Fragment of a relief with damaged surface bordered at the bottom by a plain fillet with the molding at the top damaged. The narrative represents the first bath of the bodhisattva, here depicted as a young child. He stands on a low stool. Two female figures, one squatting and the other kneeling, hold his hands On either side is a standing male figure each holding a water pot from which the bath water flows. These figures are identified in the texts as Brahma and Śakra/Indra. While worn, the shape of the basket weave headdress often worn by Śakra/Indra can be discerned. Other attendant figures flank these two gods. 25

Pl. 36 Inv. No. NG- 92 Mat. Green Schist. Size.Ht. 7.15” Fragment of frieze depicting standing figures, most proably performing some activities under pointed arches separated by persepolitan pilaster and a moulding of lotus leaves above.

Pl. 37 Inv. No. NG- 97 Mat. Black stone. Size.Ht. 7½”. Fragment with the left side of a frame decorated with a net of oblique lines on the side with a plain fillet at the edge and a bead and fillet rope at the top. Under this left frame is a small section decorated with a saw tooth pattern. Above the frame is a thick plain molding and a six petalled rosette above which is a half stepped pyramid. Inside the frame is a single male standing figure with hands held in añjalimudrā.

Pl. 38 Inv. No. NG - 99

Mat. Black Stone. Size.Ht.31/3”. Fragment of a relief bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. On the left edge, a vertical branch with leaves is inside a filleted frame. The frieze is divided into two panels separated by a squre Gandhāran – Corinthian pilaster. The pilaster shaft is decorated with a groove. The fragment includes one full and one broken panel, each holding, or meant to hold two figures. The standing figures hold some offerings gesture towards each other as if in conversation.

Pl. 39 Inv. No. NG- 100 Mat. Soap stone. Size.Ht. 9¾” Fragment of a relief depicting two scenes from the life of Buddha. On the lower part Buddha is shown, flanked by devotee. The upper part is made of arch with human heads on the border, within the arch in the lower tier is shown a bowl over raised Pl. form while in the upper tier is shown a headless seated Buddha in meditation on a low throne. Two flowers are carved in each side.

Pl. 40 Inv. No. NG-101 Mat. Black schist. Size.4”x 12” Fragment of a curved frieze with two partial panels separated by an empanelled Gandhāran – Corinthian pilaster. The panel is bordered on the top side by a clear band 26 with reverse bordered rounded leaves above a narrow plain fillet and on the bottom by a plain fillet. The panel on the right shows Brahma and Śakra/Indra in votive postures, perhaps entreating the Buddha to preach. Brahma, with topknot, and Śakra/Indra wearing a turban are both haloed and kneel on either side of the Buddha with their hands in añjali mudrā. The Buddha is seated on a low seat in padmāsana. His robe leaves his right shoulder bare. He holds his right hand in abhayamudrā while holding the edge of his drapery in his left hand only. He is surrounded by a full body halo that is decorated with a single incised line. His hair and uṣnīṣa is carved with vertical rows of waves. The panel on the left shows a turbaned and haloed Bodhisattva seated on a low seat. His legs are folded in padmāsana and his hands in dhyānamudrā. His robe leaves his right shoulder bare and he wears jewelry on his ears, neck and wrists. To his left, stands a female figure holding a spear.

Pl. 41 Inv. No. NG- 102 Mat. Grey schist. Size.Ht. 3½” Fragment of a curved pedestal with two panels separated by empanelled Gandhāran – Corinthian pilasters. The panels are bordered on the top by two plain flat fillet and on the bottom by three torus and a plain fillet. The piece may have served as part of a miniature stūpa. Each of the two panels contains a Buddha and devotees. The Buddha is seated under a Boddhi tree with legs folded in padmāsana with his hands in the meditative dhyāna mudrā. The tree is schematically rendered by two boughs, one on either side of his head. He is flanked on both side by a turbaned devotee, with both hands in añjali mudrā pose. The devotees have one knee on the ground.

Pl. 42 Inv. No. NG- 103 Mat. Green Schist. Size.Ht. 5¾” Fragment of false bracket showing a standing bodhisattvas on plain pedestal having jewlellary. Head of the Bodhisattva is missing. The curve of the dress is typical in Indian style. The right hand touches the belly.

Pl. 43 Inv. No. NG-104 Mat. Soap Stone. Size.Ht. 4¼” Fragment of a frieze with two panels remaining divided by a Gandhāran- Corinthian pilaster with a shaft decorated with a large lotus blossom on a stalk in front of a flute. A saw-tooth band surmounted by a projecting plain fillet borders the top, while 27 the bottom is delineated by a plain fillet. The panel on the right shows a figure approaching an ascetic seated on a bedroll inside a straw hut. While the figure is much damaged, the Vajrapāṇi figure immediately behind him allows us to identify the approaching figure as the Buddha. Another now headless figure stands at the edge of the panel while a figure depicted with upper torso, only hovers in the background between the ascetic and the Buddha. A single branch behind the hut confirms the forest setting. The other panel shows the haloed Buddha with hand raised in abhaya mudrā looking down at a young seemingly naked boy standing under a tree with a spear holding guard behind him. The Buddha is followed by a bearded Vajrapāṇi.

Pl. 44 Inv. No. NG- 106 Mat. Green schist Size.Ht. 5” Frieze with two panels separated by Gandhāran – Corinthian pilasters. The shaft of each pilaster has a groove in the middle. The relief is bordered at the bottom edge by a plain fillet and at the top by a plain filet and a cornice with an ogival leaf pattern. The panel on the right contains four haloed Buddhas. All stand, haloed and wear the typical robes of the Buddha. The first figure raises his right hand in abhaya mudrā and his hair is shown as curls; the second hold his right hand downward in what we might expect to be varada mudrā, the third has his right hand in abhaya mudrā but the hair is depicted as continuous waves while the fourth has his right arm extending downward, again suggesting the varada mudrā and his hair is a series of broken waves. The panel on the left depicts three haloed figures, three Buddhas and one bodhisattva. From the right, the first Buddha holds his arm and hand downward, probably in varada mudrā and his hair is shown in continuous waves, the second holds his hand upwards as though in abhaya mudrā, the third again holds his arm and hand downward and his hair is shown in continuous waves.

Pl. 45 Inv. No. NG-108 Mat. Black schist. Size.Ht. 9½”. Image of a seated Buddha in dhyānamudrā with head missing. The pedestal of the image is decorated with full blown lotuses separated by a vertical fillet. The right side of the pedestalis broken. The curve of the drapery is clearly visible and his right shoulder is bare. 28

Pl. 46 Inv. No. NG-109 Mat. Soap stone Size.Ht. 7” Fragment of Elephant head having rider holding an object in the left hand. The rider is male figure having turban. The elephant lower part is damaged, while the left eyeisprominent while right eye is missing.

Pl.47 Inv. No. NG-111 Mat. Green Schist. Size.Ht. 3½” Fragmentof frieze defined above by a leaf and dart cornice and below by a plain fillet. In the figured portion, a male figure stands under each of two rounded arches with pointed exteriors. The arches are separated by pilasters of the Gandhāran - Persepolitan column.

Pl.48 Inv. No. NG- 112 Mat. Green Schist Size.Ht. 4” Fragment of a frieze with arches, pillars and figures. The arches are rounded on the interior and pointed on the outside. Pendants hang from either side. A naked amorini stands under each arch against a simple patterned background. One Gandhāran- Persepolitan column separates the arches, another is at the left edge of this fragment which would probably befollowed by another arch and figure. On the right edgeis, a Gandhāran-Corinthian pilaster with a groove in the middle.

Pl.49 Inv. No. NG- 115 Mat. Soap stone. Size.Ht. 3¾” Fragment of defaced circular pedestalhavinga plain fillet below. The figure portion depicting empanelled seated Buddha in dhyanamudrā, flanked by two devotees on each side separated by simple empanelled Corinthian pilaster.

Pl.50 Inv. No. NG- 116 Mat. Light Greenish Schist Size.Dia 13.5” Fragment of a circular pedestal decorated with seated Buddha in meditation flanked by kneeling devotees in anjalimudrā and each panel separated by simple empanelled Corinthian pilasters. 29

Pl.51 Inv. No. NG- 119 Mat. Black schist Size.4½”x14¼”. Fragment of a flat relief with one leftand the right one full panel remaining. Each panel depicts a seated and haloed Buddha. The Buddha in the full panel sits on a low seat with his right hand in abhayamudrā pose and the left hand clearly holding the edge of his garment. The uṣnīṣa is prominent and earlobes are elongated. On either side of the halo, stylized radiating branches are depicted. On either side of the Buddha, young acolytes stand facing the Buddha with hands in añjalimudrā. The panels are divided by an empanelled Corinthian pilaster. Above, is a horizontal moulding decorated with lanceolate leaves and a plain fillet below.

Pl.52 Inv. No. NG-124 Mat. Black schist. Size.Ht. 2½” Fragment of a curvilinear frieze defined above and below by a plain fillet having two partial panels remaining. From the right, the first panel shows the Buddha in dhyāna mudrā and padmāsana seated directly on the ground. He is surrounded by a full body halo which is cradled on either side by a tree branch. Kneeling devotees in añjalimudrā are on either side. A rosette bordered on either side by vertical fillets separates this from the next panel. In this fragmentary panel, a similar Buddha has a kneeling figure on his left with his robe flying behind him.

Pl.53 Inv. No. NG- 126 Mat. Black Schist. Size.L. 10” Fragment of a defaced relief depicting unknown figures. The lower and upper portion is damaged and could not be recognized.

Pl.54 Inv. No. NG-127 Mat. Green Schist. Size. 14¾”x 7” Fragment of a flat frieze defined above by a band with a dentil and bar pattern, a plain fillet, a cornice of bordered leaf and dart and another plain fillet at the very top. Three pointed arches, one broken, while the other unbroken having volutes from which pendants carved with a tendril pattern hang. The remains of artificial beams can be seen inside each arch. Doorframes under the arches are carved with various patterns. The figure on the right holds his right hand to his face and seems to wear a sacred thread across his chest. The figure in the middle, holds his right hand in abhaya mudrā and a 30 sack in his left. The figure is somewhat damaged but the remaining details suggest that this hair was in a topknot. The other figure is considerably damaged but may represent a monk. Two Gandhāran-Persepolitan pillar separate the arches and the remains of other pillars is not clearly visible in the relief.

Pl.55 Inv. No. NG- 130 Mat. Black Schist Size.Ht. 4” Fragment of a frieze depicting a turbaned figure under semi-circular arch. The lower portion is damaged. The figures are probably male.

Pl.56 Inv. No. NG- 131 Mat. Green Schist Size.10”x4” Fragment of a flat frieze with two panels each depicting a single Atlas figure wearing a loin cloth. The figures in both the panels performing some action most probably looking towards someone. The panels are separated by a Gandhāran – Corinthian pilaster with a groove shaft in the middle portion.

Pl.57 Inv. No. NG- 134 Mat. Black schist. Size.2¾”x 12” Fragment of a frieze bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. The frieze is divided into panels separated by squre Gandhāran – Corinthian pilasters. Each pilaster shaft is decorated with groove in the middle. The fragment includes three full and one broken compartment. In each compartment, a couple of is engaged with one another in a standing position most proably gesturing towards each other.

Pl.58 Inv. No. NG- 137 Mat. Black schist. Size.15”x 7” Fragment of a defaced curvilinear relief with remains of three compartments. The upper register is bordered at the top by a leaf and dart row band between two plain fillets and at the bottom is separated from the lower register by a band, decorated with a net of oblique lines also bordered on the top and bottom by a plain fillet. The figured face of the upper register contains a row of a beautifu figures under arches divided by Gandhāran- Persepolitan columns. The arches are rounded on the exterior side and interior and each has pendants with a tendril design hanging from the volutes. The figure in the middle is a 31 nude amorino while the other figures appear to be proably a robed monks. In the lower portionis in broken condition and the figures could not be recognized.

Pl.59 Inv. No. NG- 144 Mat. Black schist. Size.2”x 8¼” Portion of a flat frieze bordered on the top by a row of simplified leaf and dart motif and at the bottom by a plain fillet. The figured portion is a row of three rounded arches separated by a simple three lobed motif. Under each arch is the bust of a figure, most proably holding something in his hand.

Pl.60 Inv. No. NG- 149 Mat. Green Schist. Size.Ht. 6¾” Fragment of a defaced curvilinear frieze defined above by a band with a dentil and bar pattern, a plain fillet, a cornice of leaf and dart with another plain fillet at the very top. Portions of two pointedarches remain, with those unbroken having volutes from which pendants carved with a tendril pattern hang. The remains of artificial beams can be seen inside each arch. Doorframes under the arches are carved with wavy lines in one case and scales in the other. The figure on the left wears a tunic and trousers with his right hand slightly raised proably performing some actions. The otherfigure on the right is partly broken and could not be recognized but in standing position. The arches are separated by a Gandhāran-Persepolitan columns.

Pl.61 Inv. No. NG- 151 Mat. Black Schist. Size.6¾”x 18” Fragment of a flat frieze defined above by a band with a dentil pattern, a plain fillet, a cornice of bordered leaf and dart and another plain fillet at the very top. Four pointed arches, one quite damaged, with those unbroken having volutes from which pendants carved with a tendril pattern hang. The remains of artificial beams can be observed inside each arch. Doorframes under the arches are carved with various design patterns, from right to left, scales, wavy lines, a festoon of opposite ovate leaves, and disks. The figure on the right holds his right hand in abhaya mudrā and looks to his left. The figure to his right holds his hands in añjalimudrā and looks to his right. Next, stands a figure turned towards his left with right hand held in abhaya mudrā pose. Three Gandhāran-Persepolitan pillars separate the arches. 32

Pl.62 Inv. No. NG-152 Mat. Green Schist. Size.5”x 9½” Fragment of a curvilinear frieze showing arches flanked by Gandharan- Persopolitan columns. The arches are rounded on the inside and have pointed exteriors having pendants hang beneath the volutes. The inside of the arch is carved to suggest supporting beams. Against the background of the interior of each arch is a scale patterns. Under the arch on the right, stands an ascetic looking towards his right direction. The figure in the left most proably a Buddhain abhayamudrā. One tenon is on the bottom and another at the top of the stone.

Pl.63 Inv. No. NG- 153 Mat. Green Schist. Size.L. 10” Fragment of a flat frieze defined above by a band with a dentil pattern, a pair of moldings, a cornice of bordered ogival leaf and dart and a plain fillet at the very top. Two arches, pointed at the exterior and rounded interior remain, with those unbroken having volutes from which pendants carved with a grape pattern hang. The remains of artificial beams can be seen inside the arch on the left. Doorframes under the arches are carved with a wavy tendril. The figure on the right looks to his left and wears the topknot of an ascetic. The figure to his right holds his head and wears the short garb typical of a young ascetic. Three Gandhāran-Persepolitan pillars, two partial and one complete remain in this fragment.

Pl.64 Inv. No. NG-154a Mat. Black Stone Size.8 3/8” x 8” x 2 1/4” Fragment of a curvilinear frieze. The panel shows a young seated male figure under a tree with flowering crown. He is in a pensive posture with his right hand to his forehead and his right leg is crossed over the left which hangs down. The figure is haloed and wears a turban. His ornaments include earnings as well as a short and longer necklace. To his left, a female figure in dancing posewhile the upper portion of another female figure behind her. The composition of the panel suggest that a bodhisattva, perhaps Padmapani? in the palace. 33

Pl.65 Inv. No. NG- 154b Mat. Black Stone Size.8 1/4” x 13 1/2” x 2” Fragment of a curvilinear frieze. On the far right is a fragment of a panel that extends the full height of the frieze. The only figures that remain are a standing woman holding a spear and the bust of a male figure above her. The top and side of the frame is decorated by an undulating band. The main portion of the fragment is divided into two registers. The lower panel is bordered by empanelled columns. On the right is a male figure seated under a tree who seems to be writing while a companion stands nearby. This suggests a scene from the early boyhood of Siddhartha as he learns and write. There is a visible branch of the tree behind the companion and then on the extrme left side of the panel is a turbaned seated male figure and a standing companion. The stone in front of the companion is defaced though likely contained another figure. The fillet below the panel is damaged and the one above, shows the remains of a lanceolate band. In the upper portion, three Buddha figures appear seated. The ones of the right and left are surrounded by circular full body haloes. Both hold their right hands in abhayamudrā while the left hand holds the exreme edge of his robe. The lord Buddha in the center is seated under a Boddhi tree, is sourrounded by a circular body halo, and holds his hand in dhyāna mudrā.

Pl.66 Inv. No. NG-154 Mat. Black stone. Size.8.5”x13.5” Curvilinear frieze fragment in two tiers, the lower register representing Siddhartha at school while the upper portion shows seated Buddha in dhyānamudrā flanked by two Buddhas in abhaya mudrā in front of large halo. The scene is represented by standing female with elaborate headdress is now broken.

Pl.67 Inv. No. NG-155 Mat. Green schist. Size.5”x 9½” Fragment of relif in two tiers seprated by square Gandharan–Corinthian pilaster. In both the compartments the, figures, are performing some action and in standing position. The upper portion is decorated with half lotus leaves while the part have plain fillet. 34

Pl.68 Inv. No. NG-156 Mat. Green Schist Size.Ht 7.5” Fragment of defaced friezeofBuddha’spalace life in three compartments, which depicts the empanelled drummer in the center a broken condiotion. The right side of the friez depicts a standing male figure holding a bowl in his both hands, while the figure on the left is broken. The lower portion is much damaged. The faces of the figure are damaged and could not be recognized clearly.

Pl.69 Inv. No. NG- 161 Mat. Black Schist. Size.L. 14” Fragment of a vertical set of panels with one panel remaining bordered on the bottom by a plain fillet, and at the outside left edge with a vertical festoon of overlapping and the panel itself framed on the sides with a vertical band of disks. The narrative scene depicts the farewell episode of Chandaka and Kaṇṭhaka, capturing the great moment when Siddhārtha is giving away his princely jewels to a turbaned figure. While Kaṇṭhaka bends his head to lick the feet of his master. A figure standing behind the horse holds the honorific umbrella. Vajrapāṇi stands behind the Bodhisattva while another half figure hovers in the background.

