ANALYSIS of BUDDHIST SCULPTURES a Case Study of Malakand Collection in Swat Museum by Amjad Pervaiz TAXILA INSTITUTE of ASIAN

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ANALYSIS OF BUDDHIST SCULPTURES A Case Study of Malakand Collection in Swat Museum

By Amjad Pervaiz

TAXILA INSTITUTE OF ASIAN CIVILIZATIONS QUAID-I-AZAM UNIVERSITY ISLAMABAD 2016 CERTIFICATE

This thesis by Amjad Pervaiz is accepted in its present form by the Taxila Institute of

Asian Civilizations, Quaid-i-Azam University Islamabad, as satisfying the thesis requirements for the Degree of Doctor of Philosophy in Asian Studies.

Prof. Dr. Muhammad Ashraf Khan Supervisor ______

External Examiner

______

External Examiner

______

Director (TIAC) Dr. Ghani-ur-Rehman ______

Dated: ______

Declaration

I hereby declare that this thesis in its present form is the result of my individual research and it has not been submitted concurrently to any university for any other degree.

______

Amjad Pervaiz

TAXILA INSTITUTE OF ASIAN CIVILIZATIONS QUAID-I-AZAM UNIVERSITY ISLAMABAD

I hereby recommend that the Dissertation prepared under my supervision by

Mr. Amjad Pervaiz, entitled Analysis of Buddhist Sculptures: A Case Study of

Malakand Collection in Swat Museum be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Asian Studies.

______

Prof. Dr. M. Ashraf Khan Supervisor

DEDICATION

I dedicate this work to my parents, sisters, wife and daughters Yousra Khan, Mahnoor

Amjad and Ayesha Amjad who suffered and compromised a lot to enable me to complete this study.

Contsents LIST OF MAPS ...... ix LIST OF FIGURES ...... x ABBREVIATIONS ...... xiv ACKNOWLEDGEMENTS ...... xv ABSTRACT ...... xvi CHAPTER 1 ...... 1 INTRODUCTION ...... 1 1.1 Introduction ...... 1 1.2 Method of Analysis ...... 3 1.3 Research Questions of the Study ...... 3 1.4 Significance of the Study ...... 3 1.5 Archaeological Activities in Swat Valley ...... 4 1.6 History of the Malakand Collection ...... 7 1.7 Focus of the Study ...... 9 Geography and history of Swat Valley ...... 12 1.8 Nomenclature of Swat (Ancient Uḍḍiyāna) ...... 12 1.9 Geography of Swat ...... 12 1.9a Passes ...... 13 1.9b Rivers ...... 14 1.9c Climate...... 14 1.10...... 15 1.11...... 21 CHAPTER 2 ...... 27 2. THEMATIC AND STATISTICAL ANALYSIS ...... 27 2.1 Jātaka or previous birth stories of Buddha ...... 27 2.2 The Life Story of the Buddha ...... 29 Birth of prince Siddhārtha ...... 29 2.3 Bodhisattva: ...... 40 Busts of Bodhisattva ...... 40 Figures NOs: 56, 65, 69 and 90 ...... 40 2.4 Heads, Hands and Foot ...... 42 2.5 Unidentified Scenes ...... 50 Figures NOs: 9, 17, 29,104 and105 ...... 50 2.6 Architectural Elements ...... 50 2.7 Miscellaneous Figs.16,18,20,23,24,103,109,115,116,117,118,119,120,121,122,123,124,125,126,1 27,129,130 and131 ...... 53 2.8 Statistical Analysis of Malakand Collection ...... 56 2.9 Graphical Representation of Sculptures of Malakand Collection ...... 60 2.10 Foreign Impact on the Reliefs of Malakand Collection ...... 61 CHAPTER 3 ...... 72 CHRONOLOGY COMPARATIVE STUDY AND THE PROVENANCE OF THE MALAKAND COLLECTION ...... 72 3.1 Chronology ...... 72 Comparative Study of the Malakand Collection and its Provenance ...... 78 3.2 Zonal Workshops ...... 79 3.3 Stage-I and its Characteristics ...... 89 3.4 Stage-II and its Characteristics ...... 93 3.5 Stage-III and its Characteristics ...... 95 3.6 Development Stages of Art in Each Sub-Valley Zonal Workshop ...... 96 3.7 Development Stages of the Stone Art ...... 102 3.8 Stucco and Terracotta ...... 103 3.9 Stone Quarries in the Swat Valley ...... 105 3.10 Kinds of Stone Used in the Zonal Workshops ...... 107 3.11...... 110 3.12 Graphical Representation of the Stone Material used in the Relief of the Jambil Sub-Valley Zonal Workshop ...... 110 3.13 Graphical Representation of the Stone Material used in the Relief of the Adinzai-Shamozai Sub-Valleys Zonal Workshops ...... 111 The Ilam Khawar Sub-Valley Zonal Workshop: ...... 112 3.14 Graphical Representation of the Stone Material used in the Relief of the Ilam Khawar Sub-Valley Zonal Workshop ...... 112 3.15 Graphical Representation of the Stone Material used in the Relief of the Dargai-Thana Sub-Valleys Zonal Workshops ...... 113 3.16 Graphical Representation of Sculptures of Each Sub-Valley Stage – I ...... 114 3.17 Graphical Representation Sculptures of Each Sub-Valley Stage – II ...... 115 3.18 Graphical Representation of Sculptures of each Sub-Valley Stage – III ..... 116 Graphical Representation of Sculptures of Jambil Sub-Valley Sub-Valley ...... 117 Stage-l, ll and lll ...... 117 Graphical Representation Sculptures of Ilam Khawar Sub-Valley ...... 118 Stage-I, II and III...... 118 Graphical Representation of Sculptures of Adinzai and Shamozai Sub-Valleys Stage- I, II and III...... 119 Graphical Representation of Sculptures of Dargai-Thana Sub-Valleys ...... 120 Stage- I, II and III...... 120 CHAPTER 4 ...... 121 CONCLUSION AND DISCUSSION ...... 121 APPENDIX ...... 132 3. 132 4. DESCRIPTIVE CATALOGUE OF MALAKAND COLLECTION ...... 132 THE CATALOGUE ...... 133 BIBLIOGRAPHY ...... 218

LIST OF MAPS

Pages Geographical Location of the study area 11

Geological sketch of Swat Valley 16

Gandhāra 20

Buddhist Sites in the Region of Swat Valley. 81

LIST OF FIGURES

Fig.1 Dīpankara Jātaka Fig.24 Standing figure under arch Fig.2 Birth of Siddhārtha and Persepolitan pilaster Fig.3 Birth of Siddhārtha Fig.25 Parinirvāna scene Fig.4 Horoscope of Siddhārtha Fig.26 Kāśyapas going for the last and Return of Queen Māyā ceremony of Buddha Fig.5 Bath and horoscope Fig.27 Guarding of the Buddha‟s Fig.6 Siddhārtha in school relics Fig.7 Tournament(event of Fig.28 Cremation of Buddha archery) Fig.29 Worship of the alms bowl Fig.8 Tournament Fig.30 Transportation of relics and Fig.9 Tournament cult of the Stūpa Fig.10 Marriage scene and Fig.31 Worship of the Stūpa Musicians. Fig.32 Adoration of Triratna(three Fig.11 Marriage scene and jewels) interpretation of the horoscope Fig.33 Worship of Triratna (three Fig.12 Life in palace jewels) Fig.13 Great departure Fig.34 Worship of Triratna (three Fig.14 Great departure jewels) Fig.15 Great departure Fig.35 Seated Buddha with Fig.16 Offering scene devotees Fig.17 Offering scene Fig.36 Seated Buddha with Fig.18 Offering scene attendants Fig.19 Seated Buddha flanked by Fig.37 Seated Buddha flanked by devotees devotees Fig.20 Seated Buddha flanked by Fig.38 Buddha with worshippers devotees Fig.39 Buddha with worshippers Fig.21 Offering scene Fig.40 Buddha with worshippers Fig.22 Worshippers Fig.41 Buddha in abhayamudrā Fig.23 Seated Buddha under flanked by devotees arches Fig.42 Seated Buddha in meditation xi

Fig.43 Buddha with worshippers Fig.64 Seated Buddha in Fig.44 Buddha with worshippers dharmachakramudrā under an arch Fig.65 Bodhisattva Maitreya Fig.45 Seated Buddha and Fig.66 Bodhisattva in dhyāna devotees under arches mudrā Fig.46 Buddha and worshippers Fig.67 Bust of pensive Bodhisattva Fig.47 Figures under arches Fig.68 Head of Bodhisattva Fig.48 Standing Buddha in Fig.69 Stūpa peg with head of abhayamudrā princely figure Fig.49 Standing Buddha in Fig.70 Head of a princely figure abhayamudrā Fig.71 Figures under arches Fig.50 Seated Buddha in Fig.72 Figures under arches abhayamudrā Fig.73 Figures under arches Fig.51 Seated Buddha in dhyāna Fig.74 Figures under arches mudrā Fig.75 Figure under an arch Fig.52 Seated Buddha in dhyāna Fig.76 Figures under arches mudrā Fig.77 Bust of princely figure Fig.53 Seated Buddha in dhyāna under an arch mudrā Fig.78 A panel fragment with Fig.54 Seated Buddha in dhyāna male heads mudrā Fig.79 A princely figure under Fig.55 Seated Buddha in dhyāna semi circular arch mudrā Fig.80 Cornice with male figure Fig.56 Seated Buddha in dhyāna Fig.81 Male figure in mudrā abhayamudrā and Ionic pilaster Fig.57 Seated Buddha in dhyāna Fig.82 Garland bearer (putto) mudrā Fig.83 Garland bearer Fig.58 Head of the Buddha Fig.84 Garland bearer Fig.59 Head of the Buddha Fig.85 Wrestler and a pair of nude Fig.60 Head of the Buddha figures Fig.61 Head of the Buddha Fig.86 Wrestlers Fig.62 Head of the Buddha Fig.87 Wrestlers Fig.63 Head of the Buddha Fig.88 Wrestlers xii

Fig.89 Wrestlers Fig.109 Oil lamp with lotus Fig.90 An ascetic flowers Fig.91 A male figure wearing an Fig.110 Chattra with lotus elaborated head dress and long rob flowers (Kaftan) Fig.111 Flying figure Fig.92 Ascetic Fig.112 Stūpa Peg Fig.93 Maitreya and Brahmān decorated with male figure and ascetics acanthus leaves Fig.94 A standing figure of donor Fig.113 Bust of a male having flowers in his hands figure Fig.95 Worshippers Fig.114 A gable with Fig.96 Bodhisattva with Vajrapāni worshipper and attendant Fig.115 Hand with foliage Fig.97 A standing figure holding Fig.116 Kneeling figure on flowers lotus Fig.98 Nude figures under arches Fig.117 Male head with Fig.99 Figures under arches acanthus leaves Fig.100 Figures under Fig.118 Head male figure arches Fig.119 Head male figure Fig.101 Nude figures under Fig.120 Head of an ascetic arches Fig.121 Head of an ascetic Fig.102 Dancing scene Fig.122 Head of Indra Fig.103 Three pairs of nude Fig.123 Head of an ascetic figures Fig.124 Head of male figure Fig.104 Unidentified scene Fig.125 Head of a princely Fig.105 Unidentified scene figure Fig.106 A Persepolitan Fig.126 Head of a monk pilaster Fig.127 Lion heads Fig.107 Upper part of Stūpa Fig.128 Hands in (Chattra) dharmachakramudrā Fig.108 An architectural Fig.129 Left arm of the fragment (Tenon bracket) Buddha covered with robe xiii

Fig.130 A hand with broken fingers Fig.131 Pedestal decorated with acanthus leave and foot of Maitreya Fig.132 A Winged Atlas Fig.133 A Winged Atlas Fig.134 An Atlas xiv

ABBREVIATIONS

CE Common Era

ANP Antiquities of Northern Pakistan

AP Ancient Pakistan

BCE Before Common Era

BK Butkara

EW East and West

IAM Italian Archaeological Mission

ISIAO I‟Instituto Italiano Per l‟Africa el‟Oriente

IsMEO Instituto Italiano per II Medo Ed Estremo Oriente

JAC Journal of Asian Civilizations

JAS Journal of Archaeological Science

JSSH Journal of Social Sciences and Humanities

LMB Lahore Museum Bulletin

MK Malakand

MMT Main Mantel Thrust

NHF National Heritage Foundation

PA Pakistan Archaeology

PJHC Pakistan Journal of History and Culture

Fig Figure

ACKNOWLEDGEMENTS

Completion of this research work would have not been possible without sincere support of many individuals. I am really grateful to my Supervisor Prof. Dr.

Muhammad Ashraf Khan whose unconditional and dedicated guidance at every step was a source of motivation and learning for me.

My heartfelt thanks are due to Dr Tahira Tanweer, Dr. Badshah Sardar, Dr.

Ghani-ur-Rahman, Dr. Luca Maria Olivieri, Dr Sadeed Arif, Dr Rafiullah, Faiz-ur-

Rehman, Curator Swat Museum Saidu Sharif, Amman Ullah, Research Officer,

Peshawar Museum, Sarfraz Khan Lecturer in Pakistan Studies/Deputy Controller of

Examination, Swat University and Fazal Mohammad, Assistant Curator, Swat

University Museum.

Thanks to my teachers who taught me at different stages of academic career. I am thankful to Prof. Dr. Farzand Ali Durrani (late), Prof. Dr. Abdur Rehman, Prof.

Dr. M. Farooq Sawati, Prof. Dr.Taj Ali, Prof. Dr Ihsan Ali, Prof Dr. M.Naseem Khan,

Prof. Fareed Khan and Habib UAllah Khattak. The staff of Taxila Institute of Asian

Civilizations also deserves appreciation as they always extended helping hand in every matter. I thank Mr. Lala Sardar, Mr. Qaim and Mr. Naseem.

In friends, I am obliged to Mr. Abdul Qayyum Khattak, Dr. Javed Khattak,

Abdur Raziq Farooqi and Sami Ullah Khan for their support during my study.

I extend thanks to my father in law, Illahi Muhammad, sisters and brothers in law M. Zia-ud-Din, Dr. Abdul Aziz Sahir and Major Azmat. I am indebted to members of my family and relatives who helped me in my life and during my study. I am obliged to Haseeb, Hasnian Abdul Aziz and many others who really facilitated me during my study . xvi

ABSTRACT

This work studies the selected sculptures of the Malakand collection, which represent important and striking features of the Gandhāra Art. The great collection is significant due to its historical importance and variety in the depiction of the postures and events. These sculptures, on one hand, reflect the traditions and practices of

Buddhism in Gandhāra and, on the other hand, they depict the quality of art, the psyche and devotion of the followers and artists. Many research studies on the art, style and architecture of the Swat valley have been carried out and the present project focuses on systematic documentation and analysis of the collection. Total 134 sculptures of the present collection have been documented and a complete catalogue of the stone sculptures has been made. The classification of the sculptures is based upon the thematic and stylistic analysis and stone material used in the making of the sculptures. To establish the chronology and to give the proper place of origin, the sculptures of present collection were deeply and thoroughly studied from the perspective of Zonal Workshops mentioned by M. Farooq Swati in the Swat valley.

During the present research on Malakand collection; it is observed that the art had accepted the foreign impact during different periods of time. The quality of art, style and material used for making the sculptures show that the artist kept all the socio- economic and religious conditions of the time in his mind while carving these sculptures. The research methodology of the present study is based on descriptive as well as analytical approach. The architectural elements used for the decoration of stūpas, votive stūpas and monasteries were studied in detail and it was observed that the same pottery, furniture and the architectural elements like Persepolitan and xvii

Corinthian pillars continue to the present and are visible in the villages of Malakand and other part of Gandhāra region. . 1

CHAPTER 1 INTRODUCTION

1.1 Introduction

Indian Sub-Continent has been the center of rich cultures and the abode of

Civilization of the Indus valley. Researchers in history, anthropology, art and archaeology have brought out important information about developments that took place over the millennia.

Some scholars are of the view that in the Rigveda, first time introduces the name “Gandhāra”. The document of the Indo-Aryans has the references to the

“Gandhāra” region. The hymns are composed in language which is termed as Vedic

Sanskrit. It also mentions Kabul and Swat rivers. It further mentions Frontier region and eastern Afghanistan.1

The word Gandhāra is the combination of two Sanskrit words that is Gand and

Hara. „Gand‟ means fragrance whereas „hara‟ means land, area or region, so in this way the literary meaning of the word Gandhāra is “The Land of fragrance”.2

There is evidence about the existence of “Gandhāra” that the area which lies between river Kabul and Indus is known as “Charene”. The area of Taxila also falls within the same domain. There is no clear and authentic proof how this area was turned to Gandhāra. There is very oblique reference which associates it with the name of a King, Gandhāra. It is estimated that the said area was reigned by the King

Gandhāra. The span of his rule is reported to be very brief. Evidence which gives a

1Zwalf, (1997) A catalogue of the Gandhāra Sculpture in the British Museum, 1, p.15. 2 Ihsan Ali, Muhammad Naeem Qazi, (2008) Gandhara, its history and art. Gandhāra sculptures in the Peshawar museum (life story of Buddha) Hazara University Mansehra NWFP Pakistan, P.1. 2 clue to Gandhāra is that it existed during the regime of Darius- I in the year 518

BCE.3

The word Gandhāra has been dealt in different words in different languages.

گندھارہ In Sanskrit and in Hindi it is represented as गंधारा in Punjabi it is written as

is used in Urdu for it. In Persian it is termed asگندھارا and گندارا Pashto writes it as

“WAIHIND”.To conclude it can be said that it is an old kingdom

(MAHAJANAPADAS).4

The world is now convinced that Indus valley had been one of the most distant (in terms of time) developed and diverse civilization in the past.

Excavation carried out during the 20th century unveiled many treasures.

One of the best treasures discovered by archaeologist was “Gandhāra art”.

The Gandhāra art consists of variety of objects of cultural and religious significance, carved out of materials like stone, stucco, clay, gold, silver, terracotta and bronze. The stone art seems to be the most attractive and durable of all. The stone is a material that is not easily perishable, so it remained unbeaten by the time and the enemy.

Geographically ancient Uḍḍiyāna (Swat) has an important and unique place in the history of South and Central Asia. It is situated at the foothills of the Himalayan in

Malakand Division in the Khyber Pakhtunkhwa province of Pakistan. Huan Tsang, a

Chinese pilgrim says that “Swat or ancient Uḍḍiyāna is a lush green land with colorful flowers and snow covered mountains where grapes grow in abundance”.

3I.H. Nadiem, (2003) Buddhist Gandhāra, p.9. 4Ibid. 3

1.2 Method of Analysis

The research methodology of the present study is based on thematic, descriptive as well as analytical approach. The primary source of the study was sculptures in the present collection. In pursuance of this study, a number of targets were set which were achieved through in-depth study of research material after physical assessment, proper documentation and digital photography.

The secondary source comprises in-put segments such as literature review, study of published and un-published material in the shape of excavation reports, surveys, of earlier researchers. The panel observation and results obtained were also studied and were shared with the learned scholars on the subject matter to reach the final conclusion. The focus of the study was on different stylistic, thematic and iconographical features of the sculptures of the present collection.

1.3 Research Questions of the Study

This study finds out answers to the following research questions:

1. What is the probable provenance and chronology of sculptures of

Malakand collection?

2. What should be the zonal workshop and source of stone quarries used in

manufacturing the sculptures of Malakand collection?

3. What may be the subject matter communicated through these sculptures?

1.4 Significance of the Study

Despite being a most important asset of art and civilization, the Malakand collection of Buddhist period has not been researched. So the present study could enhance the understanding and comprehension of the experts as well as the interested 4 readers. Secondly to make a scientific research on these sculptures by doing analysis and comparative study to bring this important collection of the Buddhist period in to the main stream of Gandhāra Art .

1.5 Archaeological Activities in Swat Valley

Swat valley has an important place on the map of the world due to its unique religious, political, social and cultural history in South Asia during the peak period of

Buddhism in this region.

The early archaeological activities are associated with A. Court‟s information about the important sites in Swat and Buner valleys.5 At that time these areas were not easily accessible to foreigners, particularly Europeans. Court collected information about these territories from the native people and made a list of various sites, “cupolas and ruined cities.” Later on, researchers proved that the information plays a vital role in their research. The first scientific survey of the Swat valley was conducted by Sir

Aurel Stein, in year1924. He conducted exploration in the Swat valley and reported a number of sites6 following the footprints of the Chinese pilgrims who were able to find some Buddhist sites during their visit to the Swat valley. In 1938 E.Barger and

P.Wright carried out the survey of the Swat valley. They also excavated archaeological sites along the Swat River, particularly the site of Barikot.7

The Italian Archaeological Mission followed the footprints of earlier explorers and conducted extensive survey in the region. In 1955, Giuesppe Tucci carried out an

5M.A. Court, (1839) Collection of facts which may be useful for the comprehension of Alexander the Great‟s exploits on the Westren Banks of the Indus JASB, ( VIII) p.306 sqq.