Pl.70 Inv. No. NG-176 Mat. Green schist. Size.14x 3¾” Fragment of a flat relief bordered at the top by a net of oblique lines that approximate overlapping lanceolate leaves and at the bottom by a plain fillet. The figurative portion is a row of figures under rounded arches with pendants hanging from the volutes. The figure on the left stands leaning towards the right, the middle figure kneels and the last stands upright. Two Gandhāran-Persepolitan pillars separate the arches and the remains of a third can be seen on the left edge.

Pl.71 Inv. No. NG- 177 Mat. Green Schist. Size.Ht. 8” Fragmentof a stupa peg depicting a standing human figure holding something in bothhands, the curve of drapery is typical Indian. The head of the figure is badly damaged. The circular halo can be seen behind figure. 35

Pl.72 Inv. No. NG- 178 Mat. Black schist. Size.Ht. 5¼” Fragment of a curvilinear relief defined at the top by two narrow plain fillets separated by with a schematized rendering of leaves, reduced in appearance to a wavy rope. There is a plain fillet at the base. The figured portion of the relief includes four standing figures in the foreground and the upper torsos of two figures behind. Two of the figures seem to be a Buddhas with right hand in abhayamudrā while his left hand holding the extreme edge of his robe. Between the Buddhas, the standing figure is Vajrapāṇi in a short tunic with the vajra held prominently across his chest. The standing figure on the right edge of the stone with short curly hair has a robe covering his right shoulder and arm with only his hand protruding and held against his chest. In his left hand, he holds an object that has the general shape of the vajra.

Pl.73 Inv. No. NG-182 Mat. Green schist. Size.Ht. 3” Fragmentof a circular pedestal depicting seated Buddhas in dhyanimudrā between trees. The Buddha figures are represented in semi circular arch panel in uniform state. The moulding at the lower is plain.

Pl.74 Inv. No. NG- 183 Mat. Green Schist. Size.Ht. 3 ½” Fragment of a flat frieze with a row of busts under pointed arches. The top is defined by a narrow plain fillet as is the bottom. Six arches remain supported by half Gandhāran – Corinthian pilasters with each shaft decorated with a groove in the middle. The inside of the arches are decorated with a saw-tooth pattern. From the right of the panel, the first three arches are separated by a lophophorus with open wings while the following arches are separated by two leaves. From the right, the figures include a male figure wearing a wreath around his head and holding musical instruments and flower, a female figure, also wreathed, holding a drinking bowl that her left hand raises to her mouth, a wreathed female figure playing a lute with pear shaped sound-box, a male figure playing a wind instrument, a male figure probably clapping his hands, and a final figure again with head wreathed and again holding a drinking bowl up to the face. 36

Pl.75 Inv. No. NG- 184 Mat. Green Schist. Size.4½” Part of a frieze defined above and below with fillets. The Buddha presents the serpent to Kāśyapa. In this small section of the original panel, the Buddha sits holding the bowl from which the snake can be seen rising. In frontal side of him, half sitting pose and half kneeling pose by Kāśyapa, having a water pot. A small tree behind the ascetic suggests the setting in the forest.

Pl.76 Inv. No. NG- 188 Mat. Light Green Schist Size.11” x 4.75” Frieze depicting Buddha enclosed in semi-circular arch separated by ahalf Corinthian column. The ushnisha is prominent. The left side of the figure is much defaced. Birds in spandrels could be seen in this frieze.

Pl.77 Inv. No. NG- 190 Mat. Light Green schist Size.Ht. 3½” Fragment of a flat relief bordered at the top with a row of bordered ogival leaves above a plain fillet and a plain fillet at the bottom. Two rounded arches are separated by Gandhāran-Persepolitan Columns. Pendants decorated with a simple cross hatched design hang from the volutes of the arches. The back of the arches are decorated with a simple lined design. An amorino stands under each arch.

Pl.78 Inv. No. NG- 191 Mat. Black Schist. Size.Ht. 3” Fragment of a frieze bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. The frieze is divided into two panels separated by a square Gandhāran – Corinthian pilaster with a decorated capital. The pilaster shaft is decorated with a groove in the middle. The fragment includes one full and one broken panel, each holding something in their hands.

Pl.79 Inv. No. NG-192 Mat. Green schist. Size.Ht. 4” Part of a circular pedestal face divided into three panels depicting seated Buddha in Dhyanamudrā flanked by seated devotees with clasped hands and separated by 37 empanelledCorinthian pilasters.Each of the Corinthian pilaster is enclosed in square frame.

Pl.80 Inv. No. NG-193 Mat. Green Schist. Size.Ht. 5” Fragment of a frieze depicting two male figures under pointed and volute arches with pendants decorated with tendrils hanging from the volutes. The arches are divided from each other by Gandhāran – Persepolitan columns. Inside the right arch which is decorated with a pattern of wavy lines, is a male figure, standing in a leaning position, his right hand to his forehead while the left is supported by a staff. The left arch, damaged at the top also has a pattern of wavy lines in the background which surrounds a seated male figure with crossed legged, leaning forward and with missing head.

Pl.81 Inv. No. NG-199 Mat. Black Stone. Size.Ht. 3” Fragment of a much defaced relief bordered on top by a dentil and bar pattern. The one standing male figure represents an ascetic with hair coiled above his head and holding an object in his upright right hand as well as in his left hand hanging at this side.

Pl.82 Inv. No. NG- 201 Mat. Black stone. Size.L. 6” Part of aarchitectural decorative piece depicting acanthi, six petalled flower and human figure probably bodhisattva in the middle. In the right side rosette is depicted in full blown. The lower portion is damaged

Pl.83 Inv. No. NG- 204 Mat. Green Schist. Size.Ht. 3½” Fragment of a circular pedestal divided into panels, each panel depicts seated Buddha separated by tree. The Buddha is in meditation pose. The arches above each Buddhafigures have defaced.

Pl.84 Inv. No. NG- 205 Mat. Black Stone. Size .Ht. 6” Fragment of a curvilinear relief divided into two registers separated by a band of overlapping lanceolate leaves bordered by two thin plain fillets. Above the top register is a leaf and dart cornice also bordered by plain fillets. The bottom register is almost 38 completely damaged. The top portion of the relief bordered on the right edge by an empanelled Gandhāran – Corinthian column comprised a figure of the Buddha seated cross legged on a low platform with his right hand held in abhaya mudrā. He is surrounded by a full body halo with tree branches across the top. Two haloed kneeling figures in añjali mudrā appear at his sides. The top knot of the figure on his right suggests the god Brahma and the figure with the turban on his left is presumably the god Śakra/Indra.

Pl.85 Inv. No. NG- 210 Mat. Soap stone. Size.Ht. 5” Fragment of a defaced relief defined below by a plain fillet with two panels divided by a Gandhāran – Corinthian pilaster with a groove on its shaft. The two scenes show the haloed Buddha in dhyāna mudrā. Two tree branches frame the halo. On either side is a standing male devotee. The outline of a headdress of the figure on the far right shows that the figure may represent Śakra.

Pl.86 Inv. No. NG- 211 Mat. Light Green Schist Size.Ht. 3” Fragmentof a curvilinear pedestal depicting seated Buddha in dhyanamudrā under semi circular arch with pendents. The arches are decorated with saw tooth design, separated by Indo-Persipalitan columns

Pl.87 Inv. No. NG- 216 Mat. Green Schist. Size.Ht. 7” Fragment of a broken panel with empanelled pillar on the extreme left side. The top as well as the bottom borders are much damaged. It is most probably syama Jātaka. The king stands is shown ready to shoot his arrow in targeted direction. One of the companion is standing behind him. In frontal direction we can observe a very diminutive human figure standing under unknown tree

Pl.88 Inv. No. NG- 217 Mat. Black schist. Size.3”x13” Fragment of a frieze bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. The frieze is divided into panels separated by square Gandhāran – Corinthian pilasters. Each pilaster shaft is decorated with a groove in the middle. The 39 fragment shows three panels, each holding two standing figures. The movements of the figures are vigorous, and seem to be in motion. Some figures seem to hold cloth offerings as they gesture towards each other.

Pl.89 Inv. No. NG- 220 Mat. Black Schist. Size.7¼” x 15” Curvilinear frieze divided into two figured registers separated by a band of pipal scroll bordered by two other bands of which the surfaces are damaged. Only a fragment of the lower register remains with the uppermost portion of two registers with two panels each containing a few heads and one bust, all quite damaged. The panels are divided by a rectangular object, likely a pillar. The scale of the upper register is rather smaller than the lower register. It depicts a scene with ascetics interspersed with huts and trees.

Pl.90 Inv. No. NG- 221 Mat. Black schist. Size.7½” x 14½” Portion of a curvilinear relief divided into two registers separated by a band of overlapping lanceolate leaves. The cornice above the top register is decorated with leaf and dart while molding at the bottom of the slab is missing. The bottom register is divided into two panels separated by an empanelled Gandhāran – Corinthian column. The panel on the right shows a female sleeping while a male figure sits at her side and an attendant stands to his left. The composition shows the moment when the Bodhisattva decides to leave the palace with Yasodharā, his wife sleeps. The next panel shows the actual moment of The Great Departure with the Bodhisattva seated on his horse riding away from the palace. The figure, who may represent the groom Chandaka, is in front of the rider holding an umbrella. The top register shows two scenes from a hermitage, a pair engaged in discourse on the right. They are bordered by a tree on one side and a hut on the other. On the left, two standing figures approach a seated ascetic with another ascetic seated in front of a hut behind him.

Pl.91 Inv. No. NG- 222 Mat. Black Schist. Size.10½”x17” Portion of a curvilinear relief divided into two parts separated by a band of overlapping lanceolate leaves. The cornice above the top register is decorated with leaf and dart while molding at the bottom of the slab is too damaged to discern the decoration. The bottom register is divided into two panels separated by an empanelled square 40

Gandhāran – Corinthian column. The panel on the right shows the first bath of the Bodhisattva, who is depicted standing as a youth. He stands on a small seat. Typically, two female figures flank the young child. The two attendants around the bodhisattva’s seem to be male figures. In this case, they would represent the gods, Brahma and Indra. The gods typically stand at the sides and pour the bath water. The panel on the right represents the Return to Kapilavastu. A palanquin carried by attendants, holds the mother and child. The figure following the palanquin holds an object against his left shoulder that resembles a vajra, making this one of the rare scenes in which Vajrapāṇi appears early in the life of the bodhisattva. The upper register shows the Buddha followed by Vajrapāṇi, a monk and a pair of brahmacārin.

PI.92 Inv. No. NG-226a Mat. Black Schist. Size.Ht. 9” Fragmentin two tiers, defined above by a moulding of lotus leaves. The upper tier depicts a seated Buddha in dhyanamudrā with two devotees between beautiful empanelled Corinthian pilasters. The lower tier depicts two scenes divided by empanelled Corinthian pilasters, on the right is the first bath of the Bodhisattva. On the left is the return of Queen Maya on a chariot driven by horses with her child towards the palace.

PI.93 Inv. No. NG-226 Mat. Black Schist. Size.Ht. 3”x2” Fragment of Frieze depicting the foot of the figures in standing position. The lower part has plain moulding. The right side has six petals rosette. The upper portion of the frieze is missing.

Pl.94 Inv. No. NG- 227 Mat. Green schist. Size.Ht. 4”x 11¾” Fragmentof a frieze depicting the bust of a human figure in acanthus leaves holding something in his hands. On the left are traces of two figures with their heads missing. The frieze is decorated with plain moulding.

Pl.95 Inv. No. NG- 231 Mat. Green Schist. Size.7½” x. 9” Fragment of a defaced relief represented above by a moulding of beautiful lotus leaves, depicting a standing Buddha in abhaya mudrā under an arch which is decorated 41 with pine cone pendents, flanked by Indo-Persipolitan columns. On the left the remains of another arch, the lower portion badly damaged.

Pl.96 Inv. No. NG- 232 Mat. Black schist. Size.L. 19” Fragment of a decorative cornice slab with one edge showing male and female busts with acanthus leavesand six petals rosette flowers. The moulding in lower part is plain.

Pl.97 Inv. No. NG- 233 Mat. Black schist. Size.4”x13” Fragmentof a frieze depicting eight human figures between leaves and floral motifs. All the human figures are in standing position performing some activities most probably involved with each other. On the left side of the panel there is branch of the tree.

Pl.98 Inv. No. NG- 234 Mat. Black Schist. Size.Width. 10” Fragment of a relief depicting an empanelled knelling elephant with a rider. A floral border runs vertically on right. The rear portion of relief is damaged.

Pl.99 Inv. No. NG- 238 Mat. Black Schist. Size.Ht. 5¼” Fragment of a relief decorated at the top by a band with leaf and dart motif and a plain fillet at the bottom. The figured portion includes four standing Buddha figures holding their right hands in abhayamudrā, a standing Vajrapāṇi, and three bust of figures in the background between each pair of figures. There is a nail hole between Vajrapāṇi and the Buddha to his right. The lower part is flat while the upperis decorated with leaf design.

Pl.100 Inv. No. NG- 239 Mat. Black schist. Size.9½” Fragment of a defaced relief with the top border broken and at the bottom, a plain fillet. The figured portion includes two standing Buddha figures, both damaged at the top, and a slight portion of another figure, likely a Buddha on the left edge of the fragment. Between the two Buddha figures stands a figure of Vajrapāṇi. Two figures with upper bust emerging from the face of the stone appear in the background between the standing 42 figures. There is a nail hole near the feet of the Buddha on the right. The underside of the stone is flat.

Pl.101 Inv. No. NG- 240 Mat. Black Schist Size.L. 6” Fragment of a relief decorated at the top by a band with leaf and dart motif. The figured portion shows a Buddha figure, right hand in abhayamudrā. He is surrounded by a full body halo with a simple incised line inside the outer rim. To his left, on his right, is the branch of a tree. This might have been part of a row of seated Buddha figures.

Pl.102 Inv. No. NG- 241 Mat. Black Schist. Size.L 8” Fragment of a cornice slabshowing a couple. The faces of the figures could not be recognized. It is most probably both male and female figures are engaged in some activity. The lower moulding of the slab is plain.

Pl.103 Inv. No. NG- 246

Mat. Green Schist. Size.Ht. 91/3” A Fragment of frieze defined by floral and lance late borders below shows garland bearers and amorinis. The lower part is decorated with net designs as well as flower scroll. Two of the figures are defaced and could not be recognized. It shows foreign influence on the Buddhist art ofSwat.

Pl.104 Inv. No. NG- 248 Mat. Black Schist. Size.L 18.5” Fragment of a small Cornice slab, one edge having flying human figure (Amoininis), all facing left. The flying figures are most probably the female figures and holding something in her hands. The lower part is flat while the upper part is damaged.

Pl.105 Inv. No. NG- 262 Mat. Green Schist. Size.Ht.3¾” Fragment of a defaced circular pedestal divided into panels by an empanelled Indo-Persipalitan column, the figure portion depicts a central seated Buddha left flanked by two devotees. Buddha is shown in meditation pose. The lower part and the right panel is much damaged. 43

Pl.106 Inv. No. NG- 263 Mat. Green Schist. Size.Ht. 3½” Fragment of a relief with two rounded arches supported by a half Gandhāran – Corinthian pilaster. The torso of a female with an elaborate wreath on her head and holding an offering in her right hand under the arch. The other arch seems to have surrounded a tree with a halo behind on a low platform.

Pl.107 Inv. No. NG- 264 Mat. Black Schist Size.26.5”x 2.75” A complete frieze found in two pieces. Pairs of figures in varying poses are carved in panels separated by square Gandharan-Corinthian pilasters with shaft having grooved in middle. The cornice is decorated with a row of leaf and dart motif. The lower cornice is plain.

Pl.108 Inv. No. NG- 265 Mat. Black Schist. Size.Ht. 6¾” Panel at the front of a false bracket with a plain fillet at upper and lower part. The relief depicts the Buddha taming the wild elephant Nalagiri which was sent to kill him. The heads of two female figures are above the doorframe as though in a balcony. Vajrapāṇi, half the size of the Buddha, holds the thunder bolt in his left hand while waving a fly whisk on his head. Behind him is the bust of a haloed figure.

Pl.109 Inv. No. NG- 266a Mat. Green schist. Size.3.25”x 21” A fragment of a frieze depicting of male figures in two panels divided by Corinthian columns. The cornice of lotus leaves was running above. A plant motif in the right can be obseved. The left side of the panel is broken.

Pl.110 Inv. No. NG- 266 Mat. Green schist. Size.3.25”x 21” This frieze is part of NG-266a, depicting the figures of male in two panels divided by square Corinthian columns, The cornice of lotus leaves running above. Both the figures in the panel are in standing position and holding something in their hands. 44

Pl.111 Inv. No. NG- 267 Mat. Black schist. Size.3.25”x 12” A complete frieze depicting piece of male figure in two panels divided by Corinthian columns, a cornice of lotus leaves running above. The figure portion show one devotee in anjlimudrā pose having typical kushana dress. The middle portion of the figure is complete while the rest of the portion is damaged.

Pl.112 Inv. No. NG- 268a Mat. Black schist. Size.3.25”x 12” It is the part of NG-268 and complete frieze depicting the same figures of male figure in three panels divided by square Corinthian columns with shaf having groove in middle. A cornice of lotus leaves running above.

Pl.113 Inv. No. NG- 268 Mat. Black schist. Size.3.25”x 12” Fragment of a frieze bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. The frieze is divided into panels separated by square Gandhāran – Corinthian pilasters. Each pilaster shaft is decorated with groove in the middle. The fragment includes three panels, each with two standing figures holding offerings.

Pl.114 Inv. No. NG- 269 Mat. Black schist. Size.Ht. Ht 6.5” A fragment of relief depicting nude male figure holding akimbo in the right hand, the left hand is on the hip. The lower part of this relief is in broken condition.

Pl.115 Inv. No. NG- 271 Mat. Green schist. Size.Ht. 6½” Fragment of a relief showing a standing male figure with long shoes and a short tunic. The dress of the figure is like the typical Kushan dress. The left hand of the figure is raised. The hair style is typical in Greek style.

Pl.116 Inv. No. NG- 272a Mat. Green Schist. Size.4”x 11¼” Fragment of a defaced curved frieze with the four figures divided by square Gandhāran –Corinthian pilasters. Above the figured space, is a narrow bead and reel band surmounted by a cornice decorated with acanthus leaves interspersed with rosettes and 45 finally a rounded smooth molding. At the bottom is a plain fillet. The figure on the right is of a devotee with topknot and holding a floral offering turned away from the other figures. The haloed Buddha looks forward and holds his right hand in abhayamudrā.