6A.Stein, (1930) An Archaeological Tour in Upper Swat and adjacent hill tracts. MASI, Calcutta: Government of India. pp130-200. 7Barger. E &P.Wright, (1941) Excavation in the Swat and exploration in the Oxus territories of Afghanistan. MASI, No. 64, Culcutta. pp. 1-6. 5

Archaeological survey and selected some important sites for his research.8The

Department of Archaeology and Museums, Government of Pakistan and the

Department of Archaeology, University of Peshawar, have also carried out survey and excavations in the Swat valley. The region was further explored by the Italian

Archaeological Mission and the list of the archaeological sites was renewed.9The excavations as the result of these surveys revealed large number of antiquities. This made it possible for the scholars to re-establish the history of the region in a scientific way.

The Buddhist site of Butkara-l was excavated with the combined efforts of the

Department of Archaeology and Museums, Government of Pakistan and Italian

Archaeological Mission to Swat (IsMEO).10 Other excavated sites include, Udigram,

Leobanr-l and lll, Katelai, Barikot, Gogdara, Saidu Sharif, Kalako Dheri, Ghundai,

Panr, Ghalegai and Aligrama. In 1968, the process of excavation and exploration continued in the valley of Swat by the Department of Archaeology and Museums,

Government of Pakistan and the Department of Archaeology, University of Peshawar.

During this process, a large number of new sites were discovered and investigated. At the same time, cultural materials from the earlier excavations on different sites had been re-examined and studied.11

Many Buddhist sites were discovered in the Swat valley in 1980 when the

Department of Archaeology, University of Peshawar launched a project under the title

8Luca M. Olivieri, (2006), outline history of the IsIAO Italian Archaeological Mission in Pakistan: 1956-2006, East and West 56 (1-3), pp. 23-41. 9G. Tucci, (1958), Premliminary Report on Archaeological survey of Swat, Pakistan, East & West, 9 (1), pp. 279-328.

10Pierfrancesco, C. (1992), Bir-kot-ghwandai: an early historic town in the Swat (pakistan),in: C,Jarrige,ed. South Asian Archaeology1989,Madison, pp.339-348. 11 Muhammad Ashraf Khan, (2011). Research and Excavation in Swat, Pakistani contribution. Journal of Asian Civilizations 34 (1), pp.35-39. 6 of “Gandhāra Archaeological Project.” Moreover, Farooq Swati discovered 28 new

Buddhist sites in 1995, during his short field survey along the right bank of the river

Swat.12

A project under the title of “Survey of Archaeological Sites in Ancient

Gandhāra” carried out by the Department of Archaeology and Museums, in Swat and

Buner in the year 1991-96. As a result of this project, 60 sites were discovered in the different areas of the Swat valley.13 The Buddhist sites of Buchkhan stūpa, Palai,

Tokar Dara, Asan Kote, Nimogram, Baligram, Gumbatune, Dadahara, and Malam

Jaba were surveyed and systemically excavated by the Department of Archaeology

and Museums.14 Fifty six new Buddhist sites were discovered by Frooq Swati, M.

Naeem and Jehan Mulk in different areas of Shangla and the Swat valley.15

The Buddhist sites of Pataka Khiamdara, Parri, Charg Patai, Guligram,

Butkara-lll, Shnai-sha, Marjanai and Loebanr were surveyed and systemically excavated by the University of Peshawar.16 Under the supervision of the Italian

Mission to Pakistan led by Luca Maria Olieveri, systemic and organized excavation and survey were being conducted in the valley of Swat.

12Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat Valley. Athariyat (Archaeology), l, p.viii. 13 Muhammad Ashraf Khan, (2011), Research and Excavation in Swat, Pakistani contribution. Journal of Asian Civilizations 34(1), pp.35-39.

14Ashraf khan, (1996) , Excavation at Sisako KandronPatay, Dadahara Swat Valley. Archaeological reconnaissance in Gandhara Department of Archaeology, Government of Pakistan, Peshawar, pp.90- 95. 15Muhammad Frooq Swati, et al, (2002), Note on the exploration in Shangla Disrtic and the Swat valley, Ancient Pakistan 15, pp.217-252. 16Shah Nazar khan.,(1995), “Preliminary Report of the Excavation at Marijanai”. Kabul Swat, Ancient Pakistan ll, pp167-202. 7

1.6 History of the Malakand Collection

The Malakand Collection of Gandhāra sculptures probably came from the

„Deane Collection‟ placed in the Political Agent‟s House Malakand since December

1896 (FOUCHER 1901: 126) or from the Stewart collection. In any case, the

Malakand Collection of Gandhāra sculptures was part of a larger collection inaugurated by Deane. The ethnographic part of this collection was deposited after

1906 in the Peshawar Museum. Additional material was sent to the Peshawar

Museum on different dates (perhaps prior to 1922, if this is what Waddell is referring to in 1922; again in 1924) and further material was acquired by Stewart collection sent to Peshawar or was incorporated in Stewart‟s(now fully private) collection. A large part of the original Malakand collection was sent to the Swat Museum in the

1980s.17 Some part of this collection was found in the compound of Dargai fort and handed over to the museum by political Agent. Some pieces of this collection are still on display in the boundary wall of the Dargai fort (Political Agent Office). The objects found in this area do not stand for the original collection as these archaeological objects have a long history of displacement.

The work of Major H.A.Deane, L.A.Waddell, A.Caddy, Aurel Stein and

Foucher deal with more reliable and scientific research in the distant part of the area. They made valuable contributions to the development of Archaeology of

Malakand Division. Major Deane‟s work on the history and archaeology of Khyber

Pakhtunkhwa is considered as hallmark in this field. In 1888, Major Deane conducted

17 Luca M. Olivieri, (2014) Antiquties of The Northern Pakistan. Reports and studies, Vol-6, p.196.

8 excavations at the Buddhist site of Sikri in District Mardan; the stone sculptures are well-known even in the present day.18

The administration of the Malakand donated 134 pieces of Gandhāra Art to the Archaeological Museum of Swat located in Saidu Sharif.19 These objects of the

Malakand collection were labeled as MK. Swat remained an independent state from

1917 to1967. In 1955, Italian Archaeological Mission started field activities and as result of the excavation at Butkara-l, a large number of antiquities were unearthed by

Italian Archaeological Mission (IAM) and needed a place for their keeping and display. First one room Museum was established in Jehanzeb College, Saidu Sharif and a professor of the same college was appointed as a Curator.

In 1958, a small Museum was designed by Mr Vittorio Caroli, and that was inaugurated by the then president of Pakistan General Muhammad Ayub Khan on 11th

November, 1963. From time to time, the Museum was expanded and in 1992 this

Museum was re-organized by the Department of Archaeology and Museum

Government of Pakistan with the financial and technical support of the government of

Japan. Unfortunately, on 16th February, 2008 a huge bomb blast occurred outside the

Museum and due to which the façade of the Museum fell down and the artifacts were transferred to the Taxila Museum and Museum was closed for public. In 2011,

Italians started a project named Archaeology Community Tourism (ACT) and reconstruction was started on 7th February, 2012 and on 10th December, 2014

Museum was re-opened for public. The Museum contains some of the finest collection of Gandhāra art taken from some of the Buddhist sites in Swat.

18 Kurt A. Behrendt, (2003) The Buddhist architecture of Gandhāra. Leiden: Brill, pp.17-282. 19Ibid. 9

Swat museum housed antiquities dating back from 3000 BCE to 20th century The

Malakand collection placed in the reserved area of the Museum is chiefly related to

Buddhist art. This collection includes episodes of the Buddha life stories (from his birth to death). In these reliefs, individual images of Buddha and Bodhisattva, architectural elements like capitals, brackets, and corner framing pilasters, stūpa pegs, harmika, Dīpankara Jātaka, stūpa model, frieze and cornices with events from the daily life are found from this collection.

Luca Maria Olivieri, Head of the Italian Archaeological Mission to Swat, is of the view that these pieces were possibly brought from the sites of Palai, Nal (Kafirkot),

Loryian Tangi in Dargai area and Uch valley in lower Dir.20

1.7 Focus of the Study

The Malakand collection needs a scientific archaeological study. This study includes tracing out provenance of the Malakand collection. The Researcher also studied the cultural materials of scientifically excavated sites of Swat/Malakand

(Panr, Saidu stūpa, Balo Keli Gumbat, Shanishah, Gumbatuna, Nimogram, Marjanai,

Andan Dheri, Chatpat, Butkara-l, Butkara-lll, Baligram, Dadahara and Nawagai) which enabled him to establish the provenance and the chronological sequence of the

Malakand collection.

There were different schools of art and workshops that flourished in different zones of the Swat valley, which further enabled the researcher to place them in the proper workshops. The present study is important because it is intended to document various facts about the Malakand collection. It would analyze various items related to the Malakand collection placed in the Swat Museum, Saidu Sharif. On one hand the

20Luca M. Olivieri, (2014) Antiquties of The Northern Pakistan. Reports and studies, Vol-6, p.196. 10 present study would help safeguard the collection and on the other hand it would add to the meaningful interpretation of the items available. The archeologists, historians, environmentalists and art critics and theorists would be its beneficiaries.

The whole research is divided into four chapters. Chapter one is related to introduction, geography and history of Swat. Chapter two deals with the stylistic and statistical analyses. Chapter three gives a detailed comparative study of Malakand collection and its provenance. Chapter four gives conclusion of the present research work.

The Swat Museum has rich collections of antiquities collected during the course of scientific excavations from the Swat valley. These collections include private and confiscated collection as Malakand collection, Police collection, Varia collection and Wali-e-Swat collection. These private and confiscated antiquities are still lying without scientific study except the Wali-e-Swat collection which was studied by Tahira Tanweer. Thanks to the efforts of TIAC other collections have received greater attention now and apart from this research studying the Malakand collection, another collection known as Varia collection is also being scientifically studied by another Researcher of TIAC namely Abdul Ghafoor.

Map 1: The area shaded red indicates locale of the study (courtesy: Google 2015) 12

Geography and history of Swat Valley

1.8 Nomenclature of Swat (Ancient Uḍḍiyāna)

In the Rigveda, the religious book of Aryans, Swat was mentioned as

“Suvastu” means good dwelling in Sanskrit.21Chinese pilgrims Huan Tsang and Fa-

Hian mentioned Swat as Su-po-fa-su-to22and Su-ho-to23or Suvastu or Subhavastu respectively.

Another Chinese pilgrim visited India in fifth century CE, mentioned the name of Swat in his account as“OU-Chang24”or “Woo-Chang.25”All these terms are associated with Sanskrit word Uḍḍiyāna literally meaning garden or park. Swat has been mentioned as Orgyan or Urgyan in the Tibetan literature. Orgyan or Urgyan was religious place for Tibtean because it was the birth place of Padmasambhava, the founder of Tibetan Buddhism.26 According to Buddhagupta, a Tibetan pilgrim, Swat is still mentioned as Orgyan or Urgyan in the Tibetan literature.27 The origin of the earliest inhabitants of the valley is not known.

1.9 Geography of Swat

The most beautiful lush green and historic valley of Swat lies between

34o -10‟ to 35o- 55 latitude and 72o – 10‟E to 73o-0‟E longitude.28 On the north of the

21Beal.Samuel, (1884/2000) Si-Yu-Ki or Buddhist records of the western world, 2Vols: London, pp.xxxi. 22Ibid, p.120. 23Ibid, p. xxxi. 24G. Tucci, (1958), Preliminary Report on the Archaeological Survey of Swat, Pakistan, East &West, - 9, pp.279- 328. 25 Ibid. 26 Ibid. 27Ibid. 28District census report of Swat, (1998), Population Census organization, Statistic Division Government of Pakistan, Islamabad, 1991, P.1. 13 valley, there are Chitral and Ghizer Districts and mountain ranges of the Hindu Kush, the Karakoram and the great Himalayas, on the south, Malakand and Mardan Districts are situated. Height of the Mountains is about 1524 meters which separates the Swat valley from ancient Gandhāra in the south, while on the west is “Dir”, on the east is the district Shangla, Kohistan (mountains) bordering the mighty river Indus.

During the British period the sub-valley of Adinzai was added to the District Dir, while the areas of Thana and Ranizai were included in the Malakand Agency (the

British protected area).29 The valley of Swat is spread over an area of 5000 square miles and according to the 1998 census the total population of Swat was about1257,

30 602 persons.

1.9a Passes

There are many passes in this hilly area. The most famous are Nawa pass,

Malakand pass, Ambella pass, Morah and Shakot pass. These passes gave the shortest and economical access to central Asia.31 So we come to know that these passes offered two fold advantages i.e. economy and defense.32 They were exploited for both purposes. The Ambela pass lies in the east and joins Chamala. On the other hand, on north lie Malakand, Murah and Shahkot. Nawa pass which is known as the Alexander route is in Bajaur and occupies the west of Malakand region. These passes play a significant role in joining Afghanistan and Swat with central Asia. It is very important

29A. Stein, (1929), On Alexander tracks to the Indus: personal narrative of explorations between UpperSwatand the Indus,the geographical general 70(50),pp414-440. 30District Census Report of Swat, (1998), Population Census organization, Statistic Division Government of Pakistan, Islamabad, 1991, p.2. 31Farzand Ali Durani. “Ecological /Geographical Setting”The Glory that was Pakistan 50 years of Archaeological research in Pakistan. A photographic exhibition Feb-Mar 1998, Department of Archeology university of Peshawar, p.1. 32Ibid. 14 link of these areas.33 Perhaps this link helped a lot in the development of cultural and civilizations of these areas.34

1.9b Rivers

The main river of Swat is formed by three main tributary streams i.e. the

Ushu, the Balandar, and the Gabral, originating from the Hindu Kush Mountains and flows through the Kalam valley, 2012 meters high above the sea level.35The river flows in the centre of the valley, near the village of Madyan, its height reduced to

1400 meters.36 It meets Panjkora River near Chakdarra in Dir District and flows through Malakand District to enter the Kabul River after covering total course of about 644 kilometers.37

1.9c Climate

According to Hsuan-Tsang, a Chinese pilgrim “the climate of ancient

Uḍḍiyāna or present day Swat valley as a country bounded by snow-capped peaks; a land of rugged mountains and broad valleys, of wide marshes, green meadows and high plateau, where grapes grow in abundance.”38 Swat is one of the most attractive and beautiful valleys due to its roaring rivers, fields full of wheat and Lucerne lies in the monsoon belt.39This area has two main rainy seasons. The span of first rainy season is from November to March. During this season snowfall also occurs with rain

33Zwalf, (1997) A catalogue of the Gandhara Sculpture in the British Museum, 1, p.14. 34 Marshall, (1931) Moenjodaro and the Indus Civilization, 3 London, p.17. 35Muhammad Farooq Swati, (1997) Recent discovery of Buddhist sites in the Swat Valley, Athariyyat (Archaeology) 1, p.152. 36B.Sardar, (2005), Buddhist rock carving in Swat vally, p.29. 37Imperial Gazetteer of India,(1979) Provincial Series, North West Frontier Province, Lahore, p.116. 38B.Sardar,(2005) Buddhist rock carving in Swat vally,p.25. 39Ibid, p.26. 15 and cold wind.40 The 2nd rainy season lasts from July to August. This rainy season has got particular name that is monsoon season.41

The average annual temperature of the Swat valley is 11-19 C0 and the annual rainfall varies from region to region, however the average annual rainfall is 878-1011 mm. Gandhāra has mostly pleasant climate because of its neighboring mountains: a country where a Greek might think of being back in his homeland.42

1.10 Geology

The lithic material which was used in the construction of buildings of different type in the region was acquired from the local resources. Moreover, the material used for the manufacturing of sculptures was also locally available. The major source for this material was the mountains of Swat. Geologically, Swat valley has great significance in the area. It lies between the Kohistan Island and Indo Pakistan Plate.

The Kohistan Island is situated on North. From North- West to South- East, there are major domains of geology which gain importance.

1. Pre-Triassic metamorphic and magmatic rocks of the Indo – Pakistan Plate.

2. Cretaceous - Eocene ophiolitic mélange of the suture zone.

3. Cretaceous-Tertiary metamorphic and magmatic rocks of the Kohistan Arc.43

The lithic material was locally available for the construction of buildings and holy monuments.

40Military Report &Gazetteer on Dir, Swat and Bajaur, Part –I, military report General Staff, Indian,1928, p.64. 41Ibid.

42Marshall, (1960), The Buddhist art of Gandhara, p.1. 43Faccenna, Sergio Lorenzoni, Luca Molvieri and Zanettin Lorenzoni,(1993), Geo Archaeology of Swat valley (N.W.F.P Pakistan) in the Charbagh – Barikot stretch: Preliminary note- East and West 43 (14), pp.257-270. 16

Map 2: Geological sketch of the Swat Valley, (Faccenna, Lorenzoni, Olivieri et al. 1993: 259)

1: amphibolites; 2: pyroxene granulites; 3: garnet granulites, Suture Zone (MMT= Main Mantle

Thrust); 4:ophiolitic mélange. Indo-Pakistan Plate; 5: Swat Buner schists; 6: granites:

7: Alluvium (from Tahirkheli & Jan 1979) 17

It also helps in understanding the use of lithic material in manufacturing of the sculptures that ophiolithic material was used in the making of those holy monuments.44 On the other hand, very less existence is available on the Kohistan Arc.

The Indo-Pakistan Plate has been constituted by two different formations and their relationship is of tectonic in nature. They are tectonic in their nature with each other.

Augengneisses and granitoids constitute the lower formation which carries the material like metamorphic rock with lavas.45 The, metamorphic history authenticates that Augengneisses and granitoids belong to two different kinds.46 In the lower formation, magamatic rocks are found. On the other hand, upper formation carries quartz pegmatites. It shares this features with lower formation. The magmatic –

Metamorphic history lies to pre-cambrian of earliest age.47Most of the scholars agree to this point of view related to upper and lower formation. The lower formation was also used as the Swat granite gneisses + Manglaur schists.48 However, it was preferred to use the generic name of lower formation for the said area. Metapelitic – metarenitic

– metacalcareous constitute the upper formation. In this formation metamorphic- gradient is found in abundance.

With the passage of time the above mentioned formation went through various deformation stages. In North- West, there are schistosity dips and folds are in greater frequency. Dykes, lenses and quartz nodules are widespread.49On the upper formation there is Amphibolite horizon+ marble and calcareous schists + phyllitic schists are

44Paul.S,(1986) Gandhara Sculpture in Chandigarh Museum, p17. 45D.Faccenna, Sergio Lorenzoni, Luca Molvieri and Zanettin Lorenzoni, (1993) Geo Archaeology of Swat valley (N.W.F.P Pakistan) in the Charbagh-Barikot stretch Preliminary note- East and West 43, (1-4) ,P-257-270. 46Ibid. 47Ibid.

48 Ibid. 49King S.F Siddiqui, Martin, (1962) A Geological Reconaissance of the region between the lower Swat and Indus Rivers of Pakistan. Geological Bullettin University of Punjab 2, pp.1-16. 18 present.50 The upper and lower formations are joined by lamination, mylonitization and tectonic wedges. It is slightly bent towards North West. This contact is visible on the right side of Ugad River which is bent towards Swat River. This contact is changed by compressive and tensional folds. It carries sialic intrusions. It indicates that it belongs to pre-Alpinal age.51

Tectonic formulates the major part of Indo- Pakistan plate. This change can be seen in the landscape of the region. This is complicated by the compressive structures of the lines of secondary movement. This can be tracked in the area opposite to Saidu

Sharif. In this area, plagiogranites is found in great amount. This leads to the fact that ophiolities were transported on the available ways. This reveals the truth regarding the construction of Main Mantel Thrust. We can say that the Indo Pakistan Plate is made up of two types of formation:

1. Upper formation

2. Lower formation

The upper formation mainly contains phyllite calcareous, schists, marbles amphibolites mica schists and Gneisses. The lower formation has siliceous schists,

Augen Gneissies, Granites and Lava. Most of the sculptures found in the region of

Gandhāra are made of stone and materials used for these sculptures are black Schist, soft blue and green phylite.

The mountains of the Kalam valley are composed of greenish phyllite, hornfels, quartzite, granite,52while the mountains of the main Swat valley are constituted of schist and granite, metasedimentary and volcanic rocks with the

50Faccenna, Sergio Lorenzoni, Luca Molvieri and Zanettin Lorenzoni, (1993) Geo Archaeology of Swat valley (N.W.F.P Pakistan) in the Charbagh – Barikot stretch Preliminary note, East and West 43, (1-4) ,P-257-270. 51 Ibid. 52 S .Matsushita.and K.Huzita, (1965) Geology of the Karakoram and Hindu Kush.Kyto University, pp.89-92. 19 imposition of granodiorite, granite, syneite and diorite.53 Mountains between Khwaza-

Khela and Kalam made a wide strip of plutonic rocks, which contain gabbro diorite, granite and associated pegmatites. Most of the sculptures found in the Swat valley are generally made of varieties of schist and phylite. Thick layers of alluvial, clay and organic material spread over a large area of land in the lower valley.54

Archaeological excavations in the region revealed that the local material was used for the construction of religious and civil buildings. Some monuments having the same chronological order, talc schist with carbonate matter or soap stone were abundantly used. Only at Barikot site materials coming from outcrops located several kilometers away were used in a large amount.55

Lime stone was used for making stucco and for plastering the walls of religious buildings, whereas precious stones were used for making beads,56 probably after fifth century CE, with the revival of Brahmānism and its influence over

Buddhism gneiss was used for making sculptures.57

53 N.R. Martin, S.F.A.Siddique and B.H King, (1962) Archaeological reconnaissance of the region between the lower Swat and the Indus river of Pakistan.”Geological bulletin of Punjab University, 2, pp.1- 14. 54 F.Barth,(1981), Features of person and society in Swat:.collected eassys on Pathans, ll, London: Routhledge & Kegan, pp.4-5.

55 Faccenna, Sergio Lorenzoni, Luca Molvieri and Zanettin Lorenzoni, (1993) Geo Archaeology of Swat valley (N.W.F.P Pakistan) in the Charbagh-Barikot stretch Preliminary note, East and West 43, (1-4) ,P-257-270. 56Ibid. 57Muhammad Frooq Swati, (1997) recent discovery of Buddhist sites in the Swat valley Athariyyat (Archaeology), 1, p.152. 20

Google 2015) Google

(courtesy: Map3: Gandhāra 21

1.11 History The Swat valley and its neighboring areas particularly Malakand Agency has its own peculiar importance in the region. Swat valley is easily approached to its surrounding areas through passes (Nawa Pass, Malakand Pass, Ambella Pass, Morah and Shakot Pass), which linked west with east, India and central Asia. Archaeological activities revealed that Swat had political, religious and cultural link with its neighboring states so various civilizations and cultures developed in the lap of this great Valley.58 Traces of pre-historic man have been found in the valley.59

Moreover, in Dir, Bajaur, Chitral, Buner, Peshawar, Swat and Taxila valley a complex of cemeteries is found which is known as “Gandhāra grave culture” or

“Proto-historic grave culture.”60 The material found during the excavation from these graves shows the existence of the Aryans in the region. From the Buddhist, Jain and

Puranic texts we come to know that there were sixteen great states (Mahajanapada) and Gandhāra was one of them and ruled by Iranian Achaemenid dynasty during the time of Cyrus the Great (558-28 BCE).61 In sixth century BCE, Taxila, Gandhāra and

Hindus (Sindh) became the part of Achaemenians Empire, during the rule of king

Dareious–I (516 BCE).62

India was attacked by Alexander the Great of Macedonia to complete the conquest of the region. On his way from Afghanistan to Indus, according to the war tactics, he divided his army into two divisions. He sent one division of his army to take the control of Pushakalavati (Modern Charsadda). He himself commanded the 2nd division of his army and marched towards Swat; both divisions of his army met at

58G.Tucc, (1958) preliminary report on an archaeological survey in Swat, East and West, 9 (4) pp.280- 28. 59Micheli, Roberto, (2006) Early lithic tools from Lower Kandak, East and West, 56 (1-3) pp.43-61 60 Zwalf, (1997) A Catalogue of the Gandhara Sculpture in British Museum, 1, p.15 . 61 Ibid. 62 Ashraf khan, Mahmood-ul-Hassan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum, I pp.20-40. 22

Indus.63 When he entered Swat, he met severe resistance by the inhabitants of

Massaga (Assakenoi) who fought bravely with Alexander‟s army. Finally, he entered the Swat valley and occupied Ora (Modern Udigram) and Bazira (Modern Birkot).64

During the fight with Assakenoi Alexander got injured by an arrow.65 From

Swat he marched towards India and entered in Punjab via Hund.66 On his way towards Jhelum, he took the control of Taxila ruled by Raja Ambhi. On reaching

Jhelum, he defeated Raja Porus at the Hydaspes River (Modern River Jhelum). After the battle with porus, his army got tired and refused to march further, so he decided to send his army back. He moved from subcontinent in 325 BCE. On reaching Babylon, he fell ill and finally died in 323 BCE.67 After the death of Alexander fight among his generals had started for his empire. Due to these circumstances, Indian got a chance to throw off yoke of slavery under the leadership of Chandra Gupta Maurya and occupied the Punjab. Chandra Gupta was succeeded by his son, Bindusara who ruled for 25 years. Aśoka, the grandson of Chandra, Gupta was crowned after the death of

Bindusara. He was converted to Buddhism in 262 BCE.68 He devoted himself to the propagation of Buddhism throughout his empire and beyond. Through his efforts, the people of Gandhāra were converted to Buddhism. It is said that during his period

Buddhism reached at its climax.69 After the death of Aśoka in 232 BCE, the region came under the influence of Bactrian Greeks who occupied the western parts of the

63Zwalf, (1997) A catalogue of the Gandhāra Sculpture in the British Museum, 1, p.15. 64Ibid. 65Ibid. 66Ibid. 67Ihsan, H. Nadeem, (2003) Buddhist Gandhara, History Art and Architecture, p.12. 68 Inayat-Ur-Rehman, (1989) Buddhism in Swat and its impact South Asia Studies 6 ( 2 ) pp.11-34. 69Ibid.

23 empire.70 This shows that the Indo-Greeks followed the Mauryans in Swat and the neighboring areas.

The Bactrian ruled this land for about 200 years.71After then Scythians,

Parthians and Kushans ruled Gandhāra particularly Swat, the most popular ruler of the

Kushan dynasty was Kanishka-l.72Their rule also continued in Gujrat (Punjab).73

History gives clue that Kushans also called “Yuch Chi”was expelled from “Kansu” province of China.74History tells us that Kanishka-I was a brave king of Kushan dynasty and he tried his level best to promote Buddhism that is why he is known as

2nd Aśoka in the history. During the time of Vima‟s son Kanishka and his successors

Gandhāra became the 2nd holy land of Buddhism75. It is said that during the time of

Kanishka fourth Buddhist council was also held in the region76. With the passage of time, the great Kushan dynasty became weaker and weaker and at last in 241 CE Shah

Pur -I a Sassanian king from Iran, overthrew the Kushan dynasty.77

According to Sir John Marshall, the prosperity of the Gandhāra region may have been destroyed by the invasions of white Huns, who came from Central Asia and occupied the Indus valley; they destroyed everything that came in their way.78

However, there are different views about the decline of Gandhāra art and destruction of Buddhist stūpas and monasteries. In this regard, recent archaeological excavations particularly Buddhist monastery at Jinan Wali Dheri in Taxila valley is the evidence

70A.K. Narain, (1957-62) The Indo-Greeks. London: Oxford University Press, p.7-78. 71Ibid. 72Ahmed Hassan Dani, (1969) Peshawar: historic city the Frontier, Peshawar, pp.41-50. 73Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1, pp15-16. 74Ibid 75Inayat-Ur-Rehman, (1989) Buddhism in Swat and its impact South Asia Studies 6 ( 2 ) pp.11-34. 76 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone,(2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum 1, p.18. 77Inayat-Ur-Rehman, (1989) Buddhism in Swat and its impact South Asia Studies 6 ( 2 ) pp.11-34. 78 Marshall,(1960)The Buddhist art of Gandhara .The story of the early school its birth, growth and decline, p.1. 24 of the destructive nature of White Huns.79 As stated by Dani “the combined factors of the decline of trade, lack of royal patronage and loosening of the bondage between the community of monks and laymen led to the downfall of Buddhism in the Gandhāra and in the various areas of Swat; the White Huns appear to be only an easy scapegoat.80”

After this, the land of Swat was ruled by Turk Shahi. This dynasty was over thrown by the Hindu Shahi dynasty whose capital was at Hund in 822 CE.81 Further attacks on the valley brought about the down fall of Hindu Shahi dynasty and changed the region in Muslim land under the Afghan Ghazanvadis. In the beginning of 11th century CE, Mehmood of Ghazna occupied the valley. He was first Muslim ruler who occupied the Swat valley by defeating Raja Gira,82 the local ruler of Udegram.

It is said that he built a mosque here in Swat. The remains of his mosque can be still seen near the tomb of Pir Khushal Ghazi Baba.83 Later on, Swat valley was occupied by Dilazak tribe who came from south–east of the Afghanistan.84 In the mean time, people from different tribes of Pukhtun (Pathan) came in Swat and settled here. They were known as Swati Pathans. These Pukhtuns (Pathan) remained in the valley till the invasion of Yousafzais who came from Kabul.85 After 20 years of war, the Yousafzais took over the complete control of the valley. As a result of this, a large number of old Swati migrated to different areas of Khyber-Pakhtunkhwa. Most of

79 Muhammad Ashraf Khan, Mahmood-ul-Hassan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum,1 , pp.1 8-21. 80 Ahmad Hassan Dani, (1986) The historic City of Taxila, pp.1-16. 81 Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1, 17, 18. 82A.Stein, (1939) An Archaeological Tour in Upper Swat and adjacent hill tracts, MASI: Calcutta: Government of India., pp.42, 43. 83 Badsha.Sardar, (2001) Legency of Mahmud of Ghaza at Swat Journal of Asian Civilization, XXIV (2), p.107. 84Muhammad Frooq Swati, (1997) recent discovery of Buddhist sites in the Swat valley Athariyyat (Archaeology), 1, pp.152-155. 85 Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1, p.17. 25 these old Swatis are now settled in different areas of Hazara.86 The Yousafzais, Swati remained at peace during the regin of Mughal Kings, Baber, Mirza Kamran and

Humayun. Babar never attacked on the valley; however, he married a Swati girl, Bibi

Mubarak and moved towards India.87Akbar the great attacked Swat in 16th century but he could not succeed. As a result of this attack, he lost a large number of strong men of his army.88 Later on, some religious leader from Yousafzai tribe tried to establish an Islamic government in the valley. The most religious leader Hazrat Abdul Ghafoor who earned the title of “Akhund” of Swat (Saidu Baba)89 and some other leaders of valley selected Syed Akbar Shah as their king.

The king made Ghaligay as his headquarter throughout his period. As a king he tried his level best to establish Islamic law in the valley. He established Islamic government. In 1857, the Islamic government was ended in the valley with his death.

The areas of Chitral, Dir and Malakand were ruled by the local rulers in association with political agent. Pakistan also maintained these areas under their rulers. These areas were administered by the then West Pakistan and later on dissolved under one unit system.

In 1917, the grandson of Akbar Shah Miangul, Abdul Wadood, became the ruler of the valley. He is also known as Badshah Sahib, tried to maintain peace and harmony in the state. For this purpose, he made an army of ten thousand men. He was a great reformer and established many schools, colleges, roads and hospitals in the

86 Muhammad Ashraf Khan, (1993) Gandhara Sculpture in the Swat Museum,By the author, Saidu Sharif, p.2. 87B.Sardar, (2005) Buddhist rock carvings in the Swat valley, p.49. 88Ibid.

89Military report and Gazetteer on Dir, Swat and Bajur, Part-I Military report 2nd Edition. General Staff, India1928, p.4. 26 valley.90 In 1949 Miangul Jahanzeb, the son of Miangul Abdul Wadood, became the ruler of Swat; he was also called Wali-Swat.91He was the man of modern concepts, so like his father he built a large number of schools colleges, hospitals, roads and exchanges in the valley. Miangul Abdul Haq Jahanzeb ruled Swat till it merged with

Pakistan in 1969. With the stability of the state and development of the archaeology research became the focus of attention, under the patronage of wali of Swat. The

Archaeological activities were promoted and flourished. In other words, the advent of walie‟s rule, the world of Archaeology saw new horizons of progress and exploration.

90Military report and Gazetteer on Dir, Swat and Bajur, Part-I: Military report, 2nd Edition. General Staff, India1928, p.4. 91 Ibid.

CHAPTER 2 2. THEMATIC AND STATISTICAL ANALYSIS

We have the analysis and studies of Gandhāran art and architecture conducted by many renowned national and international scholars, who serve as a highly valuable sources of reference and encouraging future scholars and researchers to build on it.

We know that Mahāyāna Buddhism flourished in the ancient Gandhāra region during

1st to 5th centuries92 and so the art and architecture. Apart from the sculptural art which necessarily made part of the Buddhist faith flourished but a large number of monasteries and stūpas were built as a great religious service throughout the length and breadth of ancient Gandhāra region, as even evident today. These monasteries and stūpas were embellished with stylistically carved sculptures of Buddha, Bodhisattvas, jātaka stories and other scenes, mostly in schist stone, but also in a great number in

Stucco and to some extent in metals like bronze and other materials. The present study also to a great extent reveals great traditions of that time.

Thematic Analysis

2.1 Jātaka or previous birth stories of Buddha

Jātakas are the stories of the Buddha‟s previous incarnation or birth. Such stories are carved on panels of variety of schist in Gandhāra which presents with a great deal of imagination in a number of sculptures belonging to the early period of the Buddhist

93 art in Gandhāra (around first century CE).

92 Muhammad Ashraf Khan, (1991) Gandhāra sculptures in the Swat museum, p.7. 93 Ibid. 28

Dīpankara Jātaka Fig. No: 1 Inventory. No: MK 47 Dīpankara Jātaka is one of the most important and the earliest popular Jātaka in the history of Gandhāra, depicting arrival of Sākyamuni. According to Mahavastu version Dīpankara was the son of Archimat who was the ruler of Dipavati.94

According to the Buddhist tradition there came twenty-four Buddhas before

Sākyamuni.

After becoming a Buddha, Dīpankara decided to visit his native city Dipavati.

As the story goes ascetic Megha* was visiting Dipavati in festive array wanted to meet Dīpankara. While waiting for Dīpankara to welcome him, Megha met a young girl who had seven lotus flowers and a water jar with her. She wanted to welcome

Dīpankara and shower these flowers on him on his arrival. Megha requested the girl to give him these flowers as he also wanted to shower them on Buddha Dīpankara, but the young girl refused as she had purchased these flowers for five hundred coins. She however agreed to give him few flowers provided Mega agrees to marry her. Megha gently refused her proposal because he wanted to become a Buddha but for the sake of getting flowers to shower them on Dīpankara he agreed to marry her in future births. On the arrival of Dīpankara Megha showered five lotus flowers on him, but the flowers did not fall on the ground and remained suspended in the air over the head of

Dīpankara making a halo around his head. Similarly, the flowers tossed by the girl to welcome the Dīpankara also suspended over his head in the air. On seeing this

94Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1, pp, 131-134. *Megha is the name used for the brahmana student in the Mahavastu account, in the Divyavadana he is Sumatior Summati; and in the Pali account he is Semadha. 29

Summati knelt down and spread his soft long hair under the feet of Buddha Dīpankara to save his feet getting dirty.

On this action of Summati, Dīpankara was so pleased with Summati that he predicted about him that he will be reborn as Sākyamuni Buddha.95According to

Buddhist traditions Megha was reborn as Siddhārtha who became the Buddha of our history and the girl reborn as Yashodhara his wife.96

Complete jātaka story of Dīpankara in the Malakand Collection is missing due to missing of the major part of the panel. In the present fragment only king

Archimat with other two princely figures is visible. While remaining important figures shown in other side of the panel are missing. All three figures are moving towards Dīpankara which is missing here. All figures are equal in size.

The artist kept proper space between the figures and tried to show flexibility and mobility in naturalistic way in the figures which depicts his command over his art. These figures have three dimensional views. Same three dimensional figures were made in different areas of Taxila, Swat and Gandhāra.97 The king and the remaining two princely figures seem to have something in their hands as offering to the

Dīpankara Buddha. .

2.2 The Life Story of the Buddha

Birth of prince Siddhārtha

Figures No: 2 and 3 Inventory No: MK 20 and104 When last month of Queen Māyā‟s pregnancy started, she desired to go to his father‟s home. On this King Suddhodana ordered his men to make the road lead to the

95Fida Ullah Sehari, (1982) The Buddha story in Peshawar museum, p.17. 96Ibid. 97Ibid, 15. 30

Māyā parent‟s home at Devadaha98even, neat and clean. The queen travelled towards her parent‟s house in a golden Palanquin along with servants. When the queen reached Lumbini garden she was so impressed to see the beauty of the garden, sweet fragrance, chirping of birds that she wished to stay there for some time near the foot of the noble śāla tree. She wished to hold one of its flower-laden boughs. The bough bent itself towards the queen. As soon as the queen held the branch of śāla tree with her right hand; she gave birth to a baby boy without any trouble, pain or pollution and was received by gods Indra and Brahmā.

The happy event of birth of the prince is shown by carving the drum and drum sticks hanging above on right and left respectively. All figures are in Indian dress. In figure 2, god Indra is receiving the infant in a cloak. Behind the god Indra is Deva with expression of surprise on his face. The expression act of surprise has been carved very carefully which reflects the expertise of the artist/ carver. The expression is shown through index finger in his mouth. The newborn is shown born out from the right side of the mother, which is obviously unnatural, exactly as the lady was conceived in a dream by seeing a white elephant entering her womb through her right side Queen Māyā is seen holding a branch of the sala tree by her right hand and support being provided by her sister from the left side. A female attendant is seen behind her sister carrying water vessel. The scene in figure.3 is incomplete and the broken panel is also not in a good state of preservation.

98 Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1l, p.146, fig.127-128. 31

Horoscope of Siddhārtha and return of Queen Māyā Fig.4

Figure No: 4 Inventory No: MK 113 After the birth of the child, King brought his wife and newly born baby to the palace. When both mother and son were brought to the palace, the king ordered the astrologers cast the horoscope of his son but the King was shocked when the astrologers told him that in future the child would become a universal monarch or

Buddha but the King wanted that his son become a warrior and King of the state after his death.99

Overall, the scene is overcrowded. Dresses are Indians. Body postures show the flexibility of scene. Because of the depth of the scene, the figures are detached from the background. A nail hole is visible behind the back of panel fixed against the wall. All figures have fleshy faces which reflect westernized features.100

Bath and Horoscope

Figure No: 5 Inventory No: MK 78 Immediate after the birth of child, the queen‟s attendants wanted to give him a bath but they had no water for this purpose, they ran in all directions in search of water but did not find it. After a while two water vessels, one filled with cold and one with warm water appeared in front of the Queen, the attendants mixed the water as needed.101 In this way gods Indra and Brahmā gave first bath to the newly born baby.

99 Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1l, p146, fig.142. 100 Ibid. 101Fida Ullah Sehari, (1982) The Buddha story in Peshawar museum,p25,fig.10. 32

Siddhārtha in School

Figure No: 6 Inventory No: MK 82 Siddhārtha goes to school with his writing board (phalaka) and pen. In the school, he asked his teacher namely Visvamitra “which type of writing would you teach me, Brahmi or Kharoshti or any other writing style”. The teacher replied with smiling face, “I will teach you every style of writing which I know”.102 Soft and childlike expression can be seen on the face of the prince who shows the expertise of the artist. Figures are carved in three dimensional views.

Tournament (event of archery contest)

Figure Nos: 7, 8 and 9 Inventory Nos: MK 39a, 97 and 111 When prince Siddhārtha was at the age of sixteen, his father, King Suddhodhana, decided to get his son married with beautiful daughter of Danapani, Yashodhara. The father of Yashodhara wanted his daughter be married with a soldier, so for this a tournament was arranged in which Siddhārtha, his step brother Sundaranand and his cousin Devadatta participated.103

They were all defeated by Siddhārtha, at this, princes came with a garland in her hand, Devadatha was very happy that the princess would put the garland in his neck but the princess put her garland in the neck of Siddhārtha and chosen him as her husband. In figure 7, the panel is divided into two horizontal registers. The lower register is further divided into two portions by an enclosed Corinthian pilaster. Facial features of the figures are not clear. Upper register of the panel is decorated with

102 Muhammad Frooq Swati, (1997) recent discovery of Buddhist sites in the Swat valley Athariyyat (Archaeology), 1, p.42,fig.25. 103Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1, pp.159-160, figs. 164- 166.

33 foliage. The decoration of the panel shows aesthetic sense of the artist. Mobility in the figures is visible. In figure 8, the panel is in two registers separated by a fillet of saw tooth motif. The upper register shows palace. The bow and arrow are not in proportion. The bow is enlarged to the body. This shows that figures are not carved by skilled artist in figure 9; architectural fragment is divided into two horizontal registers by foliage. The lower register shows two scenes separated by an encased Corinthian pilaster. Upper register shows scene of the taming of white elephant by Buddha and six male figures. In the centre of these figures is a palm tree which separates upper register into two parts. The lower portion of the panel is badly damaged. In the upper portion, figures have fleshy faces and muscular bodies; depth of the scene is visible due to which figures appear to be detached from the background.

Marriage Procession Figure No: 10 and 11 Inventory No: MK 114 and 25 At the age of nineteen, Prince Siddhārtha got married with the princess

Yashodhara. In figure 10 marriage of Siddhārtha is shown. The prince Siddhārtha and princess Yashodhara holding hands of each other are about to move around the holy fire.104 Similarly in figure11, two marriage scenes and horoscope of Siddhārtha are shown. These scenes are very common in the life story of the Siddhārtha and artists extensively carved them in their sculptures in different areas of Gandhāra.

In figure 10, postures of the figures show lively work of the artist who has full command over the movement of the different parts of the body. Flexibility and softness can be seen in the panel. In figure 11, figures are shown having massive body. There is a proper proportion in parts of body which indicates excellent quality of work of the artist.

104 Fida Ullah Sehari, (1982) The Buddha story in Peshawar museum, p.30, fig. 19. 34

Life in Palace

Figure No: 12

Inventory No: MK 6 An architectural fragment is divided into two horizontal registers decorated with scroll of pointed vine leaves.105 The upper register shows life in palace, while the lower register shows two scenes i.e. life in palace and marriage of Siddhārtha separated by two framed Corinthian columns. The panel is in good state of preservation. Proper proportion can be seen among the figures. The movement of body and position of the hands and feet in different direction indicate excellent quality of work of the artist.