Pl.117 Inv. No. NG- 272 Mat. Green Schist Size.4” x 11 1/2” x 3 3/4” Fragment of a curved frieze with the four figures divided by square Gandhāran – Corinthian pilasters. From the right the figures include a devotee with topknot and holding a floral (lotus) offering turned towards the Buddha beside him, a haloed Buddha looking forward with right hand in abhayamudrā, a turbaned devotee holding a floral offering in his right hand which has an index finger extended towards the Buddha whom he faces, and a broken figure of a turbaned devotee turning towards his right and holding flowers. The cornice is a narrow bead and reel band surmounted by a cornice decorated with acanthus leaves interspersed with rosettes and finally a rounded smooth molding.

Pl.118 Inv. No. NG- 273 Mat. Black schist. Size.4¼” x 9¾” Portion of a reliefpanelsbordered at the bottom by a band of overlapping lanceolate leaves and at the top with a molding too damaged to discern the decoration. The register depicts a scene with an ascetic seated in front of a hut and a standing figure in front of him, another standing figure greeting a seated figure separated by a tree from yet another standing figure at the edge.

Pl.119 Inv. No. NG- 274x Mat. Black Schist. Size.Ht. 11¾” Standing image of maitreya with broken right hand at the bottom. The halo is decorated at the edge by a band with the shape of large pearls. His hair falls to his shoulders tied at the top with a topknot and side loop hanging towards his right. His jewelry at the ears, neck, arms and wrists is heavy. While his right hand is missing, the position of the arm shows it was held in abhayamudrā while the left arm extends downward with a water pot hanging from the hand. The robe leaves the left shoulder bare and covers the right shoulder. The figure stands on a pedestal that is largely missing 46

Pl.120 Inv. No. NG-274 Mat. Black Schist Size.6”x 2” Fragment of relief panelsbordered at the bottom by a band of overlapping lanceolate leaves and the lower moulding is plain. The figural part consist of two male figures engaged with each other. The figural part is separated by square Corinthian pilaster with groove in middle. Both the figures are in standing position.

Pl.121 Inv. No. NG- 275 Mat. Black Schist. Size.4¾” x 11” Fragment of a flat relief with two compartments. Each compartment depicts a seated Buddha on a low seat decorated with wavy lines with hands in dhyānamudrā. The uṣnīṣa is missing. In the panel, on the right, a single stylized radiating branches of tree is seen on both sides of the Buddha’s head. One acolyte stands next to this Buddha figure with the otherfigure broken off. In the other panel, two young acolytes stand facing the Buddha with hands in añjalimudrā. The panels are divided by an empanelled Gandhāran- Corinthian column. A second Gandhāran – Corinthian pilaster is at the left edge of the relief. Above, is a horizontal moulding decorated with lanceolate leaves.

Pl.122 Inv. No. NG- 276 Mat. Green schist. Size.5½” x 16½” Figured relief with two panels separated and bordered by Gandhāran-Corinthian pilasters with elaborate acanthus capitals and shaft with grooved in the middle. There is a sawtooth row at the top of the panel. Each panel contains a narrative scene. The panel on the right shows the Buddha seated on a seat under a tree in discussion with a figure seated on the ground at his left while a figure seated on the ground behind him holds his hand in a gesture that suggests conversation. Two figures represented by bust hover in the background and flank the Buddha. The panel on the left includes the Buddha seated at the center. In front of him a male figure is seated on the ground, head inclined towards the Buddha, with a female figure standing on the left of the panel. A monk stands to the Buddha’s left while the half figures of two devotees flank the Buddha in the background. This scene may be athe story of the conversion of Nanda. 47

Pl.123 Inv. No. NG- 277 Mat. Black Schist Size.2 7/8” x 15” x 2 1/2” Fragment of a frieze bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. The frieze is divided into panels separated by square Gandhāran – Corinthian pilasters. Each pilaster shaft is decorated with a grooved in the middle. The movements of the figures are vigorous, and seem to be actively engaging with each other. Some figures seem to hold the hems of their robes or perhaps cloth offerings as they gesture towards each other. One figure, in the second panel from the right appears to hold a shield.

Pl.124 Inv. No. NG - 278 Mat. Black Schist. Size.6¼” x15” Relief panel bordered by square Gandhāran-Corinthian pilasters, carved on the front and adjacent faces of the panel, shafts with grooved in the middle. The figured portion of the relief shows the Great Departure of boddhisattva leaving the city on the way to renounce his princely life. A pair of yakṣas raise the horse’s hooves to silence any sound that would awaken those who would stop the renunciation. Behind the bodhisattva, is Vajrapāṇi, upper bust depicted, who turns backwards toward city gate behind which stands the City Goddess, One heavenly being hovers in front of the departing prince while a standing figure, sometimes identified as Mara, stands at the front.

Pl.125 Inv. No. NG- 280 Mat. Green Schist. Size.4½” x 11¾” Fragment of a flat relief with two panels remaining. Each panel depicts a seated and haloed Buddha on a low thorne with his right hand in abhayamudrā pose and his left hand holding the extreme edge of his garment. The uṣnīṣa is prominent and earlobes are elongated. On either side of the halo, stylized radiating branches are depicted. On either side of the Buddha, two young acolytesstands facing the Buddha with hands in añjalimudrā. The panels are divided by an empanelled column of a mixed type, with Gandharan- Corinthian capital and base. Above, is a horizontal moulding decorated with lanceolate leaves. 48

Pl.126 Inv. No. NG- 281 Mat. Black schist. Size.Ht. 8” Statue with attributes of Ardoxsho and a city goddess. Haloed image of a female wearing a rimmed crown decorated with a cross hatched pattern. It is similar to one often worn by Śakra in Gandhāran reliefs. She holds a cornucopia and has a tower rising out of her right shoulder. She sits with legs splayed in a pose similar to that often held by Hāritī

Pl.127 Inv. No. NG- 284 Mat. Green schist. Size.Ht 6” Fragment of a stupa peg depicting a standing male figure having bearded. The eyes of the figure are closed. The hands of the figure are damaged. The hair style of the figure is in Greek style.

Pl.128 Inv. No. NG- 285 Mat. Sand stone Size.Ht. 7” A fragment of stupa peg depicting a male figure in standing position with elaborate headress. The curve of the drapery is clearly visible and is in Indian style.

Pl.129 Inv. No. NG- 286 Mat. Green schist. Size.Ht. 5¾” Fragment of a relief bordered at the top right by a saw tooth decorated moulding and a row of dentils and bars with bands of same height and smaller width and a plain fillets at the top. One full figure, seated, and the bust of another hovering in the background are shown. Both face towards a figure that is missing.

Pl.130 Inv. No. NG- 287 Mat. Green Schsit. Size.Ht. 7” Fragment of a relief depicting standing Buddha in abayamudrā with large halo. There is two disfigured standing human figures on both side of the Buddha.

Pl.131 Inv. No. NG- 288 Mat. Black Schist. Size.16”x7½” Relief panel bordered on both sides by Gandhāran-Corinthian pilasters, with shafts having groove in the middle. In the style of continuous narration, the panel contains two scenes, the Birth of Siddhārtha and the First Seven Steps that he takes. The center of the panel shows Siddhārtha emerging from the right side of his mother, Māyā, who stands 49 with her right arm extending upwards to the tree branches above her. To her right stand two maidens, the one closest usually identified as her sister, Mahāprajāpatī, and the other holding a receptacle for water and fan. On the opposite side of the panel, the god Śakra/Indra, wearing a headdress that often distinguishes this deity, bends over to receive the child as Brahma, identified by his topknot, stands behind. The child’s second appearance is standing on the ground between his mother and Śakra/Indra as he prepares to take the Seven Steps, one to each cardinal point.

Pl.132 Inv. No. NG- 290 Mat. Green Schist. Size.Ht. 4” Fragment of a circular pedestal depicting empanelled Buddha’s figures seated in Dhyanamudrā flanked by kneeling devotees Indo-Persipalitan columns is in the middle. The lower moulding is plain.

Pl.133 Inv. No. NG- 291 Mat. Green Schist. Size.9.25”x 14” Fragment of a frieze bordered on the top with a leaf and dart cornice and at the bottom with a plain fillet. The frieze is divided into panels separated by by Indo- Persipolitan columns, Theseated Buddha figure is in dhyanamudrā pose, flank by two devotees. Radiation is emerging from right and left ear of the figure.

Pl.134 Inv. No. NG - 292

Mat. Green Schist. Size.71/3” x 171/3” Curvilinear fragment with the main panel depicting the Buddha and devotees. The Buddha, who appears to have been in dhyānamudrā is in seated position. The Buddha is surrounded by a halo. The two devotees, hands held in añjalimudrā, are also haloed. On left side of the main panel is an empanelled figure standing under a tree, one holding a bowl. The cornice is decorated with a row of lanceolate leaves. Two mason’s marks are etched on the lower border beneath the figure holding a bowl.

Pl.135 Inv. No. NG- 293 Mat. Green Schist. Size.7½”x18” Part of a curvilinear frieze broken at both ends and below. The figured panel is at the top by a garland of overlapping beautiful lanceolate leaves. The relief is deeply cut with some components, including the reins and the legs of the horse completely released 50 from the stone behind. The First Meditation of Siddhārtha, sits on a raised seat meditating with Chandaka and Kaṇṭhaka waiting nearby. On the left of the panel is the subject of his meditation, the suffering caused to those engaged in agriculture, the farmer and his oxen, as well as to the insects disturbed by the ploughing.

Pl.136 Inv. No. NG- 298a Mat. Green Schist. Size.Ht. 4” Fragment of a circular pedestal depicting seated Buddha in meditation flanked by devotees within panels. It is divided by square Corinthian pilasters. Bothe the moulding is plain. The lower portion of the pedestal is damaged. It is part of NG-298.

Pl.137 Inv. No. NG- 298 Mat. Green Schist. Size.Ht. 4” Fragment of a circular pedestal depicting seated Buddha flanked by devotees within panels. It is divided by square Corinthian pilasters having the shaft with grooved in the middle. The Buddha is in meditation pose.

Pl.138 Inv. No. NG- 299 Mat. Black schist. Size.4”x11” Fragment of a relief showing sitting Yaksha with raised arms and bent legs. Left and right side of the figure is plain.

Pl.139 Inv. No. NG- 300 Mat. Whitish lime stone. Size.Ht. 3.75” The Buddha head with uṣnīṣa, curly hair and elongated ears. The eyes of Buddha are closed. The figure is carefully modeled. The uṣnīṣa is in typical Greek style.

Pl.140 Inv. No. NG- 301 Mat. Soap stone. Size.Ht. 3¾” Fragment of a city goddess figure. The haloed female has long locks and a tower above her crown as well as one rising from her right shoulder. 51

Pl.141 Inv. No. NG- 302 Mat. Green Schist. Size.Ht. 3¾” Fragment of a panel depicting the Buddha holding a bowl in his left hand while holding a tusked of an elephant with his right hand. The narrative of the Buddha taming the elephant Nalagiri is suggested. The Buddha’s head is missing.

Pl.142 Inv. No. NG- 304 Mat. Green Schist. Size.Ht. 6” Fragment of a lion with open mouthwith a male rider. The rear portion of the lion is missing. The left side of the leg is in broken condition.

Pl.143 Inv. No. NG- 307 Mat. Soap Stone. Size.Ht. 6” Fragment of a frieze. The main figure remaining is a female emerging from a doorframe. A water jug with its mouth facing outwards is tucked under her left arm. She faces to her right with her right hand held up. Above her head is a balcony with a façade of chequered grid with alternating relief squares. Above the balcony is the bust of one female figure, also looking to her right as well as a broken figure. The pose of the main figure holding a water jug with the balcony and figures above is reminiscent of scenes of the Dīpaṇkara Jataka.

Pl.144 Inv. No. NG-309 Mat. Green schist. Size.5½” x 19¼” Fragment of a flat frieze defined above by a band with overlapping lanceolate leaves set between two plain fillets and below by a plain fillet. Five pointed arches, one only partially carved, remain. The arches end in volutes from which pendants carved with a tendril pattern hang. Door frames under the arches are carved with various patterns, from right to left, scales, a festoon of opposite ovate leaves, chevrons pointed downward, chevrons pointing upward, and unfinished. From the right, the first three figures stand in various postures leaning or facing towards their right, the next figure kneels on one knee and faces his right, while the figure in the unfinished arch holds his hands in añjali mudrā and faces the kneeling figure. Fours Gandhāran-Persepolitan pillars separate the arches. 52

Pl.145 Inv. No. NG- 310 Mat. Green schist. Size.7½”x8½” A relief panel depicting four monks with hands held in añjali mudrā. The two at the front kneel while those behind stand. They flank an enthroned wheel that is surmounted by a triratna. At face value, it represents the worship of the enthroned objects though this may also be taken as an aniconic representation of the First Sermon.

Pl.146 Inv. No. NG- 311 Mat. Green schist Size.12.5”x 4.25” Fragment of a flat relief with two panels remaining. Each panel depicts a seated and haloed Buddha on a low seat with right hand in abhayamudrā pose and his left hand holding the extreme edge of his robe. The uṣnīṣa is prominent and earlobes are elongated. On either side of the halo, stylized radiating branches are depicted. On either side of the Buddha, two monks stand facing the Buddha with hands in añjalimudrā. The panels are divided by an empanelled Gandharan- Corinthian column. Above, is a horizontal moulding depicts decoration of lanceolate leaves simplified to a pattern of diamond shapes.

Pl.147 Inv. No. NG- 313 Mat. Green Schist. Size.Ht. 7½” Fragment of relief depicts the visit of Śakra/Indra and the Pañchāsikha to the Buddha. A plain fillet borders the scene on the bottom. The haloed Buddha sits on a low platform in a cave with his hands apparently in dhyānamudrā. He faces to his left where a turbaned Śakra/Indra stands, with head bowed and hands in añjali mudrā. On the Buddha’s right, Pañchāsikha approaches with his right hand raised as though to play the arched harp that he holds. His left foot is raised as though he is climbing up towards the cave in which the Buddha sits.

Pl.148 Inv. No. NG- 315 Mat. Black Stone. Size.Ht. 12½” A standing Buddha with head and feet missing and his right hand in broken condition. The curves of the drapery is typical Indian style. This pose may be the Buddha figure in abayamudrā pose 53

Pl.149 Inv. No. NG- 322 Mat. Green Schist. Size.Ht.3” Fregment of the head of a Buddha with wavy hair, uṣnīṣa at top, ūrṇā on forehead, and elongated earlobes.

Pl.150 Inv. No. NG- 323 Mat. Black stone. Size.Ht. 4½” Fragment of a flat relief at the background and a shallowly cut face with puffy cheeks and curly hair.

Pl.151 Inv. No. NG- 325 Mat. Soap stone. Size.Ht. 3½” Fragmentof a relief depicting a male head with elaborate hair dress. The hair style is in Greek fashion.

Pl.152 Inv. No. NG- 326 Mat. Black schist. Size.4.25”x 17” Fragment of a flat relief with two compartments. Each of the two compartment on the right depicts a seated and haloed Buddha on a low throne with right hand in abhayamudrā pose and his left hand holding the edge of his drapery. The uṣnīṣa is prominent and earlobes are elongated. On either side of the halo, stylized radiating branches are depicted. On either side of the Buddha, two monks stand facing the Buddha with hands in añjalimudrā. The panels are divided by empanelled Gandhāran – Corinthian pilasters. A Gandhāran - Corinthian pilaster stands on the right edge of the frieze as well as the side edge of the relief, and one acolyte remains from the fragmentary panel on the left. Above, is a horizontal moulding decorated with lanceolate leaves reduced to a pattern of diamonds.

Pl.153 Inv. No. NG- 327 Mat. Black Schist. Size.Ht. 6½” Bracket with a statue of a standing Buddha right hand raised in abhaya mudrā. Palm lines are incised on the raised hand. With his left hand, he holds the end of his robe. The halo is decorated with a single incised circle near the perimeter. His eyes look downward. The hair is carved in a series of vertical waves from the center and the uṣnīṣa 54 is low. The earlobes are slightly elongated. The robe covers both shoulders. He stands on a plain pedestal.

Pl.154 Inv. No. NG- 328 Mat. Green schist. Size.Ht. 6½” Fragment of a false bracket showing a standing Buddha. Left arm of the Buddha is visible while right arm is in broken condition. The Buddha is standing on plain pedestal. There is halo behind the Buddha. The dress of the Buddha is typical Indian style

Pl.155 Inv. No. NG- 331 Mat. Black Schist. Size.Ht. 4½” Seated Buddha in abayamudrā. Plain round halo is behind. The drapery is typical Indian style. The earlobe of the Buddha is long. The uṣnīṣa is typical Greek style. The statue is in good condition.

Pl.156 Inv. No. NG- 334 Mat. Black schist. Size.3”x39” Fragment of a frieze divided into three panels. Each panel is separated by square Gandharan-Corinthian pilaster having the shaf with groove in middle. There are two standing figures in each panel engaged with each other and is in standing position. The upperpart of the friez is decorated with half leaves designs. There islinear motif at right end.

Pl.157 Inv. No. NG- 335 Mat. Black schist. Size.Ht 6.5” Fragment of a frieze showing three standing figures. Each panel is separated by square Gandharan-Corinthian pilaster having the shaft with groove in the middle. The upper moulding is decorated with half petals designs. The figures are actively involved with each other.

Pl.158 Inv. No. NG- 336b Mat. Black schist. Size.L. 22” Fragment of a frieze representing a scene of jungle. Theascetic near to hut and two devotees in anjalimudrā pose. The lower part has decorated moulding. The antiquities register shows three broken parts. 55

Pl.159 Inv. No. NG- 336 Mat. Black schist. Size.L. 22” Fragment of a frieze representing an ascetic near to his hut with other human figures. This is perhaps the part of NG-336a and close resemblance with it.