The great departure

Figure No: 13 and 14

Inventory No: MK 12 and37 The king Suddhodana, father of Siddhārtha, gave all the luxuries of life to his son but these things could not bring happiness in the life of Siddhārtha, even the birth of his child Rahula did not make him happy, because of the miserable condition of the world. One night he decided to leave the palace life. He left his wife and sleeping son.

Only Chandaka and Kanthaka were along with him.106 Mara tried to stop him but he could not succeed.107 Usually in Gandhāra art we find the side poses of Kanthaka one, complete horse supported by two yakshas but in this scene one can see the front pose, just two front legs and one yakshas (Fig.14), such type of panel is rare in the

Gandhāra art, however the same piece is displayed at Guimet Museum in Paris. In these panels (Figs. 13, 14). An excellent work of chiseling has been done by the artist.

105Muhammad Ashraf Khan, Mahmood-ul-Hassan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum, 1l, p.10, fig.12. 106Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1l, p.108, figs.177-178. 107Muhammad Ashraf Khan, Mahmood-ul-Hassan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum ,1l, pp.24-25,figs.30-32. 35

Sharing of Relics

Figure No : 15 Inventory No : MK 51 After the cremation of the Buddha his ashes divided among his disciples. His ashes were to go only to the Sakya clan, to which Buddha belonged however seven royal families demanded the relics. At this critical moment to avoid fighting, a Brahman named Drona requested the Mallas to divide the relics. He further offered his services to do the job of distribution in eight equal parts. After the distribution the relics were transported to the places of enshrinement. In the present panel a rider is shown on the horse-back, holding round object (casket) in the hands. The head of the rider is now missing wears uttariya and paridhana; the folds of the drapery are visible on the left leg. The horse has a breast- place and crupper with phalerae or disc. Parinirvāna Scene

Figure No: 25 Inventory No: MK 66 Despite his old age, Buddha continued preaching of his religion with Ananda and other followers. Once he went to Kusinagar for preaching, where he was given poisoned food by a blacksmith which was not well cooked, after eating he could not digest that food, so he fell ill and passed away.108 The relief panel shows depth in the scene because of the reflection of the light. Excellent piece of refined work shows mastery of the Gandhāra art.

Kāśyapas Going for the Last Ceremony of Buddha

Figure No: 26 Inventory No: MK 0018

108 Muhammad Ashraf Khan, Mahmood-ul-Hassan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum l, p.105. 36

Buddha died at the age of eighty in 483 BCE in Kushinagra.109After his death people from distant areas came to attend the last ceremony of the Buddha. In the present panel Kāśyapas brothers are shown going for the last ceremony of the

Buddha. Work of the artist is of good quality. He tried to show the effect of sadness on the faces of the figures and he succeeded.

Guarding of the Buddha’s Relics

Figure No: 27 Inventory No: MK 0076 After the cremation, the precious vessel was kept in the main hall of the city for about a week, where people paid homage to their dearest. During this time, relics of

Buddha were under the supervision of the head of Malla clan and were then divided in to eight parts,110 and recipients of the relics took them to their countries where they built stūpas to enshrine the relics. The work is of average quality. This scene is found in abundance in other Gandhāran sites.

Cremation of Buddha

Figure No: 28 Inventory No: MK 112 His dead body was cremated according to the royal traditions and was placed on the perfumed wood. After the cremation, his relics were distributed among the heads of eight neighboring states.111 A hole is visible on the platform used for fixing the panel against the wall of the stūpa. In this panel the artist tried to show his creativity.

Cult of the Stūpa

Figure NO: 30 and 31

Inventory NOs: MK 13 and 17

109Muhammad Ashraf Khan, (1993) Gandhāra sculptures in the Swat museum, p.104. 110Ibid, p.106. 111 Ibid, p.107. 37

According to Buddhist tradition the relics of Buddha were distributed and then taken to their final resting place i.e. stūpas. These stūpas were built by the followers of Buddhism.112After placing the relics of Buddha in these stūpas, their worship became the religious cult of Buddhism. Gandhāra art portrays men carrying the relics of Buddha on riding animals like horse, elephant and camel.113

In figure 31, two figures stand on either side of the stūpa. The stūpa is on a plain rectangular base, the dome is decorated with lotus petals. A horizontal ovolo enriched with vine scroll of pointed leaves runs in the centre. Upper fillet of the panel is enriched with braid design, the lower fillet of the panel is enriched with the row of lozenges and ovals design. Both panels show average quality of work.

Adoration of Triratna (Three jewels)

Figures NOs: 32, 33 and 34 Inventory NOs: MK 5, 99 and 006 The Triratna or the symbol of three jewels114 that is the Buddha, the law and the community of Monks (sanga) was derived from the older nandipanda”or “taurine”.115

This symbol was in use on all the Buddhist monuments since the birth of Buddhism.

The lotus in the centre shows the dharma or Buddhist doctrine. The trident shows the

Master and the shield like symbol shows the community (sanga). In sculptures of the

Gandhāra the trident is replaced by three interlinked wheels116as shown in Figs.32, 33,

34.

112 Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1l, p, 78, fig.299. 113Fida Ullah Sehari, (1982) The Buddha story in Peshawar museum, p.60 . 114Marshall, (1960) The Buddhist Art of Gandhara, the story of the early school its growth and decline, Department of Archaeology: London,p.9,figs.59 and 70. 115Marshall, (1960) The Buddhist Art of Gandhara, the story of the early school its growth and decline, Department of Archaeology: London,p.9. 116Ibid. 38

Buddha with Worshippers

Figure NOs: 35,36,37,38,39,40,41,43,44,45,46 Inventory NOs: MK 10,21,27,53,75,16,80,23,92,38,54,7 After the enlightenment, people from all walks of life including royal communities started worshipping Buddha for their mental satisfaction.117This aspect of life is shown magnificently by the artists of Gandhāra. In the present Figures worshippers are shown in a variety of body postures, which show the mastery of the

Swati (Gandhāran) artists.

Figures under Arches

Figures NOs: 47, 72, 73, 74, 75, 76, 77, 79, 100

Inventory NOs: MK 61, 63, 67,64,65,102,162,62 All the above panels show seated figures under semicircular pointed arches .

Figures 48, 73, and 75 are made of green schist. Almost pointed semicircular arches are modulated with volutes on a circular capital. A standing budding lotus is clearly visible between the arches. The curves of the arches are of stepped fillet.118The top border is decorated with lotus petals pointed up wards, while for the figures73, 76, artist used black schist stone and figure 77 is made of green schist stone. In figure

75and 76, pointed arches are separated by Corinthian columns. Top of the panels is decorated with lotus petals pointing upwards.119 In figure 77 and 79 princely figures are shown under semicircular arches, having a lotus between the arches. The pointed arches with molded volutes are the main features of the school of Swat art. The artist tried to show his art of creativity; however the work is of average quality.

117 Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1l, pp 166, 168, figs274- 278. 118 Ibid, p.228, fig.407. 119 Ibid, p.225, figs.401-402. 39

Individual Image of Buddha in Different Mudrā

Figures NOs: 48,50,51,52,53,54,55, 57 and 64

Inventory NOs: MK 3, 95,43,8,45,33,1,148 and 9 Buddha “The Enlightened One” has thirty-two marks on his body .The artists tried to carve these marks in their sculptures which are clearly visible. These are uṣhṇīsa, Urna. Uṣhṇīsa is found on the top of the head which represents spiritual intelligence. In Gandhāra art, the uṣhṇīsa is found in different shapes and sizes.120

Buddha figures are mostly found in seated position with crossed legs, hands joined in the lap, figures 51to56 and 57.

“Mudrā” this terminology is used for different gestures of the hands when depicting a divinity. The most common Mudrās are, abhayamudrā (Gesture of

Fearlessness), dhyānamudrā (Gesture of Meditation), vardarmudrā (Gesture of

Granting Wishes), dhramachakaramudrā (Gesture of Turning the Wheel of Law),

Bhumsparsamudrā (Touching of earth as witness). These Mudrās are commonly found in sculptures of Swat Valley and other parts of Gandhāra.

In Malakand collection figure 48 and50, sculptures are shown in abhayamudrā while figures 51, 52, 53, 54, 55, 57, sculptures showing dhyānamudrā and figure 64 depicts Buddha in dhramachakaramudrā. All sculptures of Buddhas and Bodhisattvas stood in the niches and chapels, on platforms and against walls of sacred buildings like stūpas and monasteries.121 Usually Buddha has a halo behind the head and wears a monk‟s robe, and elongated ear lobes and half closed eyes.122

120Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, 1,,p.39. 121bid 122Ashraf Khan, (1993) Gandhara sculptures in swat museum, p.8. 40

2.3 Bodhisattva:

Busts of Bodhisattva

Figures NOs: 56, 65, 69 and 90

Inventory NOs: MK 73,108,146 and147 In Gandhāra especially in the region of Swat beside Buddha another important cult object known as, Bodhisattva was uncovered. In the early Buddhist texts the term

Bodhisattva is used for Sākyamuni in the period before he reached the enlightenment.123

In figure 56 bust of Bodhisattva in dhyānamudrā wearing uttariya, both shoulders are covered with robe is shown, in figure 65 a bust of probably Bodhisattva in abhaya. Both hands below elbow are missing is shown. He wears uttariya and paridhana. In the present collection, one head of Bodhisattva is found which may be detached from the relief.124 Material used for this head is stucco. Facial features are prominent and well carved which indicate intension of the artist to depict human features of Bodhisattva. In figure 90, the figure holds a water flask in his left hand and is standing on a high decorated pedestal. Folds of the drapery are beautifully engraved especially on the paridhana.125 Deep carving of the drapery is a typical feature of the

Swat valley. In the figure flexibility in the body can be seen which indicate good quality of work of the artist.

In Mahāyāna Buddhism, a Sanskrit term referring to one who has achieved salvations but chooses to forego entering nirvana out of compassion for sufferings of

123Kurt A. Behrendt, (2003) The Buddhist architecture of Gandhāra. Leiden: Brill, pp.17-282. 124Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum, p.117, fig.152. 125 Ibid, p.90, fig.119. 41 others.126 In Gandhāra art, representations of Bodhisattva are predominantly of

Siddhārtha and Maitreya (future Buddha, who holds water flask kamaṇḍalu) with images of Padmapani (the lotus holder) and Avalokiesvara (the god of mercy). Such figures are often depicted in the panels where Siddhārtha is shown with an elaborate headdress (fan shaped turban), moustache, plain halo and the forehead ornament with an urna. He usually wears two necklaces, with ornaments including ear-pendant.

Head of Bodhisattva:

Figure No: 68

Inventory No: MK 77 Head of Bodhisattva wears a turban decorated with ornament; low side of the turban is secured with a plain band large conical gem on the forehead connects the cords of the turban.

Buddha in Dhyānamudrā

Figure No: 66

Inventory No: MK 143 Probably Buddha is shown in dhyānamudrā and lotus flowers all around him.

He wears flat neckband and ear pendants facial features are not clear.

Bust of an Ascetic

Figure No: 67

Inventory No: MK 18

In figure 67, bust of an ascetic is shown. The body posture in which he placed his right leg on left knee (seated in European style), his head slightly tilted towards his right, one or more fingers of his right hand touching his right eye-brow and cheek.

126Muhammad Ashraf Khan, (1993) A Catalogue of Gandhara Stone Sculptures in Swat Museum, p.8. 42

The figures show high quality of work. All the figures except figure 67are massive and are very good in proportion. Buddha in figure 66 is shown in dhyānamudrā.

2.4 Heads, Hands and Foot

Heads of Two Princely Figures

Figure No: 70

Inventory No: MK 162 Heads of princely figure in schist stone, Fig. 70 is part of a bracket. There is no depth in the facial features.

Heads of Buddha

Figures NOs: 58, 59, 60, 61, 62 and 63

Inventory NOs: MK 57,173,117x, 56, 46and 155

In the collection six heads of Buddha are found, for figure 58 black schist and for figures.59, 60 and 63 artist used green schist stone while for figure 62 he used grey schist stone. All these heads may be detached from the individual figures of

Buddhas or reliefs.

Head of Male Figures

Figures NOs: 78, 80 and 81

Inventory NOs: MK 149, 184 and 55 In both plates green schist stone is used. In figure 78 only two heads and an encased Persepolitan capital is visible; figure.80 has a bust of a male figure, both panels are badly damaged.

Figure 81 shows a male figure in abhayamudrā standing along with an encased Corinthian pilaster.

Hand with Foliage

Figure No: 115

Inventory No: MK 179

Fragment of foliage with left hand broken from the figure. Only hands of the figure are visible and remaining figure is missing now. However, the scene is decorated with straight festoon with opposite ovate leaves facing upwards.

Head under canopy

Figure No: 117

Inventory No: MK 159 Fragment of a relief shows defaced head under the canopy of leaves. The fragment is in very poor state of preservation.

Heads of Male Figures

Figures NOs: 118, 119 and124

Inventory NOs: MK 79,152 and 39 b Figure 118 shows three dimensional head of a male, figure 119 shows a round shaped fleshy face with snail-shell shaped curly hair while mouth, lips and right cheek are badly damaged and with soil incrustation. Figure 124 shows a male head, wearing a turban decorated with a rosette in the centre. An excellent stucco work was done by the artist.

Heads of Ascetics

Figures NOs: 120, 121and123

Inventory NOs: MK 57 a, 153 and161 Figure 120 shows head of an ascetic with beard and moustaches. The figure has convex almond shaped wide open eye. Figure 121 depicts head of an aged ascetic with oval shaped face having beard, a rough work with respect to its texture.Figure

123 shows an oval shaped ascetic head with moustaches, an excellent technique used 44 by the artist is that he carved the eyes in such a way that it seems the figure is looking towards the viewers.

Head of Indra

Figure No: 122

Inventory No: MK 59 An oval shaped head of Indra is shown with beard and chignon. Hair is combed backwards; some hair is visible below the turban. Face is chipped, defaced, scratched and with old age appearance. Traces of the moustache on the upper part of lips are visible.

Head of a Princely Figure

Figure No: 125

Inventory No: MK 44 An oval shaped head of a princely figure is presented with almond shaped half open eyes, prominent lids, flat nose with damaged nostrils, slightly curved heavy moustache, broad forehead, lips and chin are damaged, ears are missing. He wears turban. Wavy hair is similar to Maitreya.

Head of a Monk

Figure No: 126

Inventory No: MK 38 A shaven headed monk is shown with narrow fore head, long earlobes, fleshy round smiling face with prominent eyes and eyebrows. The nose is flat, mouth slightly open and has open shaped lips, upper lip is thinner than the lower one and deep corners groves on the neck are clearly visible. Cheek bones are slightly prominent.

Lion Heads

Fig No: 127

Inventory No: MK 40 Mostly such types of heads are used to decorate the Persepolitan columns and stūpas as well. The lion heads were used for the decoration of the column.127This is an excellent piece of stucco work.

Hands of Buddha

Figures NOs: 128, 129 and 130

Inventory NOs: MK 101, 42 and 41 Figure128 shows the broken hands of a seated Buddha in preaching pose. This is an excellent work of art.Figure129 depicts a broken left hand of a seated Buddha.

Drapery folds shows that Buddha wears monastic rope, the folds of the robe carved with great skill indicates experienced hands of the artist. Figure130 shows a hand with broken fingers wearing bracelets decorated with round and square shape engraving design.

A Pedestal and Right Foot of Bodhisattva Maitreya

Figure No: 131

Inventory No: MK 145 A pedestal with right foot of Bodhisattva Maitreya is shown wearing local shoes (“Chappal.”In Pushto language) having a decorative strap between thumb and long finger. Pedestal is decorated with acanthus leaves. Strip of the chappal shows an inventive work of the artist. The same decoration of the strip of shoes is still in practice in different regions of Khyber Pakhtunkhwa (KP) which shows the strength of artistic work of ancient time.

127Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, ll, p.253, fig.455. 46

Garland Bearers (Putto)

Figures NOs: 82, 83 and 84

Inventory NOs: MK 133, 4 and119 Garlands were used to decorate the stūpa‟s drum. Large numbers of garland bearers were found during the course of excavations at different sites of Swat such as

Butkara-lll, Nimogram, Taxila monasteries and other part of Gandhāra.128The garlands were important part of Gandhāra art and became a cult object in Buddhism.

The collection under observation has three reliefs‟ panels; figure 82 shows a nude figure of putto carrying a garland on his left shoulder.

Figure 83 depicts three nude figures holding a garland on their shoulders, troughs of the garland are provided with two well-dressed human figures. Figure 84 shows three nude figures carrying a garland on their shoulders. The troughs of the garland are decorated with three well-dressed human figures. The figure on extreme right is holding the corner of the garland in her right hand. On the basis of style garland bearers sculptures found during the course of excavations from Butkara-lll are classified into four groups.129

In group one, the troughs of the garland are provided with birds or flowers. In group two, the troughs of the garland are decorated with winged figures in anjali mudrā. In group three, the troughs of the garland are decorated with winged figure, change into winged cupids. In fourth group, the troughs of the garland are filled with well-dressed human figures.130

128Zwalf, (1997) A Catalogue of Gandhara Sculpture in the British Museum, ll, p.232, fig.415. 129Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat Valley. Athariyat (Archaeology), l, p.115 . 130Ibid. 47

In the Malakand collection all troughs of the garlands are filled with well- dressed human figures which are quite similar to the garland bearer of the group four of the Butkara-lll. There is a proper proportion in the body of the garland bearer.

All three panels show depth in carving which is a dominant quality of Gandhāra art.

Wrestlers

Figures NOs: 86, 87, 88 and 89

Inventory NOs: MK 71, 68, 69 and 70 Such types of reliefs were carved in Gandhāra that have two aspects of

Siddhārtha‟s life. First it may represent the physical training of the Prince. Secondly, these reliefs depict contest (competition) for getting married with Princess

Yashodhara.131In all these reliefs of Malakand figures have massive and muscular body in proportion, which is the main characteristic features of the body of the wrestlers: It shows the close observation and high artistic quality of the artist.

Ascetics

Figure NOs: 92 and 93

Inventory NOs: MK 14 and115 In figure 92 Fragment of a relief is showing an ascetic clad in paridhana with clasped hands, standing in front of the Pipal tree (śāla tree) in anjalimudrā. Whereas two standing figures, an ascetic and Brahmān are shown in figure 93.The figure on left wears uttariya and paridhana, the uttariya covers the upper left shoulder leaving right bare, drapery folds are visible on the body and holds a water flask (kamaṇḍalu) in his left hand, Figure on right wears uttariya and paridhana, drapery folds are clear on his body.

131Ahmad Hasan Dani, (1968-69) Excavation at Chatpat, in: Ahmad Hasan Dani, ed Chakdara Fort and Gandhara art, Ancient Pakistan (4), p.97,fig.59. 48

Bust of Male Figures:

Figure NOs: 91 and 113

Inventory NOs: MK 49and177 In figure 91 bust of a standing male figure is holding lotus with reverse petals, the head and both arms are missing. Somewhat smiling face, open and long almond shaped eyes with prominent eyelids are depicted, whereas in figure 113a bust of standing male figure with a scarf around the neck is shown. Facial features of this figure are not clear. Lower portions of these figures are missing and (the upper portions) busts are also damaged.

Standing Figure Most Probably a Donor Having Flowers in His Both Hands:

Figure No: 94

Inventory No: MK 96 A headless figure (probably a donor) standing on a low pedestal, the decoration of the pedestal is defaced. He holds bunches of lotus flowers in his both hands. After enlightenment, Buddha started preaching his law and people from far flung areas came to see him and listened his sermons. They also brought offerings.

The figure wears uttariya and paridhana, the uttariya covers the upper left arm .He also wears a flexible chain. The figure has squat body with proper proportion in the body parts.

Three Worshippers

Figure No: 95

Inventory No: MK 87 After the enlightenment, people from all walks of life including royal communities started worshipping of Buddha for their mental and physical satisfaction.

This aspect of life is shown magnificently by the artists of the Gandhāra. In the present plate three worshippers are shown. The bodies of these figures are not in good 49 state of preservation; however, flexibility and movement in the body can be seen. The sculptures of worshippers are chiseled skillfully, which is an unusual quality of art.

A Standing Figure Holding Flowers

Figure No: 97

Inventory No: MK 170 The flexibility and movement in the figure can be seen. The figure is completely damaged only dim profile of the body is visible.

Bodhisattva with Vajrapāni and gods

Figure No: 96

Inventory No: MK 109 Sculptor carved the facial features of the figure in a very skillful manner.

There is very less space in the background, however, the panel is particularly important because of the thin figures with small heads, smiling faces and prominent almond shaped open eyes. The Paridhana and Uttariya have long narrow grooves of the folds.

Dancing Scene

Figure No: 102

Inventory No: MK 26 A fragment of relief shows two scenes separated by a Corinthian pilaster on the extreme left is a single standing figure. In the next scene, there are three standing figures in dancing position. Top of the panel is decorated with a row of pointed leaf pattern. Direction of feet and hands shows that there is flexibility and movement in all the parts of the body of the dancers. Balance in the body can be observed clearly.