Pl.160 Inv. No. NG- 337 Mat. Soap Stone. Size.Ht. 6” Fragment of a relief depicting Maitreya in Tushita Heaven. The relief is bordered at the bottom by a plain fillet underneath which is a fillet decorated with a sawtooth pattern. Maitreya sits on a cloth covered seat of his lion throne. His hair is tied up. He wears the ear pendent, neck and arm jewelry typical of a bodhisattva. His right hand is held in abhayamudrā pose while his left side hand holding the water pot hanging (Kamandalu) in front of his knee. He is seated in the European position with crossed legged. His feet rest on a footstool. His robe covers his left shoulder leaving the right shoulder bare. The remaining figures are depicted on a much smaller scale than is the bodhisattva. The busts of two bejeweled women appear in a balcony while two richly adorned male figures, seated with legs in a similar pose to the bodhisattva.

Pl.161 Inv. No. NG- 338 Mat. Soap Stone. Size.L. 8½” Fragment of a cornice representing male, female and composite animal figures in relief. The female seems to beyoung and her upper part is damage.

Pl.162 Inv. No. NG- 340 Mat. Black Schist. Size.Ht. 20” Fragmentof aseated Buddha figure in abhayamudrā pose and left hand slightly damaged with curly hair and uṣnīṣa tied at the back. There is a double line circle at the edge of halo.

Pl.163 Inv. No. NG- 350 Mat. Black Schist Size.7.25”x 14.5” Relief panel bordered on both sides by square Gandhāran-Corinthian pilasters, with shafts having grooved in the middle. In the style of continuous narration, the panel contains two scenes, the Birth of Siddhārtha and the Seven Steps. The center of the panel 56 shows Siddhārtha emerging from the right side of his mother, Māyā, who stands with her right arm extending upwards to the tree branches above her. To her right stand three maidens. The one with her back to viewer who is closest to and supporting Māyā is usually identified as her sister, Mahāprajāpatī. One of the remaining handmaidens holds a fan and the other a water vessel. On the opposite side of the panel, the god Śakra/Indra, wearing a turban, bends over to receive the child as Brahma, identified by his topknot, stands behind. The child’s second appearance is standing on the ground between his mother and Śakra/Indra as he prepares to take the Seven Steps, one to each cardinal point and the upper and lower regions.

Pl.164 Inv. No. NG-351 Mat. Green Schist. Size.3½”x 13¼” Fragment of a flat frieze defined above by a cornice with banded ogival leaves and at the bottom by a plain fillet. Four arches with pointed exteriors and rounded interiors end in volutes from which round objects with a cross hatched design hang. The doorframes inside the arches are decorated with incised patterns. In each compartment, amorini figure stands under each arch. The arches are separated by three square Gandhāran-Persepolitan pillars.

Pl.165 Inv. No. NG- 352 Mat. GreenSchist. Size.7½” x 8¼” Fragment of a roughly carved panel with the remains of a plain fillet below. In the style of continuous narration, the panel contains two scenes, the Birth of Siddhārtha and the First Seven Steps that he takes. The center of the panel shows Siddhārtha emerging from the right side of his mother, Māyā, who stands with her right arm extending upwards to the tree branches that form an arch above her. To her right stand two handmaidens, the one closest usually identified as her sister, Mahāprajāpatī, and the other quite tall figure stands behind the sister who supports Māyā. On the opposite side of the panel, the god Indra, wearing a headdress that often distinguishes this deity, bends over to receive the child. The minute figure standing on the ground between his Māyā, is Siddhārtha taking the Seven Steps. 57

Pl.166 Inv. No. NG- 353a Mat. Green Schist. Size.Ht. 7.25” A standing relief of bodhisattvawith clasped hands and head gracefull bent to his right and right twist in the body. The bodhisattva is standing on plain pedestal and halo behind. There is a turban on the head.

Pl.167 Inv. No. NG- 370 Mat. Green Schist. Size.Ht. 6”x 2” Fragment of a rougly carved panel with the remains of a plain fillet below. The panel contains two scenes, the Birth of Siddhārtha and the First Seven Steps that he takes. The center of the panel shows Siddhārtha emerging from the right side of his mother, Māyā, who stands with her right arm extending upwards to the tree branches that form an arch above her. To her right stand two handmaidens, the one closest usually identified as her sister, Mahāprajāpatī, and the other quite tall figure stands behind the sister who supports Māyā. On the opposite side of the panel, the god Śakra/Indra, wearing a headdress that often distinguishes this deity, bends over to receive the child.

Pl.168 Inv. No. NG- 374 Mat. Green Schist. Size.Ht. 5¾”. A false bracket showing a standing Harithi with a child on her left shoulder, with beautiful head-dress. TheHarithi is standing on a pedestal decorated with a saw tooth pattern. The rear portion of the figure is damaged.

Pl.169 Inv. No. NG- 380 Mat. Black Schist. Size.Ht. 7½” Panel defined by a broad plain fillet below and a narrow plain fillet above. The scene represents an unusual depiction of the first sermon. The Buddha stands on the right with his companion Vajrapāṇi behind him. He reaches out his right hand literally turning a large wheel with a saw tooth pattern around the edge. The wheel is shaped much like a halo and backs the busts of a figure, who holds three wheels above him. Some figures standing, others kneeling, but all holding their hands in añjalimudrā. There is a tenon at the bottom of the stone. 58

Pl.170 Inv. No. NG- 381 Mat. Green Schist. Size.2” x 18½” A frieze showing a row of rounded arches with rosettes in between. The bust of a single figure, all possibly male, is inside each arch. Some seem to be holding objects used for worship, others have their right hand on chest, arms tucked into the robe. A leaf and dart motif decorates the cornice.

Pl.171 Inv. No. NG- 382 Mat. Black Schist Size.2.75”x 11” Fragment of a frieze at the top portions of a leaf and dart cornice and at the bottom with a plain fillet. The frieze is divided into panels separated by half square Gandhāran – Corinthian pilasters. Each pilaster shaft is decorated with a grooved in the middle. Each of panel show bust of the single human figure.

Pl.172 Inv. No. NG- 383 Mat. Black Schist. Size.8” x 19” Fragment of a curvilinear frieze with two figured registers. In the lower register, are two panels separated by an empanneled pillar with Corinthian capital. On the right, two figures wrestle while three other figures are in attendance, one holding a staff and banner, another with right arm raised and the third, looks away from the wrestlers. In the other panel, which is much damaged, three figures are engaged in archery. Taken together, these can be understood as episodes from the life of Siddhārtha, as the young prince is schooled in various arts. In the upper register, stands the Buddha in a full body halo with right hand raised to acknowledge the figure kneeling before him. The registers are separated by a band of lanceolate leaves.

Pl.173 Inv. No. NG- 388 Mat. Soap Stone. Size.6¼”x 24” Fragment of decorative frieze depicting four – petalled flowers within double lined squares and dots at the corners. A plant motif arranged vertically, on right within a panel a male and a female in a love scene most probably in Kissing. Both the figures are in standing position. 59

Pl.174 Inv. No. NG- 391 Mat. Black Schist. Size.Ht. 23½” Fragment of a relief depicting a standing Buddha. The Buddha isstanding on a pedestal. The upper portion of the figure is damage. The pedestal is also broken. The Buddha is perhaps in abayamudrā pose.

Pl.175 Inv. No. NG- 397 Mat. Soap Stone. Size.8½”x 4½” Fragment of Corinthian capital showing Buddha with two worshipers. Only head of the Buddha and the worshipers survive while the rest of the part missing. The upper moulding is decorated with a net of oblique lines bordered.

Pl.176 Inv. No. NG- 398 Mat. Black schist. Size.Ht. 2’-4” The Buddha standing on a high pedestal in abhayamudrā pose. There is halo behind the statue. The drapery is in Indian style. The Buddha has a curly hair, half closed eyes, elongated earlobss and flat nose.

Pl.177 Inv. No. NG- 399 Mat. Black schist. Size.Ht. 3” Fragment of a circular frieze defined above by a thin plain fillet surmounted by a band with dentil ornamentation and a plain fillet below. The Buddha is surrounded by a full body halo, He sits on a low platform, under the branches of a tree. He is meditating, indicated by his hands held in the dhyānamudrā. On either side of him, a figure kneels with hands held before them in the gesture of adoration, añjalimudrā. They are somewhat larger than the figures who follow behind them. One wears a turban and the other a topknot. Behind the turbaned figure are three ascetics, two standing and one seated on a bedroll in front of a straw hut. The seated ascetic holds a water flask in one hand and the other is raised. The scene may be one of adoration though it could also indicate the moment when the deities Śakra/Indra and Brahma entreat the Buddha to preach.

Pl.178 Inv. No. NG- 400 Mat. Green Schist. Size.10¾” x 11” Fragment of a framed panel. The Buddha stands frontally with his right hand raised in abhayamudrā. A single devotee approaches to this side with head tilted and 60 hands in añjalimudrā. Behind the Buddha’s left shoulder are two half figures and a youthful Vajrapāṇi stands before them. The remains of an acanthus leaf cornice tops the frame while the side is decorated with a plain band edged in a saw-tooth row, followed by a plain raised band and a leaf and dart edging.

Pl.179 Inv. No. NG- 401 Mat. Green Schist Size.L1’.6½” Fragment of a flat frieze defined above by a band of beautiful lanceolate leaves bordered at top and bottom by a simple plain fillet. Four pointed arches ending in volutes with round objects carved with a cross hatched pattern and bordered by five round Gandhāran-Persepolitan pillars. Only one doorframe shows any design, the second from the left. Beneath each arch is a single figure from right to left, a standing figure in añjali mudrā turned towards the center of the relief, a kneeling figure also in añjalimudrā and also facing to his left, a figure seated with cross legs and his right hand on his cheek and finally a standing figure with palm on his chest facing the seated figure to his left.

Pl.180 Inv. No. NG- 402 Mat. Soap Stone. Size.Dia. 1’ - 2½”. Fragment of a circular pedestal depicting four seated Buddhas in dhayanamudrā. The Buddha is separated by square Gandhāran -Corinthian pilaster. The lower part is plain.

Pl.181 Inv. No. NG- 403 Mat. Black schist. Size.L. 1’-4½”. Fragment of a curvilinear frieze. The lower register has two figured panels separated by an empanelled Gandhāran – Corinthian pilaster. The scene on the right is quite defaced though three figures, the central one appears to be a standing Buddha while on his left side the figure appears to be a seated ascetic. In the left, lower panel, there are three plumed horses with riders. A band with a worn surface separates the two registers. At the top, are two panels separated by an empanelled pilaster. Both panels contain scenes of the seated Buddha flanked by devotees. The panel on the right is much damaged, though it appears the Buddha holds his hands in dhyānamudrā. The panel on the left shows the Buddha with a full body-halo seated on a platform under a tree. He seems to hold his right hand in abhayamudrā. On either side is a kneeling, haloed devotee. The cornice is damaged. 61

Pl.182 Inv. No. NG- 404 Mat. Black schist Size.L.12”. Fragment of a decorative cornice piece depicting different scenes. The upper moulding is decorated with dentil designs.

Pl.183 Inv. No. NG-405 Mat. Green Schist Size.Dia.1’ - 2½”. Fragment of a circular pedestal depicting nine seated Buddhas in dhayanamudrā. The seated Buddhas are separated by a trees.

Pl.184 Inv. No. NG-407a Mat. Black schist Size.Ht. 4” Fragment of a defaced pedestal depicting three seated Buddhas in dhayanamudrā. Both sides of the Buddha, there are devotees in anjalimudrā pose. The figural portion was separted by square Gandharan-Corinthian pilaster

Pl.185 Inv. No. NG-407 Mat. Black schist Size.Ht. 4” Fragment of a pedestal depicting three seated Buddhas in dhayanamudrā. Each of the Buddha is separated by big tree. The lower moulding is decorated with different band of lines.

Pl.186 Inv. No. NG- 408 Mat. Green schist Size.Ht.3 ½”. Part of acurvilinear frieze with three panels remaining. The panels are separated by what appear to be doorframes each surrounding a standing nude male figure whose hands are folded as he faces to his left. It is framed by a rounded moulding at the bottom and a plain fillet surmounted by a projecting plain fillet at the top. From the right, the first panel depicts two figures offering bowls to the Buddha who is seated on a low platform with hands in dhyānamudrā. The second contain Buddha with devotees and the third repsents some standing figures engaed with each other. The enclosed figure in a door frame is unique. 62

Pl.187 Inv. No. NG- 409a Mat. Green Schist. Size.Ht. 2” Fragment with two female heads, both with wreaths and heavy earrings above a balcony. The balcony is decorated with a dentil and bar pattern of same height and differing widths and a grid with alternating relief triangles.

Pl.188 Inv. No. NG- 409 Mat. Green Schist Size.Ht.7½”. Fragment of a frieze with one panel remaining bordered on the left by a beautiful square Gandhāran-Corinthian pilaster having grooved in the middle. A think vertical band of stone separates the pilaster from the figured portion of the relief. A damaged plain fillet frames the bottom edge. The figured portion of the relief shows the Great Departure. Siddhārtha sits astride his caparisoned horse leaving the city on the way to renounce his princely life. A pair of yakṣas raise the horse’s hooves to silence any sound that would awaken those who would stop the renunciation. Behind the Bodhisattva, is a half figure of Vajrapāṇi holding the thunderbolt in one hand and a raised fly-whisk in the other. A half figure with arms raised in a gesture usually considered mourning and another figure stand before the departing prince.

Pl.189 Inv. No. NG-411 Mat. Green Schist Size.Ht. 6¼” A relief bordered at the top by a molding with a sawtooth pattern, plain fillets and a dentil and bar band. The front face of the relief fragment contains one complete and one fragmentary scene. The scene on the right is bordered by two square Gandhāran – Corinthian pilasterson the front face. On the right of the panel, a naked amorini carved in relief on the pilaster stands facing forward and holds a flower. The face of the pilaster is decorated with a naked amorini with hands clasped in front of his chest. On the return of this pilaster is an amorini with hands clasped in front of his chest. The pilaster dividing the two scenes is decorated with a figure with folded hands. This figure, with hands folded, stands facing the panel where a narrative unfolds. The narrative panel shows the Buddha holding his right hand in the abhayamudrā gesture, calming the animal, presumably a dog, on a small platform in front of him. Hovering below the pedestal is another figure of a dog, an apparent instance of continuous narration showing two moments in the encounter of the Buddha with the dog. A human figure stands behind the dog. Behind the Buddha is a bearded figure of Vajrapāṇi. The scene on the left contains 63 two standing figures facing to their right, heads bent and hands held in añjalimudrā. Both wear turbans and heavy earrings as well as the robes typically worn by lay worshippers and minor deities.

Pl.190 Inv. No. NG- 412 Mat. Soap Stone. Size.Ht. 2” Fragment of a frieze with one panel remaining. The busts of two figures, one male and one female, have their right hands raised, as though holding or making an offering. The left edge of the panel holds a small rectangular area carved with an incised triangle and linear designs. The other remaining edge contains the upper portion of a square Gandhāran – Corinthian pilaster with shaft having grooved in the middleThe cornice is decorated with a leaf and dart motif. The bottom of the stone is flat.

Pl.191 Inv. No. NG- 413 Mat. Green Schist Size.Ht. 4¼” Fragment of a panel bordered on one side by a square Gandhāran-Corinthian pilaster the front of which is decorated by a haloed male figure standing cross legged on an open lotus. The side of the pilaster is decorated with an opening lotus bud on a stem. The panel is bordered at the top with a plain fillet, then a saw-tooth band under a protruding plain fillet, while on the bottom by plain fillet under which is a band with a saw tooth pattern. The narrative field contains a large standing image of the Buddha and other figures. The Buddha looks to his right as a figure, head now missing, approaches with a bowl held out as an offering. A doorframe behind this figure is filled with two make figures, one sitting on the ground while another stands behind him in a supportive posture. Above the doorframe are two figures facing each other. Above and on either side of the Buddha are two half figures, in different postures of devotion. Behind the Buddha Vajrapāṇi stands, his right hand raised and his left holding the vajra. Behind him are two monks and a child sized male figure. The upper left contains 3 half figures, hands raised in adoration.

Pl.192 Inv. No. NG-414 Mat. Black schist Size.Ht. 2” Relief Fragment with a leaf and dart decorated cornice. Pairs of busts between square Corinthian columns. 64

Pl.193 Inv. No. NG-415 Mat. Green schist. Size.Ht. 7” Fragment of a stupa peg depicting a necked standing smiling figure with a large plain halo. The left hand hold a fish and touches the hips.

Pl.194 Inv. No. NG-416 Mat. Green Schist Size.Ht 7” Fragment of a flat frieze. The cornice at the top appears undecorated and there is a plain fillet at the bottom. This appears to be an end segment. There are three compartments with two standing figures in each. The compartments are separated by a square Corinthian pilaster. In the one on the right, two figures stand, one with his arm raised and back to the viewer. In the central compartment, one figure looks downward and holds a shield while the other has his back turned to the viewer and holds up a cloth. The compartment on the left shows two figures facing forward.

Pl.195 Inv. No. NG- 417 Mat. Soap Stone Size.Ht. 6” A false bracket depicting a bejeweled standing bodhisattva. The figure is standing on plian pedestal. The drapery of the figure is in Indian style.

Pl.196 Inv. No. NG-418 Mat. Soap Stone Size.Ht. 2 ¼” Frament ofrelief panel having two compartments, each depictsof two figures. The compartments are separated by a square Gandhāran – Corinthian pilaster with shaft having grooved in the middle. The left edge of the fragment has a simple undecorated band. The cornice is decorated with a leaf and dart motif.

Pl.197 Inv. No. NG- 419 Mat. Green Schist. Size.Ht. 6” A false bracket depicting a seated figure. The face is badly damaged. Perhaps the figure is female. Both the hands of the figure are damaged.

Pl.198 Inv. No. NG- 420 Mat. Light Green Schist Size.Ht. 6” Fragment of stupa peg depicting a standing female figure. There is something taking out from his right hand. The drapery is in Indian style. 65

Pl.199 Inv. No. NG- 422 Mat. Green schist Size.Ht. 8” Panel in front of a bracket bordered at the bottom front by a plain fillet. Brahma and Śakra/Indra entreat the Buddha to preach. The haloed Buddha is seated on a low platform with incised lines indicating grass. His hands are held in the dhyānamudrā. On his right is Brahma, haloed and shown as is usual with the topknot of an ascetic. He holds a water vessel in his right hand raises his left hand towards the Buddha in a sign of entreaty. On the Buddha’s other side is the turbaned figure of Śakra/Indra, who bows his head with hands raised in añjali mudrā. This scene is generally recognized as the great moment when the deities in Buddhist mythology ask the lord Buddha to preach for the betterment of all human beings.