Nude Figures under Arches

Figures NOs: 98, 99 and 101

Inventory Nos: MK 86,85and 84 50

In figure 98 and 99, nude figures in sitting position are shown. In figure 101, figures are in worshipping pose. There is no proper proportion in figures. Depth in panels can be seen due to which figures appeared to be detached from the background.

2.5 Unidentified Scenes

Figures NOs: 9, 17, 29,104 and105

Inventory NOs: MK 111, 90,116,117 and120 Figures 9 , 17 and 20 show offering scene. After the death of Buddha, his followers started worshipping his alms bowl;132 in the panel a devotee and alms bowl is shown however, it is good artistic work and panel is well-designed.

In figure 104 a female with bowl (offering), standing besides the Bodhi tree, on the right side, same figure with bowl is shown. Figure 105, shows an architectural fragment divided into two horizontal registers decorated with foliage. The upper register shows two scenes separated by pilaster, whereas the lower register is missing now. On the left of the Buddha is a Bodhi tree. In the right scene there is a (Torana) gate of the monastery in Greek style. Both panels are in bad state of preservation. The surface of the work is much defaced. The scenes are unidentified.

2.6 Architectural Elements

Apart from the panels of Buddha‟s life, statues of Bodhisattvas, a few numbers of architectural and panels for adoring the stūpas such as relief panels stair risers, the

Corinthian and Persepolitan, capitals; harmikā, cornice, chattra, oil lamps are found in the Malakand Collection.

132 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum, ll, pp.35-36, figs.50-51. 51

Persepolitan Pilaster

Figure No: 106

Inventory No: MK 0015 A Persepolitan pilaster with capital was in bell shape with mushroom dome.

Capital is decorated with acanthus leaves in down wards direction. At the capital, two humped bulls are shown sitting back to back. Between backs of the bulls, there is a head of the lion which is damaged now. Such type of Persepolitan pilasters were found in different sites of Swat valley such as Gumbatuna, ButKara-l, ButKara-lll,

Shnesha, Takht-e-Bahi and Jamal Garhi in Peshawar valley.133

Pinnacle Part of the Stūpa

Figure No: 107

Inventory No: MK 118 Pinnacle is one of the important part of the stūpa which holds seven round shaped umbrellas, known as chattra one above the other. In the present collection,

Pinnacle is not in good state of preservation.

Architectural Fragment with Incased Eglantine

Figure No: 108

Inventory No: MK 93 An architectural fragment with front and right sides was decorated with full blown lotus flowers having eight heart shaped petals with central boss, fixed in a square shaped frame.134On the broader side each segment is decorated with two framed lotus flowers. An excellent piece of architectural element shows the mastery of the artist.

133Ashraf khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum, p.60. 134Ibid. 52

Chattra

Figure No: 110

Inventory No: MK 83 Chattras is a royal umbrella mostly held above heads of the Kings and gods.

Chattras also mounted on the stūpa models.135On the Buddhist stūpa, it is the symbol of heaven. Number of chattras varies; they may be two, four or seven.136Chattras also varies in size, their size depends on the size of stūpa , in case of the lofty and big stūpas chattras are large and plain in size and on small votive stūpas mostly lower part of the chattras are decorated with lotus petals, circular acanthus capital as found at Butkara-I and panr.137According to Hindu mythology, it is emblem of Vruna, also

“an embodiment of Kingship.” In Vajarayana Buddhism, the umbrella or parasol is included in the eight auspicious signs or “Ashtamangala.”138

Flying Figure

Figure No: 111

Inventory No: MK 51 A fragment of relief is showing the figure of flying amorini. Figure clad in uttariya is shown wearing an elaborate turban, ear pendants, and long almond shaped eyes with prominent lids, damaged long nose, well shaped closed lips, with narrow forehead, and oval shaped face.

Stūpa Pegs or Nāgadanta Decorated with Male Figure and Acanthus Leaves: Figure No: 112 Inventory No: MK 185

135Zwalf, (1997) A catalogue of Gandhara sculptures in the British Museum 1l, p.191,fig.243. 136Ibid. 137 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone,(2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum l, p.61. . 138Zwalf, (1997) A catalogue of Gandhara sculptures in the British Museum, 1 pp.36-61. 53

It is a common practice in the Gandhāra art to decorate the stūpas with garlands and other decorative element. For hanging of these decorative elements projecting pegs with different male and female figures, animals like elephants heads with horizontal tenon were fixed around the stūpa drum.139In figure 112 bust of male figure along with acanthus leaves is shown. The figure wears a close-fitted upper garment. Left hand is missing while right hand is raised and closed in the form of fist, long hair falling on the shoulders. On the right of the figure is a branch of acanthus leaves.

Architectural Fragment

Figure No: 114

Inventory No: MK 135 Fragment of an arched panel decorated with dragon and a parrot, faces backwards with beak resting on his tail. Main part of the scene is missing, however a standing figure most probably Buddha is visible on extreme left. The front face of the arch is decorated with a row of brackets. The features of the figures are soft, a good sophisticated work done by the artist.

2.7 Miscellaneous

Figs.16,18,20,23,24,103,109,115,116,117,118,119,120,121,122,123,124,125,1

26,127,129,130 and131

An oil lamp is shown decorated with incised lines and lotus petals. The decoration of lamp shows the aesthetic sense of the artist. Overall sophisticated and delicate work is done by the artist.

139Ingholt, (1957) Gandhara art in Pakistan.New Yark: Pantheon Books, p.175. 54

Offering Scene

Figures NOs: 16, 18and 20

Inventory NOs: MK 91,106 and11 After enlightenment, Buddha started preaching his law and people from far flung areas came to listen his sermons. They also brought some offerings for him as a gesture of reverence. In these scenes the Buddha has been shown in sitting and standing position.

Buddha in Meditation under Arches .

Figures NO: 23and 24

Inventory NOs: MK 76and142 In figure 23 under the semicircular arches, Buddha is shown in dhyānamudrā, wearing monastic robe.140The arches have beaked head volutes with small pendants.

The images of the Buddha are massive having prominent chest and wide broad shoulders. Arches are separated by Corinthian pilasters.

Three Pair of Headless Nude Figures

Figure No: 103

Inventory No: MK 89 Fig.103 shows three different scenes of nude figures with missing heads separated by three Corinthian pilasters. One figure on the extreme left is missing.

Thigh of all the figures is massive and not in proportion, however, arms and feet movement pointing in all directions, hence movement of the figures in the panel is delicate, so one can still imagine the stylish and graceful work of the artist of that time.

140 Zwalf, (1997) A catalogue of Gandhāra sculptures in the British Museum, 1l, pp.217-226, figs.379- 402. 55

Kneeling Figure on Lotus

Figure No: 116

Inventory No: MK 160 Fragment of a relief shows the right leg of a kneeling figure on the lotus. Other parts of the figure are missing.

Atlas

Figures NOs: 132, 133and 134

Inventory NOs: MK 24, 52 and 72 In Gandhāra art, many western gods and goddess who took their origin from

Greek art became a part of Buddhist decorative elements. According to Greek mythology atlas is a god who bore the heavens on his shoulders, have raised arms without wings. Atlas are found as supporting structures, reliefs or along the base of stūpas in Gandhāra art. Thirty-six such examples are collected from Jamalgarhi stūpa.141They are associated with main stūpa but initially they were found in the debris of main enclosure. Similar examples are collected from different sites of Taxila including Dharmarajika, Jaulian, and Kalawan142and Bukhara-I in Swat valley.143

A similar sculpture is found in the Malakand collection under study. Figure

132 shows a winged atlas in a square shape architectural block looking towards right up wards wishfully, with right leg vertical upwards and left leg folded horizontally.

Direction of hands and feet and other features are carved skillfully that indicates experienced hands of the artist. Figure 133 depicts a winged Atlas with a cup of wine is in a square architectural block type frame whereas the figure 134 shows the figure

141Ashraf khan, Mahmood-ul-Hasan and A.G.Lone,(2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum, p .62 . 142 Ibid. 143Muhammad Ashraf Khan, (1993), Gandhāra sculptures in the Swat museum, p.161, fig.121.

56 of an atlas turns to his right, his right leg is almost in horizontal position where as the left leg is in vertical position. The bodies of both atlases (Figs.133, 134) are in proper proportions, which indicate mastery of art. Deep chisel strokes can be seen on front and back of the figures which are characteristics of the Swat valley.

2.8 Statistical Analysis of Malakand Collection

The statistical analysis of the selected sculptures gives a complete data of the religious and secular scenes present in the Malakand Collection. Total numbers of reliefs in the present collection are 134. Percentage wise description is given as under;

Jātakas: 1

There is only one relief that is in the present collection showing Dīpankara

Jātaka, figure 1. The percentage of such scene in the Malakand collection is 0.74 percent. During the excavation at different Buddhist sites in Gandhāra, Dīpankara

Jātakas were found in greater number. It shows that Dīpankara Jātaka had greater significance in the art of Gandhāra that is why most of sculptors focused on carving this relief.

Buddha Life Story 53

In 134 reliefs, 53 sculptures have been devoted to the life of Buddha. These make 39.55 ratio of the total collection. These sculptures cover almost all aspects of the life of Buddha, right from his birth to his death. The prominent events of his life have been pottered appropriately which help to understand the important episodes of

Buddha‟s life, some of the major events represented through these reliefs depict the episodes like the birth of Buddha, his first bath, horoscope, life in palace, great departure, offering and worshipping scenes, his death, cremation, distribution and 57 guarding of relics. All these sculptures were sculptured in typical Uḍḍiyāna (Swati) style which is very much similar to other sculptures recovered from different sites of the Swat valley.

Individual Sculpture of Buddha 11

Eleven individual sculptures of the Buddha were found showing different mudrās such as abhaya and dhyānamudrā.

Secular Scenes 31

Out of 134 images, 33 reliefs depict the secular or daily life scenes. Figures

47,71,72,73,74,75,76,77,78,79,80 and 81 depict the same scenes in which bust of female figures with a wreath a head dress are shown. All these reliefs are same in size; the top border is decorated with lotus petals pointed up wards. Figures 85, 86, 88 and 89 top of the panel is decorated with pointed leaf design and flowers with four petals. Figure 91 shows a standing male figure, while figure 94 and 97 depict are standing figures of donors. Figure94 depicts the headless figure of donor holding bunches of flowers in both hands. Figures 98,99,101,102,103and 113 depict scenes of revelry mostly found on the stair-risers, often appeared in the form of pair and concerned with drinking dancing and music. Zwalf says that “Besides aspects of fertility and apostrophic magic to benefit the worshiper, the relationship with a

Buddhist monuments suggests that such scenes could also have a Buddhist reference an ancient fertility imagery could express a complex homage, and to invoke the pleasures of living. Whether generally or in reference to particular stories may also 58 have been to invoke their conquest for a higher purpose”.144 There are 33 secular scenes out of 134 sculptures which form 23.1 percent of the whole collection.

Unidentified Scenes 5

Five unidentified scenes, figures 9, 17, 24,104 and 105 were found from this collection. It makes 3.73 percent of the collection.

Heads 20

Figures 58, 59,60,61,62 and 63, depict heads of the Buddha. Only plate, 58 shows the head of Buddha with broken large halo decorated with radiant edges. These heads are individually modeled or detached from the reliefs and images. Figures

68,70,118.119,120,121,122,123,124,125,126,127a and 127b. Figure 68 depicts the head of Bodhisattva and figure 70 shows the head of princely figure wearing an elaborate turban. Figure118 is showing a three dimensional figure of a Central Asian male. Figures120, 121 and 123 depict an oval shaped heads of Ascetics. Figures127-a and 127-b are showing heads of lions. Out of 134 pieces 20 relief panels depicting heads were found that is 14.92 percent of the total collection.

Individual Images of Bodhisattvas 1

In the present collection figure 65, show image of Bodhisattva. The only one image of Bodhisattva constitutes .00074 % of the whole collection. Similar images of

Bodhisattvas have also been found in various sites in the Swat valley.

Architectural Elements 9

Architectural elements are found consisting of stūpa pegs, cornices, Corinthian pilasters, Persepolitan capitals and brackets. Figures, 69,106,107,108,109,110,112,114

144Zwalf, (1997) A catalogue of Gandhāra sculptures in the British Museum, 1 pp .31, 32. 59 and115 depict architectural elements. In the collection chosen for the present study, 9 reliefs were devoted to the architectural aspects. It secures 6.71 percent.

Garland Bearer 3

Garland bearers have also been reported from the sites of Swat, Dir, Taxila and Peshawar valley. It means that garlands were important part of Gandhāra art and became a cult object in Buddhism. These were used to decorate the drum of the stūpa.

In the present collection, figure 82, 83 and 84 show the garland bearers. Out of 134 sculptures three reliefs depict garland bearers which is 2.23% of the total collection.

The histogram shows statistic and classification of various types of the sculptures that is individual images of the Buddha, unidentified and architectural element in the collection. It also helps in tracing the subject matter of the sculptures of Malakand collection.

2.9 Graphical Representation of Sculptures of Malakand Collection

60 53 50

40 31 30 20 20 11 9 10 5 3 1 1 0

2.10 Foreign Impact on the Reliefs of Malakand Collection

During the research study on Malakand Collection, the researcher noticed strong local and foreign influences. According to some scholars the art of the

Gandhāra was creation of either Roman or Greek artists, so it is known as Greco-

Buddhist or Romano-Buddhist art because it has some elements which show Western origin.145 According to Farooq Swati “the Gandhāra art is indigenous though it has foreign impact because of the interaction of the places as Rome, Persia, India, Greece and Central Asia. This impact is highlighted by the evidence of the sculptures of the present collection. The region of Gandhāra was governed by the Achaemenians from

6th century BCE till the arrival of Alexander in 327 BCE”.146 Their domain was followed by Indo-Greeks or Bactrian Greeks in the period 190 to 90 BCE. These cultures left the impact on the crafts, cultures and art of this region. In 90 BCE, new trends were introduced in indigenous cultures and traditions by the Parthians or

Pahlavas and Scythian.147The reflections of these rulers are evident in the art of this period. Moreover, during the period of 1st century CE to 5th century CE, the Kushan brought further changes in the domain of architecture and art. The age of the

Kanishka is declared as the golden period of Gandhāra art.148

145 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone,(2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum,1, p . 40. 146Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat Valley. Athariyat (Archaeology), l p.2. 147Ibid, p. 10. 148Ishtiaq Khan, (1998) Buddhism in Gandhara-Some thoughts, Journal of Asian Civilizations xxx (ll), p.57. 62

It is witnessed that the foreigner rulers did not focus only on establishing their governments in the Gandhāra region but they also secured and promoted the culture and the art of the area.149

Gandhāra art is also known as Hellenistic because it was inherited from Greek and Indo-Greek which then flourished in Bactria, Afghanistan, and different parts of the Northern Pakistan during the 3rd-2nd century BCE. The term Romano-Buddhist refers to the Western influence as depicted in the architectural composition of the sculptures showing the artistic tradition of the Mediterranean empires dating to the 1st century CE.150Gandhāra art originated in Mediterranean area and reached the land of

India.151

A. Foucher also traces the influence of the Mediterranean on Gandhāra art. He claims that initially Gandhāra art was Hellenistic but later on the indigenous art was further promoted and improved by foreign influence. To support his claim, in 1922, he excavated Balkh in Bactria but he remained unsuccessful in his endeavors. Later on his hope was fulfilled when D. Schlumberger succeeded in tracing an inscription in

Greek in eastern Afghanistan in 1951. Historically, Ai-Khanoum covers the period from the arrival of the Greeks till their displacement from Bacteria by the Saka in the last quarter of the2nd century BCE.152

The Greek sculptures were produced by the local artists instructed by the

Greeks masters. The tradition primarily introduced by the Greeks was promoted and adapted by the local artists giving it the local touch. The impact can be traced right up

149Ahmed Hassan Dani, (1998) Contribution of Gandhara to the world Civilizations, Journal of Asian CivilizationsXXl (2), pp.68, 69. 150 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone,(2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum,1, p.40. 151Commarswamy, (1908) The influence of Greek on India Art, pp.254-262. 152Bernard.P, (1967) Ai Khanum on the Oxus: a Hellenistic city in Central Asia, Proceeding of the Bristish academy Llll, p.p.91-93. 63 to the Buddhist period. The Western artistic influence can be observed in the sculptures of Swat and Gandhāra blend of Western and Eastern ideas.153

Western scholars do not support the view that Gandhāra art is indigenous.

They do not agree that this art has not been affected by the foreign artists. The scholars like Benjamin Rowland, Hugu, and Buchthal hold the view that Gandhāra art is influenced by the Roman culture. The Romans influenced the culture of the local region and brought the commercial and socio political changes.

The impact of these changes can be vividly evidenced in the areas which remained under the direct rule of the North West from Bactria and the interior part of

India, such links with the Romans gained strength in the due course of time and reached at its climax in the reign of Kanishka. These evidences support the theory which associates Gandhāra art with Roman culture and tradition. A group of scholars comprises Benjamin Rowland, Harald Ingholt, Buchthal and Mortimer Wheeler strongly supports the theory of foreign impact on the Gandhāra art.154In this regard,

Wheeler states that the Kushan commerce brought about the art and crafts from the

Roman world.155

Buchthal also supported the theory of Wheeler that the Gandhāra art was influenced by the Roman art. 156He traces the reflection of the Roman culture in the objects of the everyday life, dress and poses of the sculptures of the Gandhāra art. He says that “Roman culture was the basic source on which Gandhāra art was based and

153 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum, 1, p.40. 154 Saifur Rehman Dar, (1998) Gandhāra Art in Perspective, Journal of Asian Civilizations XXX (ll) p.79. 155Wheeler, Romano-buddhist Art: An old Problem restated”, Antiquity 23, pp.50-57. 156A.K Narian,(1957) The Indo Greeks. Oxford: Clarendon Press, pp.1-10 64 promoted. The same theory is supported by Benjamin Rowland, who states that “The

Roman culture has strong impact on the art of Gandhāra.”157

In this context, he brings the irrefutable evidence by making a comparison between the dress, pose and the face of the figure of Buddha found from Hadda in

Afghanistan with the Christ figure engraved on marble found at Psamatia near

Constantinople, both figures are dated 4th century CE.158In context with the terms

“Greco-Bactrian” or “Greco Buddhist”, Fergusson introduced the terms of a “Roma-

Buddhist “and “Indo-Byzantine” in 1876.159

Vincent Smith in 1889 stated “that the artists of Peshawar valley established the art of Gandhāra which was primarily Greco-Roman and Roman in style. This was not purely based on Greek culture.160Sehrai holds the view that the term “Greco-

Buddhist” and “Romano-Buddhist” restricts Gandhāra art to only Greek and Roman cultures. But he claims that “Gandhāra art is the reflection of the indigenous life and the culture of the region.”161

The research studies conducted in the various parts of Gandhāra like Taxila,

Mardan Charsadda, Peshawar, Dir and Swat reflect the impact of the Kushan on the reliefs found from these areas. In this regard, Dani states that “Classical taste was already present here from the time of the Bactrian Greeks. From them, that Kushan inherited the tradition of art and we have to adopt fresh approach towards the sculptures of Gandhāra.” He further says that “in fact, the relationship is based on commerce and socio-political ties one culture to the other.” He does not see eye to eye

157B.Rowland, (1956) The art and architecture of India, Buddhist, Hindu, Jain, 2nd ed. London, pp.75- 80. 158Saifur Rehman Dar, (1998) Gandhāra Art in Perspective, Journal of Asian Civilizations XXl (ll) pp.71-118. 159 Ibid. 160Zwalf, (1997) A catalogue of the Gandhāra sculptures in the British Museum,1, pp.67,68. 161 Fida Ullah Sehari, (1991) Gandhāra: the lotus Kingdom, p.7. 65 with the theory which supports the claim that the Gandhāra art originated from the

Roman or the Greeks. In his further studies, Dani revealed that Gandhāra art is the hybrid of East and West and emerged as a new art and was promoted in the different areas of the world like, China, Afghanistan, Far East, Central Asia and India.162The historical context reveals that the cultures and traditions have been borrowed from one and other which is a positive sign towards the mutually development arts. It indicates the amalgam of the East and the West. In this regard, Sehrai in his book, “the Buddha

Story in the Peshawar Museum” says that “there are quite a large number of foreign motifs like caryatids, atlants, Persepolitan and Corinthian pilasters, drinking scenes, dress, fire-altars and many others from Persian, Greek and Roman world. We get quite a large number of deities of other religions and countries on his coins.163 The spirit and philosophy of the Buddhist remained intact despite accepting the influence of the foreign cultures. It shows that foreign culture does not interfere with the spiritual and philosophical ideas of the Buddhist culture.

In Malakand collection stone, stucco and terracotta were used as raw material to make different types of reliefs and sculptures. The major medium that the workshop artists of Swat used was stone. However, at the later stages stucco and terracotta were also found in the sculptures of the Gandhāra region. In the present collection, the researcher has analyzed the material by applying the method of visual examination; most of the sculptures found are in Swat style features (Swat style developed by the mixing of three basic traditions that is local, Bactrian and Indian)164.

As Swat remained under the control of different rulers, so Buddhist art of Swat was

162 Ahmad Hassan Dani, (1998) Contribution of Gandhāra to world civilization, Journal of Asian Civilizations II, pp.153, 154 163 Fida Ullah Sehrai, (1982) the Buddha story in the Peshawar Museum, pp.7, 8 . 164Muhammad Frooq Swati, (1997) Special features of the Buddhist art in the Swat valley Athariyyat (Archaeology) 1,p.6 66 influenced by many civilizations.165Therefore, quite a large number of foreign motifs like caryatids, atlants, Persepolitan, Corinthian pilasters, dresses, drinking scenes, fire-altars, acanthus leaves and wine scrolls were observed. One hundred and thirty four objects of the Malakand collection have been studied and observed various foreign influences.

Roman and Greek Impact

The impact of the Greek can be associated with the exodus of Greeks to the region of the Indus when they were displaced by the Sakas. They lived for a few decades in the valley of Swat. Later, they marched towards south-east and reached

Taxila. On the basis of discovery of several toilet trays and many other objects like small statuettes, utensils made of silver and bronze, jewelry166of gold and silver which show Greek origin. It is said that this is the initial cultural and social beginning of

Taxila which highlights the blend of Greek civilization and the local one.167

Architectural elements like Persepolitan and Corinthian pilasters, acanthus leaves, and garland bearer were frequently used by the artists of Gandhāra. These elements were brought in the Swat valley by the Achaemenians, Sassanians and

Parthians.168

These foreign elements are depicted in the reliefs of Malakand collection.

Corinthian pilasters found in the present collection were commonly used for the separation of different scenes in relief panels, figures 5, 7, 8, and 10. It is Greek influence. Mostly the shape of the Corinthian pilaster is square and its shaft is decorated with flute. Persepolitan columns were also found in the sculptures of the

165 Muhammad Ashraf Khan, (1993), Gandhāra sculptures in the Swat museum, p.1. 166Marshall,(1951) Taxila: An Illustrated account of archaeological excavation, 3 Vols Cambridge University Press London, pp.102-120. 167Saifur Rahman Dar, (1984) Taxila and the Western world. Lahore: Al-Waqar publishers, pp.99-142. 168 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhara Stone Sculptures in the Taxila Museum, 1, p.60. 67

Malakand collection, figures 46, 78, and 98,105and106.It is ancient Persian legacy.

This architectural element is used for the same purpose like the Corinthian pilasters which enhance the beauty of the sculptures. Garland bearer is also foreign element which is depicted in the Buddhist art of Swat and was used to decorate the stūpa‟s drum. A fairly large number of sculptures depict garland bearers found from different sites of Swat such as Butkara-lll and Nimogram.169 In Malakand collection, we have found three examples figures.82, 83 and 84 in which garlands were lifted by amorini on their shoulders. Similar types of garland bearers were also reported from Butkara lll. Another important distant element which was used by the artists of Gandhāra in the Swat valley and in the Malakand collection is acanthus leaf, figure 112 and 115.

These leaves are mostly used for the decoration of the back ground of the scenes, which also make the panels attractive for the worshipers of the Buddhist cult. Some nude figures with prominent sex organs and wrestlers were also found, figures 85,

98,101 and103 in the collection. This influence on the Buddhist art of Gandhāra might be acquired from Roman art.

Buddhist Shrine depicting Gandhāra culture including Buddhist pantheon, took influence from many western deities of Greek or Iranian origin. Stūpas in

Gandhāra art and architecture are good manifestations of atlas. Such depictions are called atlantes because their poses resemble those of atlas. In Classical poses, figures have both arms raised without wings but there are many other variants of identity.170

Figures of atlas were also found in sculptures of the present collection in figures132,

133and134. The hair style of figure no. 132 and 133 is typical Greek. In the present

169Muhammad Frooq Swati, (1997) Special features of the Buddhist art in the Swat valley Athariyyat (Archaeology) 1, p.115. 170 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone,(2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum,1 p.62 . 68 collection, figure 105 shows an architectural fragment divided into two horizontal registers decorated with foliage. The right side of the panel depicts a gate of the

Monastery which is typically in Greek style. The dancing scene could be observed in the collection which shows foreign impact, figure 102. In this relief panel two scenes are shown separated by Corinthian pilaster. The scene on the right side depicts three figures probably nude in dancing position. This type of the foreign influence might have come from Rome.

Saka-Parthian Impact

The Bactrian Greek or Indo-Greek ruled the Gandhāra region round about 200 years (from 246 to 50 BCE). After Indo-Greek Saka and Parthian came in the region.

Sakas, the nomadic tribe came from Central Asia and Parthian from Iran. They came in the region of Indus by different routes and settled there.171 During this period, they adopted themselves to the culture of the Greek; they contributed on their part which influenced the social and cultural life of the area in a great way.

Saka, the nomadic tribe occupied the Gandhāra after defeating the Indo-Greek.

Buddhist art started in Swat during Saka period. Owing to the control of religious elites, the artist could not work freely according to their desire, so crude forms of figures were observed 172(Figs 50.56, 80, and 97).

With the arrival of the Parthian in the Indus region, the art of the region took a new turn of sculptural making during this period sculptures became more refined , exhibiting both Greek and local influence on the art of the region

(Figs.23,24,29,42and73).According to Swati “in some cases features of either one style or the other dominate. This could have happened due to a sculpture adopted in a

171D.Faccena, (2003) Early evidences of figurative art, Artistic centre and stylistic groups, Ancient Civilizations from Scythia to Siberia. Leiden –Boston IX, pp274-294. 172Ibid. 69 particular style of the sponsor.”173Workshops established during the Saka-Parthian rule in the Valley continued till 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.

Kushana Impact

The Kushan‟s dynasty appeared on the canvas of history during the mid of the

2nd century BCE.174 It happened first time in the history that the region of Ganges,

Oxus and Indus came under the regime of early Kushan C 60-240 CE. This combination of the Ganges, Oxus and Indus provided an opportunity of cultural admixture. This blending of the cultures has strong impact on the art of Gandhāra,

Kapisa and Bactria.175The influence of this amalgam of art and culture can be observed in Swat up to great extent as well as in Andhra and Mathura regions of

India.

During the Kushan era, the Buddhist iconography of religious repertory was fully developed and the artists have vast experience of carving of sculptures, during this period Buddha for the first time appeared in the sitting position in abhayamudrā

(Fig.50). Before the Kushan period, the throne of the Buddha was without decoration but since the Kanishka period and on ward it was decorated,176 figure 33and 50. The hair style shows the influence of the Sakas while the influence of the Kushan period can be seen in figure 38and 96 in which figures wear baggy trousers with heavy folds

173Muhammad Frooq Swati, (1997) Special features of the Buddhist art in the Swat valley Athariyyat (Archaeology) 1, p.11. 174Badsha Sardar, (2005) Buddhist rock carving in the Swat valley. Islamabad: Badshah Sardar, p.42 . 175Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum, l pp.24-41. 176Ingold, (1957) Gandhāra Art in Pakistan, pp29, 30. 70 and sleeved shirts. The typical Gandhāra style that reached in the Swat valley during the Kanishka era can be observed from figure 1, 3 and 35.

The Kushano Sassanian Impact

The empire of the Great Kushans slowly and gradually collapsed during 3rd century CE177After the decline of great Kushans, Sassanians came in power who ruled the region up to the time of Shahpur-II (. 309-79).178During this, the workshop of the

Swat sculpture became well advanced to produce almost any style current or past in the Indus region.179 Background detail of the scene in the panels during this period is almost finished and attention is paid to realistic depiction of the figures, their magnification and actions180 figure.1.

The dresses are made more attractive and beautiful by adding numerous thin folds figure 18 and 19. Hence, Sassanian influence in their dresses can clearly be observed. Various forms of mudras in seated and standing position appeared in this period figures 49, 50, 51, 52, 53, 54, 55, 56 and 57. Halo became larger and decorated with ray edges figure 58.

The Buddhist art of Swat valley was influenced by foreign culture as a large number of foreign motifs are observed in the art of Swat. There is a visible blending of these foreign elements in the art of the region. In this regard Sehrai in his book

“The Buddha Story in the Peshawar Museum” says that “Gandhāra art has deeply influenced the life, art and architecture of this region because it remained for many centuries. When we study the sculptures carefully, they reflect an interesting life

177Badsha Sardar (2005), Buddhist rock carving in the Swat valley. Islamabad: Badshah Sardar, p.43. 178 Fida Ullah Sehrai, (1982) The Buddhist story in the Peshawar Museum, p. 4. 179Muhammad Frooq Swati, (1997) Special features of the Buddhist art in the Swat valley Athariyyat (Archaeology), 1, p.14. 180Ibid. 71 which existed about two thousand years ago. The writing table and the reed pen which the Buddha used as a school child can still be seen in the hands of the school children in this region. Turbans which figures wear in figure35, in Vedic usage, this type of head-dress was worn by the king at vajapeya and rajasuya investiture ceremonies.181

Turbans have not disappeared yet.182 The foot-wear of the Bodhisattvas is still used in the Swabi thesil of Mardan district. Many of the musical instruments shown in the friezes are still played. The design of many of the male and female ornaments has not changed yet. We use the same pottery, furniture, plough and goat. The Persepolitan and Corinthian pillars with acanthus capital copied from stones into wood still support the roofs of our house. The niches of the stūpa are repeated in the walls to keep the crockery. The fortified cities and walled houses with bastions shown in Gandhāra art can be seen in the tribal areas, Swat, Dir and Bajaur. The Kushan dress still worn by old people and their children play with the same terracotta toys. The lotus flowers are still carved on the wooden doors. There are other such interesting things which survive today but can be traced from Gandhāra art. This picture of present and past life can be seen in the far-flung villages of this region.”183

It means that artists of the region were very conscious about the art of the area and they did not ignore the local traditions and customs, due to which a new form of the Buddhist art appeared on the land of Swat, which is little bit different in some aspects from rest of the Gandhāra art.

181 C.W.Schmidt, (1990) Bodhisattva Headdress and Hair Styles in the Buddhist Art of Gandhāra and Related Regions of Swat and Afghnistan,Vol-l. PhD thesis, The Ohio State University, p.137. 182 Fida Ullah Sehrai, (1982) The Buddhist story in the Peshawar Museum, pp, 7-9. 183 Ibid. 72

CHAPTER 3 CHRONOLOGY COMPARATIVE STUDY AND THE PROVENANCE OF THE MALAKAND COLLECTION

3.1 Chronology

The chronological order of Gandhāra art always remained a great problem for almost all the scholars across the globe. Most of the studies are based on the stylistic and material comparisons. To venerate Buddhism, the artisans used their resources and skills resulted in establishing and decorating monasteries and sanctuaries in the

Swat valley. To meet the needs of the devotees, sculptural workshops were established near stūpas at different places. Under the guidance of the skilled artisans, the art of sculptures making flourished in all localities situated in the Swat valley.

This could be one of the reasons that distinctive features have been established in those workshops.184As the case with chronology of the area, the material used for

Gandhāra art is also controversial point among the scholars. This became more difficult in case of such archaeological remains which were in scattered form rather than found during the scientific excavations. The scholars have different hypotheses regarding the diverse material used in these workshops. To identify the real source of material used in that region needs a further scientific analysis.

The scholars have identified the date of the origin of Gandhāra art; however, it has been very uncertain and complex because no name of the artist or the authentic material has been absolutely determined. Regarding the beginning and decline of the art, each scholar gave his own opinion. A. Foucher stated that the beginning of the

Gandhāra art is in the first century BCE, the flourishing period is in the first century

184Muhammad Frooq Swati, (1997) Special features of the Buddhist art in the Swat valley Athariyyat (Archaeology) 1, p.1. 73

CE and its decline started in the second half of the first century CE.185 He has confined the duration to a very short span of time. Some other scholars extended this span to the fifth century CE.186 However, there are changing views about the old theories. In 19th century and early half of the 20th century, the scholars tried to establish solid views about the chronology of Gandhāra art. They were technically more equipped to conduct scientific excavations to re-address the problems. The careful examination and scientific excavations of the material found from Butkara-l,

Butkara-lll,Shnisha and Saidu Shrif in the main valley while Chargpate, Chatpat and

Andan Dheri in the southern Swat has established sound directions. In the current era, the scholars have more solid foundation to establish the chronology of Gandhāra art.

In the light of archaeological evidence, it has been noticed that the stūpa of

Butkara-l was established in the late third-early second century BCE.187 Stūpa fourteen and seventeen of the great Stūpa lll of the first decade preserve the original decoration that contains architectural sculpture of columns, figured cornice and capitals. Based on this evidence the date of the origin can be traced back to the late period of first century BCE or it may be the beginning of first century CE.188

However, the researcher has adopted the relative method for establishing the chronology of the present collection, and compared the artifacts of the Malakand collection with Archaeological materials found during the scientific excavations from the various Buddhist sites of the valley. On the basis of statistical analysis of the objects, forty-four sculptures belong to the Jambil sub-valley, fifty-six come from the

185 A. Foucher, (1915/205) Notes on the ancient geography of Gandhara: a commentary on a chapter of Hiuan Tsang.Trans.H. Hargreaves, New Delhi:Asian educationalServices, pp. 31-49. 186Ibid.. 187E-Errington,( 1999) Numistic Evidence For Dating the Buddhist Remains of Gandhara, Proceedings of the fifth Intrenational Conference in South Asian Archaeology, Leiden, pp123-171. 188Ibid. 74

Ilam Khawar sub-valley, twenty-three reliefs belong to the Adinzai-Shamozai sub- valleys, and eleven sculptures come from Dargai-Thana sub-valleys. The sculptures found at Butkara-ll and Butkara-lll make it evident that they originated from Jambil sub-valley as it is geographically close to the sites of Butkara-I and Butkara-lll. It further gives a clue that Jambil sub-valley perhaps was the first zonal workshop of the area during 1st century BCE. From here, the technique of sculptures making was extended to Ilam Khawar, Adinzai-Shamozai, Dargai-Thana and other sub-valleys of

Swat and reached at climax in 2ndcentury CE during the Kushan era.189

The Buddhist heritage found during the course of excavations in the different areas of the Swat valley suggests that the valley was the nucleus of Buddhism and

Buddhist art in the second century C.E to the ninth century C.E. The detailed

Investigation highlights the stricken features of Buddhism and its art in Gandhāra.

Sharing religious culture in Pakistan and Afghanistan also led to the same Buddhist iconography.190 The Swati figures differ in the formation and order of the relics from that of Gandhāra. The regions of Kapisa, Gandhāra, Uḍḍiyāna and Bacteria were linked together socially, politically and religiously. So, the art and craft produced during this era shares the same features which is known as “Indus-Oxus school of

Buddhist Art.”191 As for as Uḍḍiyāna is concerned, it established zonal workshops at least one in each valley. The workshops of each sub-valley have common characteristics features and are distinguished in a “zonal style”. How sculptures manufactured in these workshops are different or similar on the basis of characteristics features of these workshops are discussed in detail as under.

189 Muhammad Ashraf Khan, (1993) Gandhāra stone sculptures in swat museum, Saidu Ssrif,, P.2 190Muhammad Frooq Swati, (1997) Special features of the Buddhist art in the Swat valley Athariyyat (Archaeology), 1, pp.1-22. 191 Ibid. 75

According to Farooq Swati “the huge land mass situated between the Indus and Oxus shall be referred to as the Indus-Oxus region. With the exception of short spans of control by the Mauryans and by the Kushans, the whole region was divided into number of small kingdoms namely, Uḍḍiyāna, Kapisa, Bactria, Gandhāra and others.”192

These small kingdoms have social, political, economic and religious relations with each other. This relationship ties one culture to the other, therefore cultures of these kingdoms overlapped each other as a result of which the art appeared on the face of this region has some common characteristics and collectively known as the

“Indus-Oxus School of Buddhist Art.”193

Uḍḍiyāna (the present Malakand Division) has prominent place in the history of Buddhist art, the important Buddhist sites in Swat ancient Uḍḍiyāna are,

Butkara-I, Panr, Saidu Stūpa ,Nimogram, Baligram,Gumbatuna, Balo-Kile-gumbat

,Amlukdara, Buchkan stūpa Palai,Butkara-lll, Andandheri,Chatpat, Dadahara,Damkot and Nawagai194were systematically excavated by different local as well as foreign missions working in the Swat valley.195Amluk dara , Balo-Kile-gumbat and Butkara- lll excavated by the Italian Archaeological Mission (IsMEO) and University of

Peshawar respectively.

A good number of stone sculptures including garland bearers and panels showing Jātakas stories or, scenes from the life of Buddha were discovered during the course of excavation. These sculptures probably contemporary with early Gandhāra sculptures reported the other sites as Butkara-l dating from 2nd century BCE to 7th CE.

192Muhammad Frooq Swati, (1997) Special features of the Buddhist art in the Swat valley Athariyyat (Archaeology), 1, pp1-22. 193 Ibid.p.3. 194Muhammad Ashraf Khan, (1993) Gandhāra stone sculptures in swat museum, Saidu Shrif, pp11-1 4. 195 Ibid, p.15. 76

On the basis of finds from the excavations, particularly stratified coins, it is possible to propose a dating of the sacred area of Panr to period between the 1st and the 5th centuries CE.196 A few sculptures in stone and stucco with fine and deep carvings were found from the site of Baligram during excavation; probably belong to the early

Kushan era. We may, therefore, assume that the Buddhist establishment at Baligram was founded somewhere during 2nd century CE and lasted until 7th or 8th century CE.

When Buddhism was only popular faith in the Swat valley . The Buddhist site of

Saidu Sharif was excavated by the Italian Archaeological Mission of the ISMEO, in

1963to1968 and 1977 to 1982 under the directions of Faccenna. A large number of sculptures showing all important episodes from the life of Lord Buddha, coins, pottery and miscellaneous objects have been found in the excavations, now on display in the

Swat Museum. On the basis of finds from the excavations particularly stratified coins, it is possible to propose a dating of the site to period between the 1st and 5th centuries

CE.197

The most important and scientifically excavated site is Shanaisha Stūpa, first excavated under the supervision of Nazir Khan,the then Curator of the Swat Museum in 1989 and then by Abdul-Rehman, Department of Archaeology, University of

Peshawar in 1990 with the collaboration of the Department of Archaeology and

Museums, Government of Pakistan.198 A large number of sculptures in stone and stucco were collected in the course of digging at Shanaisha.These sculptures are similar to those discovered at Butkara-I, Butkara-lll Panr, Saidu Stūpa ,Nimogram,

196 D.Faccenna., et al, (1993).Panr I (Swat Pakistan) IsMEO-Rome, pp12-34. 197 D.Faccenna, (1995) Saidu Sharif l (Swat Pakistan). The Buddhist Sacred Area, The Stūpa Terrace, IsMEO, Rome, pp.135-138.

198 A. Rahman, (1993) Shnaisha gumbat:first preliminary excavation report. Ancient Pakistan VIII, pp.7-8. 77

Baligram,Gumbatuna, Dadahara,in Swat and Andan dheri and Chatpat in Dir dated about 2nd -5th century CE. Besides stone sculptures clay seals, pottery and two silver coins of Hindu Shahi period on the surface of the site confirm human occupation up to the 10th century CE.199

The kingdom of Uḍḍiyāna has art zones in these sub valleys and there are numbers of zonal workshops in each sub valley.200 The Buddhist art is religious art and the main aim of this art was to propagate Buddhism.201For this purpose artists carved sculptures in stone, stucco, clay, terracotta and metal slike

Bronze.202According to Swati “the extensive Buddhist remains and extended history, from the fourth/third century BCE to the ninth C.E, of Butkara-l, leaves no doubt that this site and its vicinity, formed the largest social, cultural and political centre in

Swat. This region is the most influential artistic zone as proved by the numerous archaeological remains. Nevertheless, there were many minor art zones at least one in each sub valley”.203 Swati further says “that number of craft-groups might have been active in different territories of the valley. These craft-groups are termed as “zonal workshops.”204 The artists worked in these workshops used to make relief panels and different ornamental elements for the decoration of stūpas. Some unfinished architectural elements were found during the excavation from the site of Butkara- lll205which supports the above statement. History and culture of these small kingdoms

(Uḍḍiyāna, Gandhāra, Bactria, Kapisa and others) overlapped each other because of

199 Ibid. 200 Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat Valley. Athariyat (Archaeology), l, pp.1-22. 201 Ibid. 202 Ibid. 203Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), l, pp.1-22.. 204 Ibid 205 A.Rehman, (1991) Butkara-lll: A preliminary report, Ancient Pakistan Vll, pp.693-705. 78 their economic, political, social and religious norms.206The artists who worked in these zonal workshops came from these kingdoms so the products of these workshops are similar in some features which show that they are interlinked, but are different in some features which separated them from one another. Through comparative and thorough study of the present collection, the researcher agrees to the workshops identified by Swati.

Comparative Study of the Malakand Collection and its Provenance

Swati did his research work on the material found from different localities in the valley of Swat during course of excavation. He examined the sculptures from archaeological content and traced its changing perspective in the historical profile.

This study of Swati has brought to light typical features of the Swati sculptures and indicated the prevalence of “Zonal workshops” in each sub-valley. These workshops of each sub-valley have common characteristic features and distinguished in a “Zonal style.”