Pl.200 Inv. No. NG- 423 Mat. Black schist. Size.Ht. 4¼” Fragment depicting an Atlas figure carved in relief against a flat expanse of stone. The image is somewhat worn but the outline behind the figure suggests he was winged.

Pl.201 Inv. No. NG- 424 Mat. Green schist Size.Ht. 3¾” Fragment flat frieze defined above by a cornice with a leaf and dart band between two plain fillets and below by a plain fillet. In the figured portion, a male figure stands under each of three rounded arches with carinated exteriors. Oval pendants hang from the volutes at the edges of the arches. The panels are separated by square Gandhāran – Persepolitan columns. The surface is much defaced.

Pl.202 Inv. No. NG- 425 Mat. Green Schist Size.Ht. 6¾” Fragment of a false gable with two superimposed registers remaining. The lowest panel is surrounded on the top and sides by a border of overlapping lanceolate leaves inside of which is a thin recessed plain fillet. The bottom is bordered by a saw tooth decorated band. The figured portion of the relief shows the haloed Buddha standing turned to his right with his right hand in abhayamudrā. In front of him, an attendant holds an umbrella in his right hand and a probably a water pot in his left hand. Vajrapāṇi stands behind the Buddha. He wears a long dhoti while holding a vajra in his left hand and a flower raised in his left. The lower register is separated from the one above with a row of 66 dentil design, and a row of acanthus leaves, bordered by plain filets. The register above is shaped as a semi-lunette and shows the Buddha’s turban on a cloth covered throne flanked by two four-petalled rosettes.

Pl.203 Inv. No. NG- 426 Mat. Black schist Size.Ht. 2½” Fragment of a curvilinear relief defined above and below by a plain fillet. The figured portion contains a kneeling figure with hands in añjalimudrā. The left edge of the panel is carved with incised lines. There is a groove and socket on the top side running parallel to the face of the stone.

Pl.204 Inv. No. NG-427 Mat. Green Schist Size.Ht. 4½” Fragment of a flat relief depicting the Buddha with Vajrapāṇi standing slightly behind the Buddha’s left, while two figures approach the Buddha from the other side. The Buddha stands with his right hand in abhaya mudrā. The devotees approach with their hands folded with the first figure appearing to hold an offering. The top portion of the panel is damaged with only a portion of the Buddha’s head including elongated ear lobes and the lower part of Vajrapāṇi’s face remaining. The bearded Vajrapāṇi holds the typical lightening bolt and is dressed simply in a loin cloth.

Pl.205 Inv. No. NG-428 Mat. Green Schist Size.Ht. 3½” Fragment of a relief bordered at the top by a band decorated with a net of oblique lines bordered on the top and bottom by plain fillets and a plain fillet at the bottom. On the figured portion a single figure under an arch and a round Gandhāran – Persepolitan pillar remain. The arch has a pointed exterior and interior and pendants with a simple cross hatched design hand from the volutes. The interior of the pillar is also carved with a curved line with cross hatching. The figure appears to be an amorino with right hand raised.

Pl.206 Inv. No. NG-429a Mat. Green Schist. Size.Ht. 3½” Fragment of a defaced relif depicting a seated Buddha figure in dyanamudrā pose. On the left side there is a tree. 67

Pl.207 Inv. No. NG- 430 Mat. Green Schist. Size.Ht. 3½” Fragment of a curvilinear relief with a scene from the life of the Buddha. The lord Buddha is in sitting position in a cave type enclosure. The lord Buddha’s right hand seems to be in to abhaya mudrā while his left hand is in the bhūmisparśa mudrā. Grass is shown by the light coming from his seat. In the tree limbs on both side of the lord Buddha, two rams in sitting pose, both are looking away straight from the lord Buddha. To the right side of the Buddha is a figure, with it may be a staff in frontal side.

Pl.208 Inv. No. NG-431 Mat. Black Schist. Size.Ht. 2¾” Fragment of a relief quite damaged at the top with only traces of a leaf and dart cornice and at the bottom with a plain fillet. The relief is divided into compartments separated by square Gandhāran – Corinthian pilasters. Each pilaster shaft having grooved in the middle. The fragment shows two full panels and one partial panel. The first from the right to the leftpanels having two figures in standing position holding something in their hands. The next panel have the same scene. In the broken panel on the left, is a seated figure.

Pl.209 Inv. No. NG-432 Mat. Black Schist Size.Ht.1’-2½” Fragment depicting a seated Harithi with a child in her arms and two kneelingchildren below. The relief is in complete state. The drapery of the Harithi is in Indian style

Pl.210 Inv. No. NG- 433 Mat. Black Schist Size.Lenth 2 ft. Fragment of a cornice piece depicting three winged flying amorinis with anklets. The lower and upper moulding is plain.

Pl.211 Inv. No. NG- 435 Mat. Green Schist. Size.Ht. 6” Fragment of a relief bottom molding and the cornice broken though the remnants of a saw tooth band remains just above the figured panel. A single male figure wearing the short skirt with rolled upper edge and sacred thread of a brahmacārin holds his right 68 hand in a two fingered gesture. At the edge of the panel is a square Gandhāran – Corinthian corner pilaster with a nude figure holding his hands in añjali mudrā on the front.

Pl.212 Inv. No. NG- 436 Mat. Green Schist Size.Ht. 4” Fragment of a flat frieze with two panels each containing a single Atlas figure wearing a loin cloth. The figure on the right of the panel wears a bell around his neck. The panels are separated and bordered by square Gandhāran – Corinthian pilasters with shaft havinggrooved in the middle. The middle and edges of the panel’s face are damaaged.

Pl.213 Inv. No. NG-437 Mat. Green Schist. Size.Ht. 3½” Fragment of a circular pedestal depicting a seated Buddha between two kneeling worshippers. Thefigural portion is separated by Indian Persipolitan column in a frame. The lower moulding is plain. The Buddha is dyanamudrā pose.

Pl.214 Inv. No. NG-438 Mat. Green Schist Size.Ht. 3½” Fragment of a curved pedestal, perhaps a miniature stūpa storey. The figured portion contains a row of six virtually identical Buddhas separated by trees with intertwined branches. The figures hold their hands in dhyāna mudrā and are seated in padmāsana on a long continuous plinth. The robes, uṣnīṣa, and elongated ears are all apparent. The figured portion is framed at the top by a thin fillet, a row of false brackets, and finally edge of the platform. At the bottom, there is a torus and plain fillet.

Pl.215 Inv. No. NG- 439 Mat. Soap Stone. Size.Ht. 1’-1” Fragment of a standing bodhisattva having beautiful jewelry. Face, hands and legs badly damaged. The dress of the figure is in Indian style.

Pl.216 Inv. No. NG- 440 Mat. Soap Stone Size. Ht. 4¾” Fragment of a curvilinear relief defined by a plain fillet below, a leaf and dart motif above, and a plain vertical fillet on the left. The Buddha sits under a tree with his 69 hands in dhyāna mudrā. A kneeling devotee is on his right with hands in añjali mudrā. Behind this figure are twobusts. The faces of the figures are chipped off. In the background there is a branch of tree.

Pl.217 Inv. No. NG- 441 Mat. Green Schist Size.Ht. 4” Fragment of a curvilinear relief with an undecorated band at the top. The haloed Buddha sits with his right hand in abhayamudrā. Radiating branches with lanceolate leaves appear on both sides of the halo. Typical features of a Buddha, elongated ears, uṣnīṣa and ūrṇā can be seen. His right shoulder is bare while his robe covers the left shoulder. Fragments of two turbaned figures are on the Buddha’s left side. To his right, a seated figure raises his left hand in the “benediction” gesture suggesting discourse or homage. This figure wears a turban but is also haloed and wears a heavy necklace. A standing figure with hands in añjalimudrā is on the left edge of the panel.

Pl.218 Inv. No. NG- 442a Mat. Black schist Size.Ht. 3” Fragment of a relief with three compartments each depicting two standing figures holding offerings and seem to be engaged in lively discourse. The compartments are separated by square Gandhāran – Corinthian pilasters. The cornice is decorated with a leaf and dart motif. Thebottom of the relief is flat.

Pl.219 Inv. No. NG- 442 Mat. Black schist Size.Ht. 3” Fragment of a relief with four compartments each holding two standing figures holding offerings or seem to be engaged in lively discourse. The compartments are separated by square Gandhāran – Corinthian pilasters. The shaft of the pilaster is decorated with groove in the middle. The cornice is decorated with a leaf and dart motif.

Pl.220 Inv. No. NG- 443 Mat. Green Schist Size.Ht. 10” Fragment of a much defaced frieze in three tiers. The upper most depicts a seated Buddha under an arch. The middle one depicts the bowl on the seat with two lotus flowers, and the lower one shows a seated Buddha between two worshippers. The faces of figures are chipped off. 70

Pl.221 Inv. No. NG- 444 Mat. Black schist Size.L. 1’-2” Fragment of a cornice piece depicting different scenes. The figures are male and female engaging with each other. The upper moulding has dentil designs while the lower moulding is plain while the acanthus leave is depicted on the left side.

Pl.222 Inv. No. NG- 445 Mat. Black Schist. Size.L. 1’-4” Fragment of a cornice piece showing three flying amorinis. The amorinis are holding something in their both hands facing left. The amorini in the left is not complete and only her right leg is visible. The lower portion has plain moulding.

Pl.223 Inv. No. NG- 446 Mat. Black Schist. Size.Ht. 8¾” Fragment of a curvilinear frieze with two registers remaining, the lower quite damaged. The figures in the lower panel include a recliningfigure drinking from a vessel with attendants around him on the left and on the right side, an oversize female figure, with the tower of a city goddess emerging from her right shoulder, sit. A standing figure next to her seems to be addressing the goddess. The presence of the City Goddess, usually just depicted at the moment of the Great Departure, suggests that this might be a scene of the young Bodhisattva still in the palace. The panel is flanked by empanelled square Gandhāran – Corinthian pilasters with shaft having groovedin the middle. In the upper register, a Buddha in dhyānamudrā sits cross-legged under a tree. He is surrounded by a full body-halo and flanked on either side by a kneeling devotee. The figure on the left side of the panel is damaged, the other devotee is haloed. The cornice is decorated with a leaf and dart band.

Pl.224 Inv. No. NG-447 Mat. Green Schist. Size.Ht. 5½” Fragment of a flat frieze depicting a row of Buddhas, each seated under a tree and flanked by one kneeling devotee on either side. The Buddha at the center holds his right hand in abhayamudrā. Each panel is separated from the next by a stylized tree. The friez is damaged atboth ends. 71

Pl.225 Inv. No. NG- 448 Mat. Black schist Size.Ht. 3” Curvilinear frieze bordered on top by a plain fillet and dentil and bar band and at the bottom by a plain fillet. The narrative is a scene from the life of the Buddha, perhaps the visit of the sixteen ascetics to the Buddha in the Magadha cave. The haloed Buddha is seated inside a cave, with his left hand held in abhayamudrā. On the both side of the cave, are seated human figure holding sharp spears and facing towards the ascetics who proceeding from the both sides. The first among the ascetics on either side kneel and bow as they approach.

Pl.226 Inv. No. NG- 451 Mat. Black Schist Size.L.11.5” A seated bodhisattva padmapani in abhayamudrā holding a lotus flower in his left hand. The face is badly damaged. The halo is behind the figure. The curve of the drapery is clearly visible. The drapery is in Indian style.

Pl.227 Inv. No. NG- 453 Mat. Soap stone Size.Ht5.5” Buddha’s head with prominent usnisa, urna and curly hair carefully molded. The earlobes are elongated. The eyes are opened.

Pl.228 Inv. No. NG- 454 Mat. Green schist Size.Ht. 8.2” Panel framed on the left by a square Gandhāran - Corinthian pilaster the shaft with grooved in the middle. The figure on the front of the pilaster holds a flower in his left hand. The panel is bordered on the bottom by a plain fillet while the top is broken. However, the top of the side of the panel has a slight projecting cornice at the top with a saw-tooth pattern below. The haloed figure of the Buddha is at the center of the composition, holding his right hand in abhayamudrā pose and holding a small bowl in his left hand. A figure standing before him seems to be pouring an offering into his bowl. Two other youthful looking figures are behind, one standing and holding up an offering and the other seated on the ground with the fingers of one hand held up in the two fingered benediction pose. The torso of a haloed standing female is at the right side of the panel. A tree mostly damaged stands behind these figures. Standing behind the Buddha is 72 a bearded Vajrapāṇi, his right arm held akimbo with the vajra supported by the other. Four figures busts, only two with hands in añjali mudrā hover in the air above.

Pl.229 Inv. No. NG- 456 Mat. Green Schist Size.Ht. 1’ x 3” A relief depicting Buddha in abhayamudrā, standing on a high pedestal with his left hand holding the hem while the right hand raised in reassurance posture. The halo behind the Buddha’s head is decorated with linear design. The face of the Buddha is broken.

Pl.230 Inv. No. NG- 457 Mat. Green Schist Size.Ht. 7¾” Fragment of relief showing standing Buddha in abhayamudrā between two worshippers with clasped hands and elaborated headress. All the three figures are haloed. The face of the Buddha is damaged. The drapery of the Buddha is in Indian style. The head of the worshipers on his right of the Buddha is missing.

Pl.231 Inv. No. NG- 458 Mat. Green Schist Size.Ht. 7” Flat relief broken at the top and bordered by a plain fillet at the bottom. A seated Bodhisattva with a worshipper on either side, perhaps a donor couple. The bodhisattva at the center sits on a throne with his legs pendant in the European fashion and crossed at the ankles with feet on a low stool. Above his head is an umbrella shaped canopy. The halo behind his head has a simple incised line. His hair falls to his shoulders and is tied at the top in a coils falling to either side, held together by a thin band. He wears earrings and neck jewelry decorated with beads and amulets. A shawl flairs behind his shoulders with his robe leaving his right shoulder bare but covering the left. His right hand is held across his chest with palm facing inwards and fingers upwards. His left hand is damaged. To his right is a male figure with hand folded in the gesture of devotion, añjalimudrā, perhaps also holding an object for offering. The figure has a pointed beard indicated by a series of incised linesWhilethe incised lines of his hair isalso prominent. He wears a robe that has somewhat unusual short sleeves. On the other side of the Bodhisattva, standingfemale figure with a high turban, and holding a lotus bud or whisk raised in her right hand and a round object decorated with diamond shaped lines and shaped like a ball in the other. 73

Pl.232 Inv. No. NG- 459 Mat. Green Schist Size.Ht. 6½” Fragment of a relief defined above by an acanthus leaf cornice, below by a plain fillet and to the side, an empanelled square Gandhāran Corinthian column. The panel is damaged on the right side. The relief depicts the Buddha presenting the Serpent to Kāśyapa. The Buddha approaches from the right with the bowl containing the coiled snake in front of him. Vajrapāṇi stands behind the Buddha. They approach a group of three young standing ascetics and the elderly Kāśyapa, seated in front of his grass hut. One of the young ascetics and Kāśyapa each hold a small water pot.

Pl.233 Inv. No. NG- 460 Mat. Black Schist Size.Ht. 4” Fragment of rectangular friez depicting a winged Atlas carved in relief against a flat expanse of stone. The figure has a full beard and wears a loin cloth. The hair isflow behind the figure.

Pl.234 Inv. No. NG-461 Mat. Green Schist. Size.L. 7” Fragment of a relief representing an animal with a rider on the back. The face and legs of the animal are broken.

Pl.235 Inv. No. NG- 462 Mat. Green Schist Size.Ht. 6¾” Fragment of a relief defined above by an acanthus leaf cornice, below by a plain fillet and to the side, an empanelled Gandhāran-Corinthian. The panel is damaged on the left side but there is an indication that another empanelled column would have framed that edge of the panel. The figured panel shows bodhisattva exchanging his Clothes with a Hunter. The haloed bodhisattva has already vanished his outer robe which he presented to the hunter. Vajrapāṇ is standing behind him and a half small figure hovers in the background between both the bodhisattva and hunter. There is two other hunters filled the remaining part of the left side of the panel, one taking his prey over his both shoulder. 74

Pl.236 Inv. No. NG- 463 Mat. Green schist Size.Ht. 6¾” Fragment of a relief defined above by an acanthus leaf cornice, below by a plain fillet and to the side, an empanelled half rounded column with a Gandhāran-Corinthian capital and base. The figure portion depicts two male figures, one with hand on the hilt of his sword and the other hand extended in the left direction, showing some movement. The adjacent figure in simple loin cloth proceed in front. While fragmentary, the elements suggest the scene of leaving the palace at the Great Departure.

CHAPTER 4

FOREIGN INFLUENCES ON THE SCULPTURES OF NIMOGRAM

The Buddhist art of Greater Gandhara, the entire Khyber Pakhtunkhwa, part of the northern Panjab and eastern Afghanistan, foreign cultural influence is observed due to its cosmopolitan nature. This is why some scholars think that Gandhara art was the product of Greek or Roman artists. Alternatively it is believed that the concept of art was indigenous, but influences from all over the interacting places such as India, Central Asia, Persia, Greece and Rome were genuinely received as shown by the evidence of sculptures.