The author has physically visited Jambil, Adinzai-Shamozai, Ilam Khawar valleys and also visited the excavated sites of these valleys. The author made critical analysis of each zonal workshop and its style and studied the same sculptures which have been already studied by Swati. The characteristics features of the sculptures mentioned by

Swati are still valid and acceptable to the best of author‟s knowledge that is why the researcher could not deviate from them.

206 Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), l, pp.1-22. 79

3.2 Zonal Workshops

Jambil Sub-Valley Zonal Workshop and its Style

Jambil is an old stream coming up year after year from river Swat and originates from the hilly area of Mingora and divides the streams of Swat and Buner. The sub-valley owns its name from the stream.207 The important sites of the valley are:

1. Butkara-l

2. Panr

3. Butkara-lll

Butkara-l The Buddhist site of Butkara-I was excavated by Italian Archaeological

Mission in 1956-1962 under the leadership of Dominicco Faccenna. The site is situated at a distance of about 500 meters from the eastern end of Uḍḍiyāna, Meng-

Che-li (Mingora). During the course of excavation, main stūpa surrounded by a large number of votive stūpas, inhabitant area and Vihara were found. More than 7000

Gandhāra sculptures were discovered from the site,208 that is why the site is considered the richest and the largest site in the Swat region with respect to the

Gandhāra sculptures. These sculptures are carved in schist stone showing different episodes of the Buddha‟s life stories and architectural pieces.209

207A.Rahman, (1991) Butkara-lll: A preliminary report, Ancient Pakistan Vll, pp.693-705.

208D.Faccenna, (1980-81) Butkara-I . (Swat, Pakistan) 1956-1962. Reports and Memories lll (1-5.2). Rome: IsMEO.Mem, p.176. 209D.Faccenna, (1980-81) Butkara-I. (Swat, Pakistan) 1956-1962. Reports and Memories lll (1-5.2). Rome: IsMEO.Mem, p.176. 80

List of excavated sites:

Panr, Butkara- I and III, Nimogram, Marjanai ,Chatpat, Andan Dheri, Top Dara stūpa,

Shnaisha Stūpa ,Mount Elam , Loriyan Tangi (Shahkot)Malakand, Palai (Buchkan

Stūpa ) Malakand,Amlukdara , Leobanr, Gumbatuna,

2015)

Sites the in Regionof and SwatMalakand (courtesy:Google

Buddhist

Map4:

Panr: This Buddhist site is located in the small glen of Jambil valley at a distance of about one mile east of Mingora, the capital of Swat, and excavated by Italian

Archaeological Mission during 1960-1964 under the direction of Dominicco

Faccenna in collaboration with Department of Archaeology and Museums,

Government of Pakistan.210

During the excavation along with other archaeological remains a good number of Buddhist sculptures carved in pale green schist stone were discovered.211 Beside sculptures, a good number of pottery, coins and stucco sculptures were also found.

Butkara-III:

The Buddhist site of Butkara-III is one of the well preserved site of the Swat valley. It was explored and excavated by the Department of Archaeology, University of Peshawar under the supervision of Abdur Rehman in 1982-1985 respectively.212

The site is located at a distance of about one kilometer east of Saidu Sharif

Museum.213 During the excavation a monastic complex and Stūpas were found.

Monastic complex is represented by area B whereas Stūpa complex is represented by

A. Area “A” and “B” are separated by the stream of water known as Narey Khwar.214

Excavation in area “A” unearthed an open stūpa court and underground chambers of the shrines, stūpa is square in plane, excavation in the area “B” uncovered six rooms in a row. A good number of stone sculptures and a large number of relief panels

210 D.Faccenna. A.N.Khan. and I.H.Nadeem, (1993) Panr I (Swat Pakistan) Reports and Memories XXVl (1), Rome: IsMEO, pp. 1-179. 211 Ibid. 212Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat Valley. Athariyat (Archaeology), l, p.115. 213A.Rahman, (1991) Butkara-lll: A preliminary report, Ancient Pakistan Vll, pp.693-705. 214Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat Valley. Athariyat (Archaeology), l, p.115. 83 showing garland bearers, Jātakas stories and different episodes of the Buddha life stories were found from the site.215

The sculptures found from Butkara-III are contemporary with the early sculptures found in different sites of the Gandhāra region like that of Butkara-I dating from 3rd-2ndcentury B.C.E to 7th century C.E.216

From the above mentioned sites of the valley, a treasure of archaeological remains was found, as the inhabitants of this region have common history and traditions, so sculptures found were having the same physical features. The prominent physical features of the sculptures of the region are broad round faces, bold physical make up and short stature217(Figs.119, 120and 133.c.f, Ackermann ,Figs. H 15, XXIII a &b ,Swati, Figs. 26,27and 29).218 In all these sculptures, the physical features are the same. In these figures, the dresses which are portrayed are shawl and dhoti. This dress is specifically associated with Indian culture, excluding Kushan and the West.219 In this workshop mostly artists have carved bold and prominent eyes and moustaches

(Figs.6, 68and 70 c.f. Swati, Figs.30, 32, Ingholt, Figs.59, 87,519and520).220 The artists of this workshop carved many figures on a single plane due to which space is filled with inextricable mass of the figures, so very less empty back ground can be seen. Owing to overcrowding of the figures it seems that figures are overlapping each other (Figs.5, 40, 41, c.f. Ingholt, Figs.31, 32, Swati, Figs.10, 20).221However, due to

215 A.Rahman, (1991) Butkara-lll: A preliminary report, Ancient Pakistan Vll, pp.693-705. 216 Ibid. 217Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), p.18 218Ibid, pp.44-45 219Ibid, p. 18. 220Ibid, pp.44-45. 221Ibid, pp.51-54. 84 depth in the relief figures appear to be detached from the back ground (Figs.41, 48, 89 and 90 c.f. Swati, Figs.24, 30a, Ingholt, Figs.41, 44 and 45).222

Adinzai-Shamozai Sub-Valleys Zonal Workshops and its Style These sub- valleys are located on the South-Western part of the Swat valley.

The important sites of Shamozai valley are, Nimogram and Marjanai. The Buddhist site of Nimogram is situated in the Shamozai area and excavated in 1967-68 under the supervision of Mohammad Rafique Mughal (The then Director General, Department of Archaeology and Museums) and Nazir Khan (former curator of Swat Museum).223

During the excavation three stūpas, 56 votive stūpas and a Monastery were found.

More than 400 sculptures along with other archaeological remains were reported.224

The site of Marjanai was explored in1982 and excavated under the leadership of Shah

Nazir khan, Department of Archaeology, University of Peshawar. One main Stūpa,

17votive Stūpas and Chapels were found.225

Adinzai valley in District Dir has two main Buddhist site, Andan dheri and

Chatpat. The site of Andan dheri is located in the centre of Adinzai at a distance of two km south of village of Ucch and three km North-West of Chakdara Museum. The site was excavated in 1966 by the Department of Archaeology, Peshawar University under the supervision of Dani.226The site consists of a monumental main stūpa surrounded by votive stūpas and monastic complex. Along with other archaeological remains, about 534 pieces of stone sculptures in schist stone depicting various episode

222 Ingholt, (1957) Gandhāra art in Pakistan.New Yark: Pantheon Books, p.60. 223 Ashraf khan,(1993) Gandhāra Stone Sculptures in the Swat Museum, Saidu Sharif, pp12-13. 224 Ibid. 225 S.N. Khan, (1995) Preliminary report of excavation at Marjanai. Kabal, Swat, Ancient Pakistan, 11, pp.1-74. 226 Ahmad Hasan Dani, (1968-69) Excavation at Chatpat, in: Ahmad Hasan Dani,ed Chakdara Fort and Gandhāra art, Ancient Pakistan (4), pp33-64. 85 of life of Buddha and architectural fragments were found from the site of Andan

Dheri.227

Chatpat is a small village, located (N-W) three km from the Chakdara town and one km away from the main Chakdara-Dir road.The site consists of monastic complex and a stūpa court. It was excavated in March 1968 by Dani,228 Head of

Department of Archaeology University of Peshawar. A very good number of Buddhist sculptures in stone and stucco were recovered during the course of excavation.

Sculptures manufactured in the workshops of this zone have different characteristic features. Mostly big figures are found from this zone (Figs.2, 3, 93and

94 Ingholt‟s Figs.13, 14 and 16.Dani‟s Figs.10a and 11a).229However, small figures can also be seen. In this zone a new trend of sculptors can be observed in which they made sculptures having long faces commonly flat (Figs. 26, 71, 122, 124 c.f Said

Qamar‟s Figs.12 and 14 .Dani‟s Fig.11 b).230 Some round faces with prominent long noses sculptures are also found (Figs.71, 94, 122 c.f, Dani‟s Fig.11b).231 The figures are dressed in Indian and central Asian style.232 There is movement and flexibility in the figures, lines, deep carving, drapery folds, strong and weak light shadow create the impact that figures are comparatively more distanced from the background that they are in reality (Figs.1, 2 and 3 c.f Dani‟s Figs.10 a,b and 11b).233In this zonal

227Ahmad Hasan Dani, (1968-69) Excavation at Chatpat, in: Ahmad Hasan Dani,ed Chakdara Fort and Gandhāra art, Ancient Pakistan (4), pp.66-68. 228 Ibid. 229 Ibid, p.p.51, 52 . 230 Mian Said Qamar and Ashraf khan, (1991) preliminary report on the archaeological excavations of the Buddhist sites in Swat, journalof Central Asia XlV (1), pp.194-196. 231 Ahmad Hasan Dani, (1968-69) Excavation at Chatpat, in: Ahmad Hasan Dani, ed Chakdara Fort and Gandhāra art, Ancient Pakistan (4), pp.66-68. 232 Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat Valley. Athariyat (Archaeology), p.18. 233Ahmad Hasan Dani, (1968-69) Excavation at Chatpat, in: Ahmad Hasan Dani,ed Chakdara Fort and Gandhāra art, Ancient Pakistan (4), pp.51,52. 86 workshop reliefs are not over crowded. It means sculptors emphasize on the theme of the scene rather to fill the gaps.

Ilam Khawar Sub-Valley Zonal Workshop and its Style

The sub valley of Ilam khawar owns it name from Ilam stream. From

Mingora, a track starts that follows the course of the Saidu river, reaches the holy mountain of Ilam, passing through the present day villages of Kukarai, Miana,

Marghuzar and Ilam.234Mount Ilam is located on the South of Saidu Shrif.235 This sub valley is important and famous because of its various archaeological sites like Top

Dara stūpa, Shnaisha Stūpa and Mount Elam.236The site is located about six kilometers South-West of Saidu Sharif, the district headquarter of Swat on Mingora

Marghuzar road. This road follows the bank of Marghuzar Khwar, and passing through a small village in the vicinity of Saidu called Guligram. It takes a sharp turn to the east, and near the present police station bifurcates the eastern branch leading to the village of Salampur and the Southern to Marghuzar, at a short distance of the police Station. This Khwar is crossed over by means of recently built suspension bridge.237

In the South of this bridge the site is located at a distance of about four hundred meters walk. The site is located in the centre of hills locally known as

Tharkana hills.238 The site of Shanaisha has prominent place among all other sites and must have been exceptionally rich in sculptures in spite of illegal digging and plundering rose on several occasions. The limited area was brought under excavation

234G. Tucci, (1958) Preliminary report on an archaeological survey in Swat. East and West 9 (4), pp. 279-328. 235Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), p.18. 236A. Rahman, (1993) Shnaisha gumbat: first preliminary excavation report. Ancient Pakistan VIII, pp.7-8. 237 Ibid. 238 Ibid. 87 as a result of which some 379 sculptures were found.239Unfortunately, most of the sculptures were found in bad state of preservation only 183 sculptures are in good condition.240The sculptures found from the sites of this sub-valley have different features.241 Sculptures discovered from the site of Shnaisha are quite different from the sculptures found from the sites mentioned above two Zones.242 In this zonal workshop figures are of normal stature, strong and with long flashy faces243 (Figs.36,

75and 101). Figures of this sub-valley are in action and in moving position, as they are dancing or performing their worship rituals (Figs.16, 90 and106 c.f. A. Rehman

Fig. XL-a Swati‟s Fig. 19).244Figures are enlarged; sculptors focus on the subject matter rather than fill in the surrounding space of the panel 245(Figs.18, 27and 36, c.f.

Swati Figs.42, 44and 73).246

Different sitting pose can be observed in this zonal workshop (Figs.4, 45,

102 c.f. Swati Figs.42, 44).247Mostly in this workshop flexibility and mobility in the scene can be seen. Figures are more active in doing something; (Fig.16) and much empty background in the scene can also be observed (Fig.18). The figures are in

Indian dresses (Figs.16, 36).

Dargai-Thana Valleys Zonal Workshop and its Style

Dargai is an administrative unit of Malakand district in Pakistan‟s north western Khyber Pakhtunkhaw province, situated on the main highway from Peshawar

239 A. Rahman, (1993) Shnaisha gumbat: first preliminary excavation report. Ancient Pakistan VIII, p.20. 240 Ibid. 241Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), p.18. 242Ibid. 248Ibid.

244Ibid,p.42 . 245 Ibid, p.19. 246Ibid, pp.50-60. 247 Ibid. 88 to Swat, Dir and Chitral. British forces landed at Dargai in 1895 and took over the control of Malakand agency and its neighboring areas.248 The Thana valley derives its name from an important and biggest village Thana situated between Aladand

Charbagh on the left bank of river Swat249 (Both valleys are geographical extension of the Swat valley). The Archaeological remains exposed stūpas, monasteries and proto historic graves which were discovered by Dani and Munawar Khan in 1967.250 The important sites of the valleys are:

1. Loriyan Tangi (Shahkot)Malakand

2. Palai (Buchkan Stūpa ) Malakand

Loriyan Tangi (Shahkot), Malakand

The Buddhist site of Loriyan Tangi is located in Malakand in the area of

Shahkot, excavated by Caddy in 1896, and a large number of pieces of Gandhāra art were found and shifted to the India Museum in Calcutta. Ruins of stūpa were also found, at the basement of the stūpa. Some reliefs having important information in the form of inscriptions about the donors were also found.251

Palai (Buchkan Stūpa)) Malakand

The Buddhist site of Palai is located in the protected area of Malakand agency at Buchkhan village and is surrounded by tall mountains. The history of Palai goes back to 2nd century BCE. The Buddhist remains can still be seen at different location of the village. The site has ruins of monastery and stūpa. The stūpa covers eastern half of the ridge while its western half appears to have the remains of the

248ImperialGaztieer of India, provincial Series, North West Frontier Province, rep Lahore: Sang-e- Meel Publication, 1979. 249H.W.Bellew, (1864/1994)A general report on the Yusufzais.Lahore: Sang-e-Meel Publications pp.40-41. 250 G. Stacul, (1966) Pit structures from early Swat, East and West 46 (3-4), pp.435-437. 251Ibid. 89 monastery.252 The site attracts the attention of archaeologists, historians and illegal diggers as well. A large number of sculptures are taken away by illegal diggers253.

Important features of this zonal workshop are the figures that are of normal height and are attenuated (Fig.40 c.f. Ingholt Fig.12.Zwalf Fig.275). Faces are long and flat 254(Fig.42 c.f. Khan Fig.65, Marshall Fig.122). Similar features are found in the Adinzai and Shamozai sub valleys. Figures having round fleshy faces with well- proportioned limbs are also found in this zonal workshop (Fig.18 c.f. Dani and Nazir

Fig.3, Zwalf Figs.271, 273 and275). The dense drapery folds are typical Gandhāran style (Fig.50 c.f. Zwalf Figs.243, 244 and 248, Dani and Nazir Fig.2, Ingolt Figs.7, 8 and16, MarshallFig.177). In this zonal workshop, figures are like puppets having big heads as compared to their bodies and movements that are stiff and ungainly255

(Figs.43.66, 75and 80.c.f.Marshall Fig.119, Zwalf Figs.243, 296).

3.3 Stage-I and its Characteristics

The first stage of the development of Buddhist art in Swat started during the

Saka period in the last decade of the first century BCE. The Buddhist monks came to

Swat for the propagation of Buddhism, for this purpose they constructed stūpas for their religious rituals and monasteries for residential purposes. The important

Buddhist sites of this stage are, Butkara-I, Butkara-III and Panr located in the Jambil valley and scientifically excavated. Sculptures found during the course of excavation at different Buddhist sites in Uḍḍiyāna were used to fix to the base, drum and stairs of the stūpas, and individual figures were kept in the niches around the stūpas and in

252Ahmed Hasan Dani and Nazir Ahmed khan,(1998) Relic casket addorsed sculptures from Buchkan Stupa,Palai ,Journal of Asian Civilization XXl (ll), p.157. 253 Ibid. 254Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), pp1-60. 255Marshall, (1960) The Buddhist Art of Gandhara, the story of the early school its growth and decline, Department of Archaeology: London, p.92. 90 monasteries. These niches were used for keeping oil lamps.256The stūpa at Butkara-I was constructed during the period of King Aśoka Maurya in 3rd century BCE.257 Due to rigid ideology of Hinayāna Buddhism, in which Buddha cannot be sculpted in human form, however symbols were used to represent him, for example lotus flower represents his birth in the Lumbini Garden, a deer with Wheel represents his First

Sermon in the deer park in Sarnath, a bodhi tree shows his enlightenment and a stūpa shows his death (Mahaparinirvāna),258with the passage of time, Hinayāna iconography was replaced by Mahāyāna images in which for the first time Buddha was carved in human form.259 But due to the religious extremist of the society the artist could not carve the statues or images of the Buddha freely.

Besides this they don‟t have any example of sculptures carving, so the sculptures carved during this period are very rough and crude, for example during excavation at stūpa of Butkara-I, 17 heads were found which are poorly sculptured.

The architectural element like, Corinthian columns, acanthus leaves etc were used to separate different scenes in the panels.260These architectural elements of Indian fashion were used from the very beginning.261However, the columns used in this early phase of the Gandhāra art were round narrow and slim.262(Figs.

5,10,19.,27,29,30,31,41,42,76,78,81,86,87,88,89 and103). Gandhāra had trade link with Greece, Central Asia and China.263This trade played a back bone role in the

256 D. Faccenna, (1980-1981) Butkara-l. (Swat, Pakistan) 1956-1962. Reports and Memories lll (1-5.2) Rome: IsMEO, pp.34-67. 257 Ibid. 258 Badsha Sardar (2005), Buddhist rock carving in the Swat valley. Islamabad: Badshah Sardar, pp.1- 43. 259Ibid. 260 Fida Ullah Sehrai,(1982) The Buddhist story in the Peshawar Museum, p.6. 261Faccenna, D (1989) Saidu Sharif l (Swat Pakistan) The Buddhist Sacred Area, The Monastery. Rome: IsMEO, pp.296-297. 262Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), pp1-60. 263Kurt.A Behrendt, (2007) The Art of Gandhāra, In the Metropolitan Museum of art, New York: Yale University press, p.7. 91 beginning of Buddhist art in the region. Gandhāra was ruled by Greek, Sakas,

Parthians and Kushans.264 Parthian-an ancient Iranian people ruled between 19 and 49

BCE.265 First phase of the Buddhist art flourished during the Parthian period, before the Parthian, Gandhāra was ruled by Greeks. The impact of Greek on the art continued even in the Parthian period in consequence there is visible blending of

Parthian and Greek impact on the art of Uḍḍiyāna and Gandhāra.266 During this stage of development the composition was balanced with the simplification of body volume brining focus on the body parts particularly legs eyes and hands, (Figs.50 and 57 compare to Khan, Figs.32, 33,862 and Swati267Fig.6).

Among the facial features opened round eyes and moustaches can also be seen in this phase of development (Figs.93, 43 compare with Khan, Fig.62).268 On arrival of the Parthians at the end of first century BCE in the Indus region, the sculptures became more refined, frontal view and rigidity of the figures show Parthian impact

(Fig.24 compare to Khan, Fig.60)269 whereas three quarter view represents Greek influence (Figs.2,22,81and99). Drapery folds are engraved in lines and have very thick parallel grooves. Execution of the Buddha figures was in vogue from the beginning. In this stage, Buddha was normally found in seated position, meditation and reassurance. However, images of Buddha in standing position are very rare.270In early Indian art, artists carved reliefs which show sensuous and erotic character

(Figs.99, 100 and102) such type of the scenes can be seen on the gateways of the

264Zwalf, (1997) A Catalogue of Gandhāra Sculpture in the British Museum, 1, p.16. 265Badsha Sardar (2005), Buddhist rock carving in the Swat valley. Islamabad: Badshah Sardar, p.43. 266Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone,(2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum, p.40. 267Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), p37. 268 Muhammad Ashraf Khan, (1993) Gandhāra stone sculptures in swat museum, Saidu Shrif, p.90. 269Ibid, p.89. 270D.Faccena, (2003) Early evidences of figurative art, Artistic centre and stylistic groups, Ancient Civilizations from Scythia to Siberia. Leiden-Boston IX, pp274-294. 92

Great stūpa at Sanchi.271Such types of the scenes are against the teachings of the

Buddha. With the passage of time these artists made the scenes of drinking and dancing by replacing goblets with lotus in the hands of figures.272 In spite of the social taboos drinking and dancing scenes remained in practice and can be seen in the later reliefs of the Gandhāra art273 (Fig.102 and 103). Male figures have beard and moustaches while females wear ear pendants and have wreath headdress (Fig.80).