The Achaemenians of Persia ruled this area in the 6th to 4th centuries BCE, followed by the Bacterian Greeks and then the Indo-Greeks from 190 to 90 BCE all left behind influence on the art and crafts of this area. Subsequently, the Scythians in 90 BCE the Parthians until the mid-1st century CE set new trends in the local traditions. However, the great Kushans from the 1st century CE to 5th century CE provided more innovations intothe field of art and architecture. The era of Kanishka-I is considered thegolden age of Gandhara art. It should be noted that all these foreign rulers not only established their governments in Gandhara but these rulers also patronized the cultural values ofthe region (Dani, 1983: 68)

Alfred Foucher (1914:46) writing about the beginning of Gandhara art, supports the idea of influence from the Mediterranean, claiming that the earliest source that influenced local art within Gandhara was undoubtedly the Hellenistic approach that improved the local style. Expecting to find a Greek city, he excavated Balkh in ancient Bacteria in 1922 but did not succeed. However his hope was fulfilled after his death when D. Schlumberger found an inscription in Greek character at Surkh Kotal in 1951, the Greek city of Ai-Khanum in eastern Afghanistan on the Junction of the River Kokcha and Oxus in 1964. Chronologically, Ai-Khanum covers the period from the advent of the Greeks till their displacement from Bacteria by the Saka in the last quarter of the second century B.C.E (P. Bernard: 1967:92). The Greek sculptures found there show that these were created by local artisans under the instruction of Greek masters. This art tradition was developed and incorporated by local artisans into their own style—a style that subsequentlyinfluenced art traditions during the Buddhist period. 76

Marshall tried to confirm Foucher’s view in his excavation of Sirkap the second city of Taxila dated to the first century BCE. The joint Saka-Parthian period started from 90 BCE and lasted till 64 CE when the Parthians were ousted by the Kushan. The lattest level belongs to the early Kushan rulers Kujula Kadphises and Vima Kadphises. On the basis of his excavations at Taxila Marshall (1907-08:39-40) thought that Gandhara art had its origin in the culture of the philhellenic Parthians and took a distinctive form with the support of foreign artisans from the Near East.

Some western scholars associate Gandhara art with Roman culture. This view was presented by V.A. Smith, Sir Mortimer Wheeler, Hugo Buchthal, Benjamin Rowland, Alexander Soper and Harald Ingholt. They do not find the development of Gandhara Art in the land of its birth but relate its mature form under the Kushans to the influence of Romans.

According to the supporters of this theory, the commercial and political power of the Roman Empire in a positive way impacted the life and cultures of the Indian people, especially of those regions which were more directly in contact with that of the North West through land route from Bacteria, and with the interior India through ports of the western coast. These ties with the Romans grew stronger with the passage of time and reached their full bloom in the time of Kanishka.

Wheeler (1950:54) commenting in this regard writes: “It is essentially by product of the Kushana commerece which brought into and through the kingdom objects of art and craftsmanship of the Roman empire”. Buchthal (1945:3) also advocated that the Roman influence on the Gandhara art. He compares various elements such as decorative features, poses, dress, genre scenes, mythological and ordinary life and tried to prove that Roman culture was the derivative source for Gandhara Art. Benjamin Rowland (1953:78) was also a strong supporter of the Roman influence on Gandhara art rather than Greek influence. On the basis of certain characteristics features of some figures, he establishes the affinity of Gandhara art with Roman art and justifies his claim by comparing the face, pose, and dress of the Buddha figures recovered from Hadda in Afghanistan to the relief figure of the Christ carved on marble sarcophagus found at Psamatia near Constantinople, both dated to the fourth century C.E. (Rowland: 1963:41). Their faces, he says, are derived from a common prototype, an earlier Apollo (Rowland: 1963: 42).

In 1876, James Ferguson used the terms “Romano-Buddhist” and “Indo- Byzantine,” in contrast to the already existed terms “Greco-Bacterian” or “Greco- 77

Buddhist” Subsequently, in 1889, Vincent Smith said that art of Gandhara developed by the artists of Peshawar, as being Roman in style, Greco-Roman in its form and not entirely Greek. The well-known successive stages of Roman art styles were identified in Gandharan work and even the iconography was believed to have been copied (Zwalf: 1996: 67-68).

The term influence is not only inadequate for the comprehension of the phenomenon under examination (the presence ofnumerous elements of Graeco-Roman art in the figurative world of Buddhistart in Gandhara) but also misleading. In fact, this is neither a dominant artinfluencing another ‘peripheral’ art nor ‘reception’ of one artistic tradition byanother. Such ways of looking at the relationships between the artistic expressionof one culture and another are unidirectional and univocal. The most effective term for describing this relationship is ‘transformation’.

Here ‘transformation’ indicates not only a continuous exchange between media and mentality, a dialogue with the religious and cultural identities ofthe ancient Mediterranean, but above all a well dynamic process of rapid recovery, selection, and adaptation of themes and figurative models to the needs of a newpolitical system. (Gali 2011: 283).

Sehrai is of the opinion that the people who used the terms “Greco-Buddhist” and

“Romano-Buddhist” for Gandhara art tends to focus solely on the Greek or Roman workmanship in it. But, he claims, that the art style already existed in Gandhara from the time of the Bactrian Greeks. It is from them that the Kushan inheritedthe tradition of this art. Sehrai further states that Gandhara art reflects the artistic trends andtechnology current in the region during their rule and the contemporary taste and life of the region (Sehrai: 1991: 7).

The archaeo-environment of Gandhara suggests that it developed a hybrid (western and Asian) cultural assemblage (D.L. Snellgrove: 1978:59). Craftsmen from this complex context were responsible for creating this unique art dedicated to Buddhism (Coomaraswamy: 1927:23). The detailed subject matter of the Buddhist art consists of symbolic representations of basic concepts of Buddhism, such as the adoration of the stupa, depiction of Buddha or Bodhisattava figures etc. remained characteristically local in general (D.L. Snellgrove:1978:59 ). 78

On the basis of archaeological researches carried out so far in Gandhara and the surrounding regions, it becomes clear that the mature phase of Gandhara develops only during the Kushan occupation of the region. This view has been elaborated by Marshall at Taxila, Dani in Chakdarra and Charsadda, the Italian mission in Swat, and French in Afghanistan and Bactria.Ingholt, in his Gandhara art in Pakistan, suggested a chronology based on four groups. The first group includes sculptures which have philhellenic Parthian influence and links with Mesopotamia. The second groupof has Sassanian influence from the time when the Kushan were dethroned by the Sassanians from Gandhara in 241 C.E. The third shows influence from Mathura in the period of the Kidara Kushans. The fourth and last group exhibits once again Sassanian influence which survived until arrival of the White Huns.

On the basis excavation at Shaikhan-dheri (Charsadda) Dani suggested:”we have now to start afresh our approach to the study of Gandharan sculptures”, for the presence or absences of any foreign model is not a proofof the particular art. It depended on the nature of relationship either through trade or otherwise of one region or another at any period (Dani: 1968:7). He disagrees with the idea that Gandhara art originated exclusively due to the influence from the Greeks or Romans.

Dani (1998:154) further modified his view and commenting on Gandhara Art, said, that this art has borrowed ideas from East and West and amalgamated both into a new school of its own and then spread out in all the directions into India, Afghanistan, Central Asia, China, and the Far East. The art is neither western nor Indian but it derives from both and integrates the different elements with it own form and creates a new tradition that is known today Gandhara art.

The religious and iconographical notions such as the physical depiction of the Buddha, the associated auspicious signs, and the prescribed poses all grew out of the Indian traditions. The region of Bactria, Kapis′a, Uddiyana and Taxila were geo- politically distinct units and their art at some stages was more or less influenced by that of Gandhara. They represent different schools that are to be named after their respective regions (Huntington1985:116).

Gandhara was situated on the crossroad of the east and west (see Map 3). The cosmopolitan nature of the region gave, therefore a special and characteristic impact to its culture. This is why Hellenistic, Roman, western Asiatic, Central Asian and Indian forms and concepts are observed in its art and architecture. (Huntington 1985:113). 79

The school of Gandhara art reveals clear evidence of Hellenistic influence, and introduces dozen of new foreign motifs. Though the form of the art is strongly Hellenistic but the subject matter of this art is localand many Indian motifs were incorporatedunchanged into Hellenistic framework.

The Buddhist monks enjoyed liberty to move from place to place during the course of their missionary activities. Thus it is easy to understand how motifs and influences from the school of Mathura, Sanchi and Ajanta could reach Gandhara. It is this double trend-the choice of foreign nobility and local popular culture deeply influenced by Buddhist monks that resulted in the characterization of the Gandhara Art (Dani 1968:14)

As discussed above Gandhara art has been influenced by foreign culture, the Buddhist art of the Swat was also influenced by foreigners i.e. the Greeks, Roman, Parthains and Central Asia. When we critically study the artifacts of the systematically excavated sites of the Swat Valley, we see varieties of foreign elements in the Buddhist art of Swat. It shows that Swat Valley was not an isolated place, it had contacts with the outside world and received deep foreign influence like other parts of the Gandhara region.

The Buddhist art of Swat is the result of the action and reaction of many civilizations produced by the Persians, Graeco-Roaman, Scytho-Parthians, Kushanas, Hindu and, above all, Buddhists. Thus it is blending of different ideas and one feels convinced that all these influences are been manifested in the architectural details, depicted as decorative elements in the sculptural pieces. So it is unwise to use narrow labels for this form of art and architecture developed in the region of Gandhara and its northern part that is Swat. After all the people and civilizations have borrowed from one another- and the architectural decoration in the monuments and the sculptures of these regions are the positive proof of the close cultural and historical relations between the east and west. The Buddhist of these areas did not in any way destroy their basic philosophy by making use of foreign motifs. They kept intact their spiritual and religious elements but, at the same time, enriched their artistic productions that can rightly take place among the greatest works of the art in the world.

Nimogram, a very significant Buddhist site of Swat Valley has yielded considerable number of artifacts; the total number of artifacts recovered from this single Buddhist site is 466. The sculptures are intermingled with stones from the stupas. Not a single piece has been found in position. Side by side with the sculptures in schist there is stucco work, where a few were still in position.Many of the pieces found are fragmentary 80 and in very decayed condition. Sculptures constitute the bulk of the finds, but there were of course other object in different materials. These include a large number of iron nails, copper objects, a large number of sherds with a few T.C. Oil lamps and five copper coins.

The artifacts of the Nimogram particularly the sculptures have typical Swat style features. While studying the artifacts of Nimogram foreign influence can be observed on a varieties of sculptures. Influences from the Greeks, Saka-Parthians and Kushanand Kushano-Sassanian were noticed. It is worth mentioning that the socio-religious forces lay the root of the Buddhist art of the Swat Valley. These forces heavily relied on the great spiritual gift made by Buddhism to the cultural life of the regions. With the introduction of Buddhism many Indian elements penetrated into Buddhist art of Swat. The foreign influence can be observed on the Individual images of Buddha as well as the relief panels fixed in stupas. For the current research some selected sculptures were selected to trace the foreign influence. There are almost 236 different sculptures of Buddhist period in the collection of Nimogram upon which foreign influence was studied. Different foreign motifs such as caryatids, atlants, Persepolitan, Corinthian, Doric andIonic pilasters, drinking scenes, dresses, Buddha dhuni (fire alters), wine scrolls, acanthus leaves, marines deities, the god of Olympus, the entourage of Dionysus and many others from Persian and Greek art were noted in the collection of Nimogram.( Pakistan Archaeology No 5, 1968)

4.1. Greek and Roman influce The actual Greek influence might have come with mass migration of the Bactrian Greeks to the Indus region at the time of their displacement from there by the Saka. We strongly presumed that after living for a few decades in Swat, some of the later Indo- Greeks settlers moved further to the south-east to important junction point of Taxila, across the Indus, and founded their colony. Thus it is believed that the earliest cultural level of Taxila represents Greek culture mix with indigenous one (Marshall: 1961: 17). So the indigenous and foreign influenc is visible from the very beginning in the Buddhist art of Swat. Both iconic andaniconic traditions were flourishing side by side as suggested by PI.145

Corinthian pilasters were very frequently depicted in the sculptures of Nimogram. It is a Greek influence. Mostly the figural portion were separated by Corinthian pilaster (PI.1, 6, 8, 34). Mostly the shape of the Corinthian pilaster is square and its shaft is decorated with flute. The other foreign element which was frequently used in the 81 sculpture of Nimogram is the Persepolitan columns (PI.13, 18, 19). It is an ancient perisan legacy. This architectural element was used for the same purpose like the Corinthian pilaster. Both these architectural element make the Gandharan sculptures very beautiful and attractive. Another foreign element which was frequently depicted in the Buddhist art of Swat as well as at the site of Nimogram is the acanthus leaf (PI.82, 89, 74, 96). The acanthus leaves were mostly depicted in the background of the figures, which also make the panels very attractive for the worshipers of the Buddhist cult. Garland bearer is also foreign element which is depicted in the Buddhist art of Swat. At the site of Nimogram we have found one example (PI.103). In the relief panel of Nimogram garland lifted by amorini on their shoulders. Similar type of garland bearers were also reported from Butkara III (F. Swati 1098:115).

Garlands were the essential element for decorating stupas and honouring relics in the context of Buddhism and thus become cult object. A large number of carved relief panels representing this subject in a variety of form are a proof of this ritual.

The figure of Atlas could be found in sculptures of Nimogram (PI.56, 212). This figure is represented uniformly in the frieze separated by Gandharan Corinthian pilaster. The hair style of Atlas is typical Greek style.

The figure of amorinis is also a significant feature of the Buddhist art of Swat. In Nimogram we have a number of such examples (PI.222). The amorinis are mostly represented in naked form. Sometime it is standing, while sometime flying in the air (ibd). In some cases the figure is holding garland. In the sculptures of Nimogram some loving scenes like kissing of female and female can be observed (PI.173). Both the male and female figures in this Pl. are in standing position. At Nimogram some nude male figures can be observed (PI.18, 73, 193). This is a foreign element which was most probably borrowed from the Roman art and is frequently found in the Buddhist art of Gandhara. The figure of satyrs could be observed in a standing position and holding something in his right hand (PI.34). This is a typical roman influence on the Buddhist art of Swat. The music scene could be observed which also show foreign influence. Inthis scene a male figure wearing a wreath around his head and holding a drinking bowl and flower, a female figure, also wreathed, holding a drinking bowl that her left hand raises to her mouth, a wreathed female figure playing a lute with pear shaped sound-box, a male figure playing a wind instrument, a male figure perhaps clapping his hands (PI.74). Another panel, on the left contains two musicians, the first playing an oboe with flared 82 bell, the next a horizontal arched harp (PI.16). The figure of Vajrapāṇi, who turns backwards toward city gate behind which stands the City goddess, with turrets rising from her shoulder, bemoaning the loss of her most eminent inhabitant (PI.124). In this figural representation the City goddess shows Greek influence on the Buddhist art of Swat. The balcony with a façade of chequered grid with alternating relief squares. The side of the balcony is decorated in a row of square panels bisected into triangles each containing an indented triangle. Above the balcony is the torso of one female figure, also looking to her right as well as a broken figure. The pose of the main figure holding a water jug with the balcony and figures above is reminiscent of scenes of the Dīpaṇkara Jataka though typically, the female figure appears on the left of a panel facing the action to her left (PI.143). The presence of balcony is usually found in the Roman art.

4.2. Saka Parthian Influence The Saka Parthian influence could be observed on different sculptures of Nimogram. Different tribes of the Sakas, pushed by Kushan from Bactria, entered the Indus region by various routes and subsequently settled in the Indus region and further east in the Ganges-Jamuna plains (Smith 1967:240). While they inhabited Bactria they had accustomed themselves to the Greek culture there and under the long influence of Parthian they were influenced by their culture as well. After coming of the Parthian to the Indus region at the end of the first century B.C.E the sculptures became more refined and, within the indignous style, exhibited comparatively more Greek and Parthian elements (PI.201, 205, 213, 232). However, in some cases features of either one style or the other dominate. This could be due to a sculptor adept in a particular style or wish of the sponsor. Workshops established during the Saka-Parthian rule in the Valley continued until the advent of the Kushan dynasty. This was the transitional phase of the Buddhist art in the Indus region which developed from the zonal styles to that of an international one under the Kushan (Boardman: 1992: 36).

4.3. Kushana Influence The regions of the Indus, Oxus and Ganges were united under the rule of early Kushan, c 60-240 A.D. This provided an opportunity of cultural admixture in these regions. This cultural admixture has strong influence in Gandhara, Kapisa, and Bactria. Swat was affected to a great extent. The Mathura and Andhara regions in India too received the impression of this culture (Comaraswamy: 1927: PI. XXXIII). In some cases 83 in this period still embedited not only the Saka tradition but also in that of Parthians (PI.49). During the early stage of this period a fresh style and a new mode for the Buddha were introduced (PI.155). He is shown sitting in abaya mudrā dressed in Indian traditional style with nude bosom. This distinction might have been introduced in the beginning to differentiate him as a Bodhisattva, enlightment seeker, then to be a Buddha, an enlightened one. In the first phase, he is invariably shown fully covered in a monastic robe and sitting in abhaya mudrā on a seat. Thus this type goes back to the Saka period. The panel depicting the birth of the Buddha combines two features that shows the faces and hair style of the Sakas and the female’ dress, sleeved shirt and baggy trousers with heavy folds, of Kushan period. The Indus style, flourished during the Kushan rule is seen in the specimens illustrated by (PI.131), while a typical Gandharan style that reached the Valley during Kanishka’s rule is depicted in PIs. 124, 134, 135.

The mature Kushan style features can be observed insculptures of Nimogram (PI.4, 14, 24, 78). This type of dress is typical Central Asian impact on the Buddhist art of Gandhara.

4.4. The Kushano Sassanian Influence

During this phase the relief became realistic, individual detail are worked out and over-crowding of figures in scenes is abandoned. Different physiognmical features and influences are distinctly visible on the sculptures of Nimogram (PI.45, 71, 75, 87, 108, 124, 131). The Kushano Sasanian coin (NG-483) from Nimogram suggest that the site flousihed in this period. In this era the workshop of Nimogram developed well to reproduce any type of style wheater current or past practiced in Gandhara. The Background detail at important this stage is about to finished and much care is paid to the original and realistic depiction of the figures, their magnificent and action (PI.49, 51, 121). The Buddha seated in dhayana mudrā and flank by Brahma and Indra in anjali mudrā. The physical form of figures and their attitude are stylized and clumsy. However, they represent Sassanian influence in their dress which is decorated with numerous folds (PI. 121)

In short the Buddhist art of Swat was highly influenced by foreign culturewhich was brought by the invaders to this region. But the local customs and traditions were not ignored by the artisans of local zonal workshops. In this way a new form of Buddhist art developed in the Swat Valley which is a little bit different from rest of the Gandhara. 84

CHAPTER 5

ANALYSIS AND CONCLUSION

Swat or an ancient Uḍḍīyāna, where Buddhism flourished for almost one millennium was an attractive and facinating place for foreign invaders and also a holy place for religious activities. The interest shown by the Chinese and Korean pilgrims in the social, cultural and religious life of this region was prominent The various Korean and Chinese pilgrims has crossed the great snowy mountains of Pamir & Hindukush chains, to reach the Swat Valley. The accounts and written records of these pilgrims shows the Uḍḍīyāna, its beautiful landscape, social and cultural life of this region. As per the detail of the Fa-Hian, a Chinese pilgrim who visted in the 5th century C.E., state that, there were five hundreds sacred Buddhist monasteries in the Swat Valley, all related to the Hinayana School of thought. In the 7th Century CE another Chinese pilgrim Xuanzang reported 1400 sacred Buddhist monasteries having 18000 Buddhist priests in the Swat Valley. Sung Yun, another pilgrim came to Uḍḍīyāna in 519 C.E. to get sacred religious books, used the same route as adopted by Chinese pilgim Fa-Hian. He describe that the sacred stupas and monasteries were still functional having 300 Buddhsit monks. In one of the monastery there were 6000 gold images ‘Talo’ probably Butkara-I.

There are numerous Buddhist sites in Swat Valley, some are excavated systematically while some are still lying unexcavated. The present scholar selected the Buddhist sculptures of Nimogram for his research. The site of Nimogram rendered a large number of sculptures with distinct features among all the Buddhist sites excavated in the Swat Valley. It is to be noted that amongst the series of Buddhist monuments scattered all over the valley of Swat, a site of such importance as Nimogram had been mentioned by the early historians and archaeologists in their accounts of archaeological survey of this region. The treasure hunters have destroyed this site to a great extent, however systematic excavations at this site has brought to light a monumental complex of great importance and interest. The site contains three large stupas in a row, a vihara (monastery) and 56 votive stupas all around on a paved floor. The collection comprises 467 stone sculptures, 43 stucco pieces, 05 copper coins and 02 relic caskets retrieved through excavation from here are now the property of the Directorate of Archaeology and Museums, Government of Khyber Paktunkhwa. The present scholar selected 236 different relief panels, 85 individual images from Nimogram. The materials were studied at that time when these were lying in the Taxila Museum due to the worse security situation in Swat Valley in 2009. Permission was obtained from the Federal Director General of Archaeology and Museums Government of Pakistan (DOAM) for the study of cultural materials of Nimogram. Later on after the devolution of Federal Department of Archaeology and Museums, the cultural materials were shifted to Directorate of Archaeology and Musuems Govt of Khyber Paktunkhwa, Peshawar. The significance of Nimogram is that the entire artifacts reported from this single site. Thus the cultural materials shows the possibility of gaining a good understanding of the decorative panorama of this important site as well as an opportunity to study groups of Buddhist sculptures made by the same artist or zonal workshop, and the same motif interpreted by different hands. Most of objects are stone sculptures, which show not only the artistic evolution, but, also, preserve the cultural history and contemporary mythological concepts of the area. The scholar selected those sculptures for his research which were mostly in good condition as well as have some figural representation. All the relief panels, individual imagethe life story of Buddha and some fragmentary pieces were studied thoroughly. Since the Buddhist art of Gandhara was influenced by foreign culture, so the Buddhist art of Swat also receive foreign elements due to the contacts of classical world. Catalogue of the selected sculptures ofNimogram has been prepared with great care. The antiquities register prepared by the excavator was consulted for the preparation of catalogue. The digital library catalogue of Wisconsin University USA by Joan Raduca was also consulted for some reliefs. But mostly the description of the catalogue was written from the original photographs taken by the scholars on the spot, while some photographs were provided by the Department of Archaeology and Museums, Govt of Pakistan. Dr. Badshah Sardar of Allama Iqbal Open University, Islamabad, has also studied the cultural materials of this site for his doctoral research at Cambidge UK. His research was quite helpful for the scholar. The scholar has studied all the selected sculptures thoroughly and tried to trace foreign influences. During the course of research it was found that most of the sculptures of Nimogram were influenced by foreign cultural elements. The scholar also visited the site of Nimogram physically to ascertain its archaeo-environment. During the visit it was noted that site was fully intact, while some portion of the site has been encroached by the local influential people. 86

5.1. Descriptive Analysis of the selected sculptures of Nimogram

The descriptive analysis gives us a variety of scenes from the religious and secular lifeoccurring in Nimogram Sculptures.

5.2. Jātaka: Pl.87 The only Jātaka found in sculpture of Nimogram is the Syama jātaka. Pl. 87 represents a little bid broken panel with beautiful empanelled pillar on the extreme left side. The top as well as the bottom borders are damaged. The king in standing position is ready to shoot his arrow in some particular direction. A companion is standing behind the king. In the front direction a very diminutive caracter standing under a tree

5.3. Life story of Buddha The selected sculptures of Nimogram contains all the major events of the lord Buddha’s life, that were popoler at that time. His birth, horoscope, renunciation, departure from royal palace, meeting with Kaśyapa brothers, visit to Tushita heaven, Taming the elephant, The First Meditation scenes are found in the selected sculptures of Nimogram. All the events related to the Buddha’s life were depicted in typical Swat style, which could also be observed at the other Buddhist sites of Swat Valley.

5.3.1. Interpretation of the Dream: Pl.18 This episode of the Buddha’s life was very beautifully depicted. The figures in this relief were natural with almost in three dimensional view. The dresses were typical Indian style having wreath headgear.

5.3.2. Birth of Siddhartha and the first seven steps: Pls.131, 163, 165 Pl. 131 was most probably produced during the Kushan period, when the Buddhist art of Swat was on the peak. The figures are in three dimensional view. The figures are natural but there is some local impact. The dresses are in Indian style. The figural portion represents the birth of Siddhārtha and the First Seven Steps that he takes. The centre of the panel shows Siddhārtha emerging from the right side of his mother, Māyā, who stands with her right arm extending upwards to the tree branches above her. To her right stand two handmaidens, the one closest usually identified as her sister, Mahāprajāpatī, and the other holding a receptacle for water and fan. On the opposite side of the panel, the god Indra, wearing a headdress that often distinguishes this deity, bends over to receive the 87 child as Brahma, identified by his topknot, and stands behind. The child’s second appearance is standing on the ground between his mother and Indra as he prepares to take the Seven Steps, one to each cardinal point and the upper and lower regions

Pl. 163 also represents the birth of Siddhārtha. The continuous narration of the panel contains two scenes, the Birth of Siddhārtha and the Seven Steps. The centre of the panel shows Siddhārtha emerging from the right side of his mother, Māyā, who stands with her right arm extending upwards to the tree branches above her. To her right stand three handmaidens. The one with her back to viewer who is closest to and supporting Māyā is usually identified as her sister, Mahāprajāpatī. It is most proable that this panel was produced during the Kushan period.

5.3.3. First Bath of the Child: Pl. 91, 92 The panel on the right shows the first bath of the bodhisattva, who is depicted standing as a youth. He stands on a small platform. Typically, two female figures flank the young child. Here, based on their scale and general appearance including a beard worn by the figure to the Bodhisattva’s left, the two squatting attendants holding his hands on either side seem to be male figures. In this case, they would represent the gods, Brahma and Indra. The gods typically stand at the sides and pour the bath water. In this scene, the figures at the side pouring water from upturned water pots have no distinguishing characteristics. The panel on the right represents the Return to Kapilavastu. A palanquin carried by attendants, holds the mother and child. Execution of these figuresis natural. Mobility and flexibility is seen.

5.3.4. Siddhārtha’s Horoscope: Pls.17, 19 The scene in the lower register is the Interpretation of Siddhārtha’s Horoscope. The seated sage holds the haloed boddhisattva while Māyā, his mother hovers nearby. The partial figure of an attendant stands behind Māyā. In the upper register, two Buddha’s in padmāsana are seated on a continuous plinth. The dresses are in Indian style.

5.3.5. Siddhartha to learns and write: Pl. 65 The main portion of the fragment is divided into two registers. The lower panel is bordered by empanelled columns. On the right is a male figure seated under a tree who seems to be writing while a companion stands nearby. This suggests an episode of Buddha life as he learns to write. There is a prominent tree behind the companion and en 88 on the left side of the panel is a turbaned seated male figure and a standing companion. The stylistic study of the panel shows that it belong to Kushan period. The dresses are in typical Indian style.

5.3.6. Life in Palace: Pl. 68 Fragment of damaged Frieze of Buddha palace life, an empanelled drummer is half complete. The musicians are most probably the females drummer. The figural portion was separated by Gandharan–Corinthian pilaster. Mobility in the figures is observed, carving is done in natural way.

5.3.7. Return of Chandaka: Pl. 69 The narrative portion of the panel represents the farewell of Chandaka and Kaṇṭhaka, the moment when Siddhārtha is handing over his princely jewels to a turbaned figure. While Kaṇṭhaka bends his head to lick the feet of his master. A figure standing behind the horse holds the honorific umbrella. Vajrapāṇi stands behind the Bodhisattva while another half figure hovers in the background. The Buddhist relief is carved delicately in a very natural style while unnecessary details were ignored. The figures shows mobility in three dimensional view. The dresses are in Indian style.

5.3.8. Great Departure: Pl. 90, 124,188 The panel on the right shows a female sleeping while a male figure sits at her side and an attendant stands to his left. The composition suggests the moment when the Bodhisattva decides to leave the palace while Yasodharā, his wife, sleeps. The next panel shows the actual moment of The Great Departure with the Bodhisattva seated on his horse riding away from the palace. The figure, who may represent the groom Chandaka, is in front of the rider holding an umbrella.

5.3.9. Taming the elephant: Pl.108 The relief depicts the Buddha taming the elephant Nalagiri which was sent to kill him. The heads of two female figures are above the doorframe as though in a balcony. Vajrapāṇi, half the size of the Buddha, holds the prominent vajra in the left hand while fly whisk in the air. Mobility is observed, carving is done in a natural way. 89

5.3.10. Conversion of Nanda: Pl.122 The panel on the right shows the Buddha seated on a platform under a tree in discussion with a figure seated on the ground at his left while a figure seated on the ground behind him holds his hand in a gesture that suggests conversation or question. Two figures represented by torsos hover in the background and flank the Buddha. The panel on the left includes the Buddha seated at the centre. In front of him a male figure is seated on the ground, head inclined towards the Buddha, with a female figure standing on the left of the panel. A monk stands to the Buddha’s left while the half figures of two devotees flank the Buddha in the background. The figures have natural mobility and three dimensional views.

5.3.11. The First Meditation: Pl. 135 The relief is deeply cut with some components, including the reins and the legs of the horse completely released from the stone behind. The First Meditation. Siddhārtha, haloed and in princely garb, sits on a raised platform meditating with his groom. The chandaka and kaṇṭhaka waiting nearby. On the left side of the panel is the subject of his meditation, the suffering caused to those engaged in agriculture, the farmer and his oxen, as well as to the insects etc. disturbed by the ploughing. The figures were in natural style with mobility and flexibility. The dresses are in Indian style.

5.3.12. Worship of Triratna: Pl.145 The relief panel representing four monks with hands held in añjali mudrā. The two at the front kneel while those behind stand. They flank an enthroned wheel that is surmounted by a triratna. Mobility in the figures is clearly visible. The dresses are typical Indian style.

5.3.13. Maitreya in Tushita Heaven: Pl.160 In this relief panel a Maitreya sits on a cloth covered seat of his lion throne. His hair is tied up in the horizontal figure eight. He wears the ear, neck and arm jewelry typical of a bodhisattva. The right hand is in abhayamudrā while his left hand having the water pot hanging in front of his knee. He is seated in the European position with crossed ankles. His feet rest on a footstool. His robe covers his left shoulder leaving the right shoulder bare. All the figures are carved in natural style. The dresses are Indian. 90

5.3.14. Gods Entreats the Buddha to Preach: Pl: 177 In this relief panel Buddha is surrounded by a full body halo, which is decorated with hash marks at the edges. He sits on a low platform, under the branches of a tree. He is meditating, indicated by his hands held in the dhyānamudrā. On either side of him, a figure kneels with hands held before them in the gesture of adoration, añjalimudrā. They are somewhat larger than the figures who follow behind them. One wears a turban and the other a topknot. Behind the turbaned figure are three ascetics, two standing and one seated on a bedroll in front of a straw hut. The seated ascetic holds a water bottle in one hand and the other is raised.

5.3.15. First sermon: Pl. 169 In this relief panel the Buddha stands on the right with his companion Vajrapāṇi behind him. He reaches out his right hand literally turning a large wheel with a saw tooth pattern around the edge. The wheel is similar to a halo and backs the bust of a crouching figure, who holds three wheels above him. The monks and gods who observe this event are on the opposite side of the panel. The figures are in three dimensional. All the unnecessary detail is ignored.

5.3.16. Bhūmisparśa mudrā: Pl. 207 The lord Buddha is sitting in a cave like enclosure or stylized arbor. The lord Buddha’s right hand seems to be in abhayamudrā while his left hand is in the bhūmisparśa mudrā. Grass is shown by the light emerging below his throne. On Tree side limbs on both side of the Buddha, two rams sit, both is looking away from the lord Buddha.

5.3.17. White dogbarked at the Buddha: Pl.411 The narrative panel shows the Buddha holding his right hand in the abhaya mudrā gesture, calming the animal, presumably a dog, on a small platform in front of him. Hovering below the pedestal is another figure of a dog, an apparent instance of continuous narration showing two moments in the encounter of the Buddha with the dog. A human figure stands behind the dog. Behind the Buddha is a bearded figure of Vajrapāṇi. All the figures are carved in three dimensional view. The dresses are in Indian style. 91

5.3.18. Buddha and Ascetics: Pl. 225 The narrative is a scene from the life of the Buddha, perhaps the visit of the sixteen ascetics to the Buddha in the Magadha cave. The haloed Buddha is seated inside a cave, with his left hand held in abhayamudrā. All the figures have excellent mobility. Dresses are typica in Indian style.

5.3.19. Presenting the Serpent to Kāśyapa: Pl. 232 The relief depicts the famous miracle of Buddha, presenting the Serpent to Kāśyapa. The Buddha approaches from the right with the bowl containing the coiled snake in front of him. Vajrapāṇi stands behind the Buddha. They approach a group of three young standing ascetics and the elderly Kāśyapa, seated in front of his grass hut. The relief is carved in a very natural way. It is in three dimensional view.

5.3.20. Siddhārtha Exchanging Clothes with a Hunter: Pl.235 The figured panel depict young Siddhārtha exchanging his Clothes with a Hunter. The haloed Siddhārtha has removed his robe which he presented to the hunter in front of him. Vajrapāṇi is standing behind him and a half figure is seen in the background between the Bodhisattva and the hunter. All the figures are depicted in natural way.

5.4. Individual Images of Buddha: Pls.45,148,153, 154,155,162,174,176,230 Varieties of individual images of Buddha were found in sculptures of Nimogram. These are in different poses’ mostly in dhyānamudrā and abhayamudrā. Some images are in sitting position while some are in standing position. The dresses are typical Indian style. The hair styleis in Greek style. Usually there is halo behind every image of the Buddha.

5.5. Individual Images of Bodhisattvas: In the sculptures of Nimogram, the Bodhisattva is represented with round hallo, chignon, prolonged earlobes and wearing heavy beautifully jewellary. In the material under reserch bodhisattva Siddhārtha, bodhisattva Vajrapani and bodhisattva Maitreya is depicted. Pl. 42 depicts bodhisattva in standing position. But both of his hands are damaged. It is most probably bodhisattva Siddhārtha. In Pl. 119 bodhisattva Matiterya is depicted. The halo is decorated at the edge by a band with the shape of large pearls. His hair falls to his shoulders tied at the top with a topknot and side loop hanging towards his right. His jewelry at the ears, neck arms and wrists is heavy. The position of the arm 92 suggests it was held in abhayamudrā while the left arm extends downward with a water pot hanging from the hand. Pl. 166 depicts bodhisattvain standing position and halo behind. It is difficult to trace it exact nature because some parts of this image are damaged. But it is most probably Vajrapani. Pl.215 also show bodhisattva, but the condition of the image is not good. It is most probably in abhyamudrā pose.

5.6. Secular Scenes: The Pls. 8, 9, 10, 11, 21, 25 and 29 seem to be the daily life scenes. In these scenes the figures are mostly engaged with each other in a group. The figures in movement show that they are performing some action or work of daily life. But it is most probable that they are busy in drinking and dancing activities in certain scenes. Usually these activities were commonly found in the sculptures of Gandhara as well as in the Buddhist art of Swat. Pl. 173 depicts one male and female in a standing position most probably kissing each other. The remaing portion of the panel is decorated with floral designs. Pl. 38 depicts standing figures perhaps holding some cloth offering or fans or gesture toward, each other as if in conversation. The Pl. 46 depicts elephant rider holding a particular object in his left hand. Pl. 47 shows standing figures under the arch carrying a basket on his head. Pl. 58 depicts, three heads, from right to left, a male, female and ascetic. The one remaining figure in the left panel has curly hair and an arm and hand raised in a gesture typical of subsidiary figures indicating adoration or celebration. Pl. 59 show some male standing figures holding a bowl, it may be the drinking scene. Pl. 60 depicts the figure on the left wears a tunic and trousers with his right hand slightly raised and his left held across the handle of his sword. The other figure is partly broken and holds an object shaped like a drum. Pl. 74 from the right, the figures include a male figure wearing a wreath around his head and holding a drinking bowl and flower, a female figure, also wreathed, holding a drinking bowl that her left hand raises to her mouth, a wreathed female figure playing a lute with pear shaped sound-box, a male figure playing a wind instrument, a male figure perhaps clapping his hands. The offering scenes were depicted many times. Pls.78, 190, 208 show the offering scenes. Pl. 234 depicts the male rider on the back of unknown animal.

5.7. Architectural Elements: Architectural elements include Stupa pegs, bracket, Cornice, Corinthian Capitals Pilasters, door jambs etc. 93

5.7.1. Stupa Pegs:

The narrative scenes depicted on the stupa pegs have no direct link with the religious repertoire but it has some meaning while fixed in the religious establishment. Stupa peg of Pl. 71 is a figure depicting a standing human figure holding something in both the hands. The figure is wearing Indian dothi. Execution of the figure is very fine. Mobility could be observed in movement of the figure. Pls. 127, 193, 198 depict male figure in a standing position. Pl. 27 has short beard. Pl. 198 shows that something is emerging from the right hand. The drapery of all the figuresis in Indian style.

5.7.2. Corinthian Capital: Pl.32,33,175 Three capitals of Corinthian type were found in selected sculpture of Nimogram. Pl. 32 is decorated most probably with both male and female figures. There are some leaves emerging from the middle of the two figures. Pl. 33 depict two male figures having turbans on the heads. The action of the figures shows that they are engaged with each other. Pl. 175 shows Buddha between two worshiper. The figures were carved in a natural way.

5.7.3. Corinthian Pilaster: Pls.12,34,38,43,56,78,85,113,120,121,124,131,211,228 Corinthian Pilasters having Pls.12, 34, 38, 43, 56, 78, 85, 113, 120, 121, 124, 131, 211, 228 are beautifully decorated with plain fillets at the bottom side and the shafts are some times decorated with figure on the lotus pedestal while capital is mostly decorated with acanthus leaves as well as abacus having plain fillet. Pl. 211 depicts Corinthian pilaster with a nude figure holding his hands in añjali mudrā on the front and a turbaned figure holding a floral offering on the side face of the pilaster. The base of the pilaster is plain fillet. Such pilasters are also found in other Buddhist sites of the Swat Valley.

5.7.4. Door Jamb: Pls. 60,61,63 Pl. 60 shows doorjamb under the arches carved with wavy lines in one case and scales in the other. The figure on the left wears a tunic and trousers with his right hand slightly raised and his left held across the handle of his sword. The arches are separated by a Gandhāran-Persepolitan pillar. Pl. 61 depict door-jamb under the archescarved with various patterns, from right to left, scales, wavy lines, a festoon of opposite ovate leaves, and disks. The figure on the right holds his right hand in abhaya mudrā and looks to his left towards what is now a missing part of the relief. Pl. 63 represents doorframes under 94 the arches carved with a wavy tendril. The figure on the right looks to his left and wears the topknot of an ascetic. The figure to his right holds his right to his head and wears the short garb typical of a young ascetic or brahmacārin. Three Gandhāran-Persepolitan pillars were carved here.

5.8. Garland Bearer: Pl. 103 Garland bearers were regularly found in the Gandhara, Swat Valley and Taxila. These Garland bearer reliefs were mostly used to decorate the drum of the sacered stupa. Nimogram has only one relief, Pl. 103 is enclosed with plain fillet depicting three nude characters having garland. No ornaments are observed. The lower portion is decorated with a scroll of flowers.

5.9. Model stūpa: Pls.1 The model stupa in Pl. 1 consist of four sides having four identical Buddhas each seated on a low platform. The Buddha figures hold their hands in dhyāna mudrā and have legs folded in padmāsana. The Buddhas are haloed. The hair is indicated by a wavy line with a prominent uṣnīṣa.

5.10. Pedestal: Pls.41,49,73,79,83,132,136,137

A good number of pedestal were found. These were used to display Buddha or Bodhisattva images. All the pedestals have some narrative scenes connected with some connection with some religious aspect. These were generally used to support the image. Pl. 41 contains two panels a Buddha and devotees. The Buddha is seated under a tree with legs folded in padmāsana with his hands in the meditative dhyānamudrā. Pl. 137 shows a circular pedestal having a seated Buddha flanked by devotees within panels. It is divided by Corinthian pilasters. The Buddha is in meditation pose. In short all the Pedestal carry some figural representation conveying some religious message to the Devotees.

5.11. Description of the Coins

Title NG260: Kanishka I (AD 127-150) Æalloy (1/2 unit) Obv.: King standing to the front, head turned toward left, making an some offering at the altar with his right hand and also holding a spear in the left hand. Reverse: Kushan supreme god Wesho, depicted as a two-armed and haloed Shiva, stands 95 to the front, the head turned toward left, hold a trident in the right hand and a water pot in his left hand. Bactrian legend inscription in the right field ΟΗÞΟ.

Title NG377: Kanishka IÆalloy (1/2 unit) Obv.: Worn; type shows king standing to front, head turned to left, making an offering at an altar with his right hand and holding a spear in his left. Rev.: Kushan wind god Oado, running to left.

Title NG 378 Vasudeva I (c. AD 191-231), copper alloy Obv. Standing king worshipping before a fire altar, holding a sceptre in his left hand. Rev. Kushan god Wesho standing with bull, surrounded by a dotted border.

Title NG 483: Kushano-Sasanian (mid-late 3rd century), copper alloy imitating issue of Kushan king Vasudeva I (c. AD 191-231).

Obv. King standing before fire altar in left field, holding a sceptre in his left hand. Rev. Kushan god Wesho standing before bull.

Title NG486, Huvishka (c. AD 150-191), copper alloy Obv. King riding on elephant to right, holding a goad. Bactrian inscription giving name and titles of king.

Rev. Kushan supreme god Wesho, depicted as a two-armed Shiva holds a trident in the right hand and a waterpot in the left. Bactrian legend ΟΗÞΟ in right field, tamgha in left. Issued by main mint, post weight reduction

Dr Elizabeth Errington (http://digital.library.wisc.edu/1711.dl/Arts.Nimogram).

Conclusion The Buddhsit site of Nimogram is very significant from archaeological and historical point of view. The cultural materials excusively scuptures reported from this potential Buddhist site in the Swat Valley were not thoroughly investigated by any scholar. The excavator merely published a preliminary report of the excavation carried out at the site. For a long time the cultural material reported from the site were out of reach form the scholarly circles. The present researcher obtained permission for the study of these cultural material from the concerned authority. All the cultural material of Nimogram have their own importance but the scholars selected those cultural materials exclusively scuptures which have archaeological importance conveying something new.

The art pieces of Nimogram inform us that the interest of artists of this region is by no means limited to their religious and aesthetic aspects, important though these are to students of Buddhism and to the art historians. Such sculptures no doubt were used for religious purposes, but eventually became purely decorative and architectural in purport rather than exclusively religious in character. Leaving aside some individual statues the major portion is decorative and forms architectural ornamentation of stupa.

The art pieces of Nimogram represent the life of people, the land of Uḍḍīyāna, the dresses of all the classes from princes to common people, the decoration of the houses, war weapons, sports acitivites, armour, beautiful ornaments, seat for elephant and horse, carts and carriages, horses and yoke, tools, agricultural instruments, cult objects and all musical instruments are all skilfully shown and provide evidence for the origin of old folk tales of the Swat valley. Different people are shown at work, play, worship, busy in acts of devotion, marriages cermony, charity, donations, sports activities and visits of ceremony. The representation of various musicians, ascetics and wrestlers highlight various occupations of the people of the Swat Valley. In some places battlemented and guarded city walls and gateways are shown suggesting security measures for the citizens. These architectural features can be seen even today in the tribal belt of Dir and Bjaur Agency.

This art enjoyed an exceptionally long life. Initiated in the Scytho-Parthian times it witnessed its zenith and artistic development in the 2nd, 3rd centuries CE. It was a long period of prosperity resulting in the production of countless sculptures, first in stone, stucco and bronze and later on the rock surface. 97

During the course of research it was found that the cultural materials of Nimogram were highly influenced by Hellenistic cultural traditions, showing that the Buddhist of Nimogram were linked up with the outside world at different times. The influences from Greek, Roman, Saka-Parthian, Kushan and Kushno-Sasanian period were traced with great care. It was never an isolated place.

The descriptive analyses revealed that all the important episode from the life of the Buddha were present at Nimogram including one Jataka story. The cult of Maithriya and Vajrapani were also known. Scenes of daily life show all important matters in every walk of life.

The chronology of the sculptures were established on the basis of style. It shows that the earlist sculptures were produced in the Scytho-Parthian period while the sculpture art reach to the climax during the Kushan period. The last period is the Kushano Sasanian. During the course of study it was also revealed that there were also some local influences on the sculptures of the Nimogram, similar to other Buddhist sites of Swat Valley. But the Swat style is quite different from the greater Gandhara style. The typical Swat style is adopted by the artists keeping in view the local environment and tradition.

The architectural elements reported from the Nimogram were also worth mentioning. Architectural elements and designs found elsewhere may also be witnessed here. The stupa bracket, Corinthian Pilasters, ionic pilasters, door Jambs, balconies, different types of pointed arches, cornices etc were noticed here. The architectural elements have depicted scenes and beautiful designs. The depiction of the coins is interesting and it also through light on the chronology of the site.

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108

PI.1: Base of a model stupa

PI. 2: The Buddha in dhyanamudrā

PI. 3: Standing figures under arches 109

PI.4: Standing Buddha and Bodhisattva figures

PI.5: Sakara and Panchaskha visit the Buddha

PI. 6: Two standing figures PI.7: The Buddha in abhayamudrā 110

PI.8: Standing human figures

PI.9: The Buddha and devotees

PI.10: Human figures in compartments 111

PI.11: Seated figures with attendants

PI.12: Buddha in dhyanamudrā

PI.13: Standing figures under arches 112

PI.14: The Buddha Vajrapāṇi figure

PI.15: Four standing figures of the Buddha

PI.16: A parade led by horses 113

PI. 17: The Horoscope of Siddharthas

PI. 18: Interpretation of Siddhartha’s horoscope

PI. 19: A relief panel with human figures 114

PI. 21: Remains of attendant and princely figures

PI. 20: A standing male figure holding a bowl

PI.22: The Buddha Vajrapāṇi devotee and ascetic

PI.23: The Buddha and Vajrapāṇi figure 115

PI. 24: Defaced figures under arches

PI. 25: Three standing human figures

PI. 26: A kneeling figure and bust of man 116

PI.27: A drum of model stupa with human figures

PI. 28: Remains of four human figures

PI.29: Two standing male figures 117

PI.30: Defaced of human figure

PI. 31: Nude standing figure

PI. 32:The Buddha with a devotee 118

PI.33: Corinthian column

PI.34: Triton

PI. 35: First bath of bodhisattva 119

PI.36 : Defaced standing figures under arches

PI. 37: Male standing figure in añjalimudrā

PI. 38: Standing devotee 120

PI.39: Defaced Buddha and devotees

PI.40: The Buddha along with Indra and Brahma

PI. 41: The Buddha in dhyanamudrā 121

PI.42: Lower half of the standing figure

PI. 43: The Buddha visits a Brahman and ascetic

PI.44: Two compartments each with four Buddhas 122

PI.45: The Buddha in dhyanamudrā PI.46: Fragment showing rider

PI.47: standing figures under arches

PI.48: Standing amorini under arches 123

PI.49: Base of model stupa showing the Buddha in dhyanamudrā flanked by devotees

PI.50: Fragment of relief panel showing seated Buddha flanked by devotees

PI.51: A relief panel showing Buddha flanked by devotees 124

PI. 52: The Buddha in seated in dhyanamudrā flanked by devotees

PI.53: Fragment of relief showing defaced figures

PI.54: Defaced human figures under arches 125

PI.55: Turbaned figures

PI.56: Atlas figure

PI.57: Two standing figures 126

PI. 58: Row of figures

PI. 59: Rows of three rounded arches

PI.60: Standing figure under arches 127

PI.61: Standing figures under arches

PI.62: Figures under arches

PI.63: Standing figure under arches 128

PI.64: Standing female.

PI.65: Siddhartha learning and writing

PI.66: NG Siddhartha at School 129

PI. 67: Figures in standing position

PI. 68: Palace life

PI.69: Farewell of Chandaka and Kanthaka 130

PI.70: Rows of figures under rounded arches

PI.71 : Standing human figure 131

PI.72: Four standing figures

PI.73 : Circular pedestal

PI.74: Musicians and drinking scene 132

PI.75: Presentation of Serpent to Kasyapa

PI.76: Buddha under arch

PI.77: Standing amorini 133

PI.78: Standing figure holding cloth

PI.79: Buddha in dhayanamudrā

PI.80: Standing and sitting male figure 134

PI.81: Ascetic holding object

PI.82: Human figure between acanthus

PI.83: Circular pedestal 135

PI.84: Seated Buddha crossed leg

PI.85: Buddha in dhyanamudrā

PI.86 : Buddha in dhyanamudrā under arch 136

PI.87: Prince shooting arrow (Archery contest)

PI. 88: Two standing figures

PI.89: Ascetic sitting in hut 137

PI.90: The great departure

PI.91: First bath of the bodhisattva

PI.92: Seated Buddha in dhyanamudrā, first bath of the Bodhisattva and return of Queen Maya 138

PI.93: Foots of the standing figure

PI.94: Two figures holding something

PI.95: Buddha in dhayanamudrā 139

PI.96: Bust of the female with acanthus

PI.97: Eight human figure

PI. 98: Kneeling elephant 140

PI.99: Buddha and Vajrapāṇi

PI.100: Standing Buddha figure and Vajrapāṇi

PI.101: Buddha in abayamudrā 141

PI.102: Two female figure

PI.103: Garland bearers 142

PI.104: Flying amorinis

PI.105: Buddha in dhayanamudrā 143

PI.106: Female figure under arch

PI.107: Group of figures

PI.108: Taming of elephant 144

PI.109: Two standing male figures

PI.110: Figures of males

PI.111: Figures in añjalimudrā 145

PI.112: Standing male figures

PI.113: Standing figures

PI.114: Nude figure holding akimbo 146

PI.115: Male figure with long shoes

PI.116: Buddha in abayamudrā 147

PI.117: Buddha in abayamudrā

PI.118: Ascetic in front of hut 148

PI.119: Standing Maitreya 149

PI.120: Two standing figures

PI.121: Buddha and devotees

PI.122: Buddha seated under a tree 150

PI.123: Two male figure holding something

PI.124: Great departure 151

PI.125: Seated Buddha

PI.126: City goddess 152

PI.127: Standing male figure

PI. 128: Stupa Bracket having male figure 153

PI.129: Seated figure

PI.130: Standing Buddha in abayamudrā 154

PI.131: The birth of the Siddhartha first seven steps

PI.132: Buddha in dhyanamudrā

PI.133: Buddha in dhayanamudrā 155

PI. 134: Buddha in dhayanamudrā

PI.135: First meditation 156

PI.136: Buddha and devotees

PI.137: Circular pedestal having Buddha 157

PI. 138: Figure of Yaksha

PI.139: Head of Buddha 158

PI. 140: Figure of city goddess

PI.141: Buddha holding bowl 159

PI.142: Male rider

PI.143: Figure of female 160

PI.144: Kneeling figures under arch

PI.145: Wheel and triratna 161

PI.146: Haloed Buddha

PI.147: Visit of Indra and Panchasikha 162

PI.148: Standing Buddha 163

PI.149: Head of Buddha

PI.150: Human figure 164

PI.151: Head of human figure

PI.152: Buddha in abayamudrā 165

PI.153: Buddha in abayamudrā 166

PI.154: Standing Buddha 167

PI.155: Buddha in abayamudrā 168

PI.156: Standing human figures in compartments

PI.157: Standing male figures 169

PI.158: Ascetic near hut

PI.159: Ascetic near hut 170

PI.160: Maitreya in Tushita Heaven

PI.161: Male and female figure 171

PI.162: Haloed Buddha in abayamudrā

PI.163: Birth of Siddhartha and seven steps 172

PI.164: Standing amorini under arches

PI.165: Birth of Siddhartha and seven steps 173

PI.166: Standing boddhisattva

PI. 167: Birth of Siddhartha 174

PI. 168: Standing Harithi 175

PI.169: The first sermon

PI.170: A frieze showing busts of figures under arches 176

PI.171: Seated human figure

PI.172: Siddhartha at school

PI.173: Love scene 177

PI.174: Standing Buddha

PI.175: Turbaned human figure 178

PI.176: Buddha in abayamudrā 179

PI.177: Buddha in dhyanamudrā

PI.178: Buddha in abayamudrā and devotees

PI.179: Standing figure in añjalimudrā 180

PI. 180: Buddha in dhyanamudrā

PI.181: Seated Buddha and devotees 181

PI.182: Decorative cornice piece

PI.183: Circular pedestal

PI.184: Three seated Buddhas in dhayanamudrā 182

PI.185: Buddha in dhayanamudrā

PI.186: Offering of Bowls to Buddha 183

PI.187: Female heads

PI.188: Great Departure 184

PI.189: Buddha with dog

PI.190: Torso of two figures

PI.191: Buddha and Vajrapāṇi 185

PI.192: Pair of torso

PI.193: Naked standing figure with fish 186

PI.194: Two standing human figures

PI.195: Standing boddhisattva 187

PI.196: Human figures holding torso

PI.197: False bracket having seated figure 188

PI.198: Standing female figure 189

PI.199: Seated Buddha and Indra and Brahma

PI.200: Atlas figure 190

PI.201: Male figure under arch

PI.202: Buddha in abayamudrā 191

PI.203: Kneeling figure in añjalimudrā

PI.204: Buddha and Vajrapāṇi 192

PI.205: Standing human figure under arch

PI.206: Seated Buddha in dhayanamudrā 193

PI.207: Buddha in Bhumisparsa mudrā

PI.208: Two standing figure holding cloth 194

PI.209: Harithi with child

PI.210: Flying amorinis 195

PI.211: Standing Male figure

PI.212: Figure of Atlas 196

PI.213: Circular Pedestal depicting Buddha in dhyanamudrā

PI.214: Buddha in dhayanamudrā 197

PI.215: Standing boddhisattva 198

PI.216: Buddha in dhyanamudrā

PI.217: Buddha in abayamudrā 199

PI.218: Two standing figures holding offerings

PI.219: Standing figures holding offering

PI.220: Seated figure under arch 200

PI.221: Figure of male and female

PI.222: Flying amorinis

PI.223: Seated Buddha 201

PI.224: Buddha in abayamudrā

PI.225: Buddha in Magada Cave

PI.226: Boddhisattva Padmapani in abayamudrā 202

PI.227: Buddha head

PI.228: Buddha in abayamudrā holding bowl 203

PI.229: Buddha in abhayamudrā pose 204

PI.230: Buddha in abhyayamudrā

PI.231: Bodhisattva and attendants 205

PI.232: Buddha presenting serpent to Kasyapa

PI.233: Winged Atlas

PI.234: Animal with rider 206

PI.235: Siddhartha exchange cloth

PI.236: Figure of Yaksha 207

PI.237: General View of the Site

PI.238: Main stupa having stairs and votive stupas 208

PI.239: General view of main stupa and votive stupas

PI.240: General view of monastery