Purpose of all these scenes was to decorate the top of the doors and windows of the chaitya arches, particularly cornice moulding, base moulding and stair-risers of the stūpas.274Some relief depicts daily life scenes which were used for the decoration of stūpa. Suspending of garlands and flowers around the stūpas was the common practice in Gandhāra. The purpose of these garlands was not only to decorate the stūpas but also to pay homage to the relics of the Buddha, so garlands became cult object in Buddhism,275 (Figs.82, 83, and 84). For hanging these garlands and flowers projecting pegs having winged male and female figures, animals like elephants and horses were used all around the stūpas (Fig.112). A large number of such type of stūpa pegs were found from the sites of Butkara-I, III, Nimogram, Najigram

,Baligram, Andan Dheri, Chatpat, Hadda in Afghanistan. In India from the stūpas of

Bharhut and Sanchi,276brackets were also used to support the projection and decorated

271 Marshall, (1960) The Buddhist Art of Gandhāra: The story of the early school its birth, growth and decline, p.33. 272 Ibid. 273 Ibid. 274 Ihsan Ali & Z.Jan, (2005) Archaeological Explorations in Gomal valley,Pakistan2003, Frontier Archaeology 3:1-55 275Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat Valley. Athariyat (Archaeology), p115. 276Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum,p.61. 93 with different figures of Buddha, Bodhisattvas (Fig.69) and animals such as lions, elephants and birds.277

Characteristics

 The execution of the figure was crude and stiff (Fig.43).

 Proper composition with the simplification of the volume bringing focus on

certain body parts for example, eyes, hands and legs (Figs.50, 57).

 Three quarter view of the figures (Figs.2, 22, 81 and99).

 Frontal view (Fig.24).

 Dresses are Indian (shawl and dhoti), Scytho-Parthian (long and short tunic,

trouser with soft boots).

 Buddha was mostly found in seated position with hand in meditation

(Figs.51, 52) and reassurance pose (Fig.50).

3.4 Stage-II and its Characteristics

This stage of the Buddhist art of Swat valley belongs to early Kushan and the

Scytho-Parthian period which appeared in the last decade of the first century most probably in C.E 80 to 90.278This stage is advanced one, the artists became more expert to carve the sculptures, with their skill, they brought change in the sculptures by replacing stiffness, frontality and drawing like attention into flexibility (Figs.35, 37,

40) and mobility (Figs.16, 17, 19 and 26). The sculptures became more refined

(Figs.26, 96).This indicates maturity of the Buddhist art of the valley. Drapery folds were free billowing and parallel lines (Figs.38, 49, 50, 54).

277Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone,(2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum,p.61. 278A.Rahman, (1991) Butkara-III: A preliminary report, Ancient Pakistan VII, pp.150-164. 94

Dresses observed in this stage are Indian Shawl and dhoti (Figs.16, 17, 40).

Scytho-Parthian long and short tunic with trousers (Figs. 25, 27, 38).Along with seated figure of Buddha in Meditation and reassurance pose, standing figures of

Buddha were also found in this stage of development (Fig.38). European style of seated Buddha and decorated throne appeared in this stage.279

In Malakand collection an Architectural element like Persepolitan pilaster encased in rectangular frame is decorated with two seated bulls in back to back position is reported (Fig.106). Similar type of Persepolitan pilasters were also reported from, Butkara-I, Butkara-III, Gumbatuna in the Swat valley and from

Baharut and Mathura in India.280 These pilasters are used to separate the different scenes in the plinth of the stūpas281 as well as in the sculptures. Corinthian pilasters decorated with acanthus leaves, Buddha and Bodhisattva figures were also found from different sites of Gandhāra (Fig.41). Same type capital elements were also reported from Shnaisha stūpa, Panr, Butkara-I, Gumbatuna (Swat Valley Pakistan) and from

Jinan Wali Dheri in Taxila.282 The Corinthian pilasters with round shaft are earlier while flat shaft with figure on it are later.283

Characteristics:  Figures became more refined and beautiful (Figs.26,96).

 Standing figure of the Buddha appeared in this period (Fig.48,49).

 Throne of the Buddha was decorated (Fig.50).

 Halo became larger as compared to the stage one (Fig.58).

Dharmachakramudrā was introduced in this phase of development.

279Ingholt, (1957) Gandhāra art in Pakistan.New Yark: Pantheon Books, pp.29-30. 280 Ashraf khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum, p.61. 281 Ibid. 282Ibid, p.60. 283 Marshall, (1960) The Buddhist Art of Gandhāra: The story of the early school its birth, growth and decline, pp.53-54. 95

 Stiffness and frontality of the figures was replaced by flexibility and mobility

in this stage (Figs.35, 37, and40).

 Drapery folds are more freely billowing (Figs.38, 49 and50).

 Different elements represent in the Buddhist art of the Swat valley became

mature in this period.284

3.5 Stage-III and its Characteristics

The third phase of development of the Buddhist art of Swat valley was the

Kushan-o-Sananian and Kidara period. The artist of this period became more expert to carve the sculptures beautifully as compared to the artist of the previous stage. The reliefs became more refined and realistic, artists emphasis on the individual detail of the figures and try to avoid overcrowding in the scene (Fig.1). Various forms of mudras in seated and standing position appeared in this period (Figs.49, 50, 51, 52,

53, 54, 55, 56, and 57). Halo became larger and decorated with ray edges (Fig.58).

Broad and long eyes can be observed during this period (Fig.112 compare to Zwalf

Figs.139 and 212).285 The seated style of the Buddha with pendent leg shows sasanian influence, it was adopted by the artists of later period in their figures of Bodhisattvas, such as the legs crossed below the knee, is European style and continued in the period of little Kushans or Kidara Kushans can be observed in the complex panel of the mature phase of the art of Swat valley 286(Fig.44).

The facial features of this stage are prominent chin on the longer heads, narrow eyes, and upper lid with sharp edges of eyebrow, sharp lips and curly or wavy hair 287(Fig.26).The drapery became thinner with flattened strips and ribs like

284Zwalf, (1997) A Catalogue of Gandhāra Sculpture in the British Museum, 1, p.70. 285 Ibid. 286 Ibid. 287Ibid, p.7. 96 strings288(Figs.49,50and54), to separate the different scenes Corinthian pilasters having tapered and moulded bases were used by the artists (Figs.27,29,30 and36) other architectural elements were also used according to the requirement of the scene like city gate (Fig.105).

Characteristics:

 Sculptures became more refined and realistic.

 Mobility and action in the figures can be observed in this stage of the

development of the art (Fig.1).

 The artists became more expert and can use any style of past and present.

 Prominent chin on the longer heads, sharp lips, narrow eyes with pronounced

upper lids, sharp edges of eyebrow appeared in this stage (Fig.26).

 Various forms of mudrā such as dharmachakramudrā, dhyānamudrā and

abhayamudrā appeared in this phase of the development (Figs.49, 50, 56

and57).

 Drapery became thinner and transparent (Figs.49,50 and54).

 Beside Corinthian pilasters other architectural elements like city gate and

balcony were introduced in the relief panels at this stage (Figs.27, 29.30and

105).

3.6 Development Stages of Art in Each Sub-Valley Zonal Workshop

Archaeological excavations and deep comparative study of the Buddhist art in the Swat valley highlights the striking features of the Buddhist art. The kingdoms of

Kapisa, Gandhāra, Uḍḍiyāna and Bactria were tied together socially, politically and religiously. As far as Uḍḍiyāna is concerned, there are small zones of art at least in

288 Zwalf, (1997) A Catalogue of Gandhāra Sculpture in the British Museum, 1, p.7. 97 each sub-valley and each has a number of zonal workshops. This research study discusses only those sub-valleys where scientific excavations have been done. They are Jambil sub-valley zonal workshop, Ilam Khawar sub-valley zonal workshop,

Shamozai sub-valley zonal workshop and Dargai-Thana valley zonal workshop.

The Jambil Sub-Valley Development Stage- l Research on the sculptures of this stage shows that first artistic activities started in this sub-valley. This is the initial stage of the art of the Jambil sub-valley; therefore the sculptures manufactured in this sub-valley are very crude and rough. No proper proportion in the different body parts of the sculptures has been found. For example in Fig.102, arm of the central figure is much longer than the other body parts whereas the figure on the left side has smaller legs as compared to his arms. Faces of the figures are round and fleshy (Compare Figs.76 and 89 to Swati;s, 1997:Fig.32). In this early phase of the development females have wreath headdress, (Fig.62) and males have beard and mustaches, (Fig.121). Stūpa pegs (Compare Figs.69, 112 to

Ashraf‟s, 2005:Figs.244 and246) having princely figures were also found in the first stage of the Jambil sub-valley. In Fig.69, head of a princely figure with elaborate turban, oval shaped fleshy face with close lips short heavy dropping mustache is shown whereas Fig.112 depicts a stūpa peg decorated with a bust of a male figure and acanthus leaves. The figure has round fleshy face with open eyes. Such types of stūpa pegs were also found from the sites, including Chatpat and Gumbatuna in Dir,

Ranigat in Buner, Sirkkap and Dhermarajika stūpa in Taxila valley.289

The Jambil Sub-Valley Zonal Workshop Development Stage-ll

This stage of development of the Jambil sub-valley is advance as compared to the first stage of the valley. The artists became expert enough that they can carve the

289 Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum, p.61. 98 image of the Buddha in seated position in abhayamudrā, (Fig.50),( Dani,1968-69:

Fig.12) but the figures were still in crude form. Different episodes from the life of

Buddha (from his birth to death) were carved, for example his birth (Compare Figs.2,

3to Zwalf‟s,1996:Fig.145) Great departure (Compare Fig.13 to Zwalf‟s, 1996:Fig.178 and Ashraf‟s, 2005:Fig. 15) Dīpankara Jātaka, (Fig.1) and offering scenes (Compare

Figs.16, 17 and18 to Ashraf‟s 2005:Fig.32).

The Jambil Sub-Valley Zonal Workshop Development Stage-lll

During this stage artists can carve different images of the Buddha. Figures became refined as compared to the previous stage. Thorn of Buddha decorated with lotus flower appeared in this stage of development (Compare Fig.50 to Swat‟s 1997.

Fig.49).The artists are more careful regarding the beauty of the images rather than the natural approach. Different hand gestures of the Buddha like dharmachakramudrā, abhayamudrā and dhyānamudrā appeared in this stage. Dresses of women mostly were Indian (shawl and dhoti), (Compare Fig.41to Swati‟s 1997. Pl 30a).

The Shamozai Sub-Valley Zonal Workshop Development Stage-l

At this stage, figures were found in rough and crude condition (Fig.25). This represents the commencement of the above cited zonal workshop. The hard and stiffened carvings made of figures can evidently be seen (Compare Figs.27, 28 to

Swati‟s1997 Fig.37). This provides us with the evidence that the sculptures were not taken to their complete and perfect condition. However, it is clear that the art of sculpture making had begun flourishing at that very time.

The Shamozai Sub-Valley Zonal Workshop Development Stage-ll

During this stage of development artists started carving the image of Buddha in standing position in abhaya pose (Compare Fig.49 to Swati‟s 1997 Fig.33).290

At this stage more episodes from the life of Buddha were practiced like marriage scene of Siddhārtha (Figs.10 and 11). Dresses are Indian and central Asian,

(Compare Figs. 35, 38 to Dani‟s1968-69 Figs.10and11).

The Shamozai Sub-Valley Zonal Workshop Development Stage-lll

At this stage, tremendous development was found. Stiffness was replaced by mobility (Compare Figs.17and 26 to Dani‟s 1968-69 Fig.14a and 15a) and figures were carved in three quarter view (Compare Figs.1and 2 to Ashraf 2005 Pl 32).

During this stage figures have body tight drapery (Compare Fig.36 to Ashraf‟s 2005.

Pl 13). It seems that at this stage Buddhist repertory of art took a new twist and concentration was paid to monks and church rather than the original philosophy, stated by the founder of the religion.

The Ilam Khawar Sub-Valley Zonal Workshop Development Stage-l Buddha image carved was not refined even at this stage of development, no proper proportion was found in the body parts, and for example legs are larger and are not in proportion with the other limbs of the body (Compare Fig.54 to Dani‟s 1968-69

Fig.39a). Most of Buddha‟s images are in seated position and rarely in standing, throne without decoration was found. Drapery folds are heavy (Compare Fig.49 to

Dani‟s 1968-69Fig.16a) halo is smaller and uṣṇīṣa is bigger at the early stage of this zonal workshop. Important mudrā that is abhaya and dhyāna were in practice at this stage, (Compare Figs.50 and 52toZwalf‟s 1996Figs.266 and 268). Facial features of

290Muhammad Frooq Swati, (1997) Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), p. 47. 100

Buddha introduced during this stage were, round and fleshy with full opened eyes,

(Compare Figs.37and 43 to Dani‟s 1968-69 Fig. 12).

The Ilam Khawar Sub-Valley Zonal Workshop Development Stage-ll

At this stage artists concentrated on the life story of Buddha and carved different episodes of the Buddha life in their sculptures, for example they carved first bath and horoscope of newly born baby (Siddhārtha), (Compare Fig.5 to Zwalf‟s,

1996 Fig.146) the Great Departure (Compare Figs.13and 14 to Zwalf‟s, 1996.Fig.176 and Ashraf‟s, 2005 Fig.15)event of archery(Compare Fig.7 to Zwalf‟s 1996

Fig.163).Worshippers were shown in different poses particularly in anjalimudrā,

(Compare Figs.20, 41 and 42 to Ashraf‟s, 2005 Fig.32). Artists carved the image of the Bodhisattva, (Compare Fig.65to Dani‟s 1968-69 Fig.27b). Figures of Ascetics were also practiced at this stage of development in the Ilam Khawar Sub Valley Zonal

Workshop, (Compare Fig 92 to Ashraf‟s, 2005 Fig.228).

The Ilam Khawar Sub-Valley Zonal Workshop Development Stage-lll

Stucco is another important material for making the sculptures was introduced at this stage. An image of Buddha in stucco was found in dhyānamudrā, (Pl-55), two heads of lion in stucco were also found (Fig.127). Important events of Buddha‟s life were carved such as birth of Siddhārtha (Compare Fig.2 to Zwalf‟s, 1996 Fig.146 and

Ashraf‟s, 2005 Figs.7, 9), horoscope of Siddhārtha and return of Queen Māyā,

(Compare Fig.4 to Ingholt‟s, 1957 Fig.21). Individual images of Buddha in different mudrā like abhayamudrā, dhyānamudrā were also practiced in this stage (Compare

Figs.50, 51, 52, 53, 54, 55, 56 and 57 to Ingholt‟s, 1957 Figs.96, 97and Zwalf‟s 1996

Figs.266, 268). Dresses were central Asian and Indian; (Fig.25) Vajrapāni is shown in central Asian costume (Compare Fig.96 to Dani‟s 1968-69 Fig.10b and Swati‟s 1997

Fig.68 and 71). 101

Dargai-Thana Sub-Valleys Zonal Workshop Development Stage-l

At the first stage of the above mentioned valley, poor quality of stone was used by the artists (Compare Fig.43to Dani and Nazir‟s1998 Fig.3).291The figure is crude and limbs are not in well proportion that is head and hands (Fig.75). At this stage the stiffness and static carving of the figure can be observed (Compare Fig.43 and 80 to Swati‟s1997 Fig.37).

Dargai-Thana Sub-Valleys Zonal Workshop Development Stage-ll

During the second stage in the above valley, besides the figures of Buddha,

Bodhisattva is also depicted (Compare Fig.68 to Ashraf‟s, 2005 Pls, 149,150). At this stage figures were carved, wearing Indian dresses (Compare Fig.16 to Swati‟s 1997.

Pl 30a). Buddha, figure with both shoulders covered with upper garment; half closed eyes round fleshy face and with well proportioned limbs was carved in this stage292

(Compare Fig.18 to Dani and Nazir‟s ,Fig.3, Ingholt‟s 1957 Fig.12).

Dargai-Thana Sub-Valleys Zonal Workshop Development Stage-lll

During this stage of Dargai Thana sub valleys Zonal workshop, the figures are shown in three quarter view; worshippers in anjalimudrā were carved in reliefs and panels (Compare Fig.40 to Dani‟s 1968-69 Fig.25a, b). Now the sculptors became more experienced and stressed on the beauty of the sculptures, during this stage of development dhyānamudrā became more delicate and popular (Compare Figs.35, 42 to .Ingholt‟s 1957 Fig.12). The static and stiffness carving of the sculptures changed into mobility which can be seen in the figures of this zonal workshop (Compare

Figs.16 and 30 to Ingholt‟s 1957 Fig. 12). The dense drapery folds of typical

291 Ahmed Hasan Dani and Nazir Ahmad khan, (1998) Relic casket addorsed sculpture from Buchkan Stupa, Palai, Journal of Asian Civilizations XXl (ll), p.157. 292 Ibid. 102

Gandhāran style are decreased in this development (Compare Fig.42 Dani‟s 1968-69

Fig.61b). Line and curve in the drapery are very flimsy and deep.

3.7 Development Stages of the Stone Art

Pakistan is full of natural resources amongst them rocks stone is one. Pakistan is one of those fortunate countries in the world that is gifted with varieties of stone like sandstone, schist stone, limestone, slate etc. It is a complete art to work with stone.

The tradition of this art can be found in historical periods. This art had started when the man had learnt to make tools and weapons for the first time for hunting. Such type of tools work pieces can be found in Soan valley of Potwar. De Terra and Paterson for the first time reported the hand axe culture in Pakistan in 1939.293 During the excavation at Sanghao cave in Mardan district many quartz tools, schist fragments and hammer stones belonging to different periods, from the Stone Age to the Buddhist period were found.294

With the flourishing of the Indus Valley Civilization, this art also flourished.

A great contribution in this respect was made by the artists/ stone carvers of the time.

They made master pieces. The master piece which was highly admired was tiny steatite seal. The artisans earned a lot of appreciation. These seals not only showed the mastery of the tools but also graphics of elephants, antelopes, crocodiles, tigers etc.295

The Art was revolutionized and the seals were turned into sculptures.

Gandhāra School produced master pieces of sculptures. Pakistan has made great progress in this respect. People who inherited the skills have been working on the sculptures of Buddha. The main concern of these artists was to highlight Buddha and

293 M.Naeem Qazi, (1998) Prehistoric cultures of Pakistan: An introduction, The Glory that was Pakistan 50 years of Archaeological research in Pakistan 1998, p3. 294Badsha Sardar (2005), Buddhist rock carving in the Swat valley. Islamabad: Badshah Sardar, p. 7. 295 Ibid. 103 propagation of Buddhism, for this purpose they used variety of stones like green phylite, soapstone, bluish slate etc quarried from the hills of Swat valley.296 Stucco, terra cotta and marble have also been used.297 The stone art of Gandhāra seems to be the most attractive and durable of all. The stone was a material that was not easily perishable, so they remained unbeaten by the time and the enemy.

3.8 Stucco and Terracotta

Stucco is a material other than stone which was used by the artists of Gandhāra for making sculptures and building materials. It is made by the combination of lime stone, sand, binder and plant fibers were also used for more strength. Stucco is applied wet and hardens to a very dense solid. It is used as decorative, coating for walls, ceilings and as sculptures and artists materials in architecture.298 In Roman art of the late Republic and early Empire, stucco was used widely for the decoration of vaults due to its light weight.299Stucco is also used as plaster on the arms and legs of the huge sculptures made by stone and mud while the heads of such sculptures were modeled and mortised.300 In case of small sculptures, the whole body was coated with white, off white or cream color shell then it was made furnished with the help of chisel.

296 D.Faccenna, S Lorenzoni,Zanettin Lorenzoni and Luca M.Olivieri, (1993) Geo Archaeology of Swat valley (NWFP, Pakistan) in the Charbagh-Barikot Stretch: preliminary note,.East & West 43 (`1- 4),pp257-271. 297 Ibid. 298 Ibid. 299 Ibid. 300 Marshall, (1951) Taxila: An illustrate account of archaeologicalexcavations, 3 Vols Cambrage University Press, London, pp.514-416. 104

During the Parthian and Sasanian period‟s artists used stucco for making sculptures and other architectural materials. Stucco decoration of the architectural elements was at its climax during Parthian empire.301

A good number of stucco sculptures were discovered during the course of excavations from the site of Dadahara monastery, located in Shamozai area, opposite of Barikot and on the north-west bank of river Swat. The stucco sculptures consist of

Buddha and Bodhisattva figures, musicians; animals dated 4th-5th cent EC.302

Terracotta is another material used by the artists of Swat to make sculptures and building decoration. The burnet clay is technically termed as terracotta. In addition to household pottery, terracotta is the kind of refined clay used to make other objects.

These objects thus could survive defying the damaging agencies. Contrary to carving in stone or manufacturing of figurines in bronze, modeling of clay figurines do not call for intensive training, thus artists can make the sculptures to the desired shape. In this art financial matter is not involved. In ancient India and many other countries of the world clay has been used for making household pottery and other objects.

Terracotta figurines whether in animal or human form were frequently used in old times in South Asia, Kulli in Baluchistan and at the site of Sarai Khola in Taxila in the first half of the third millennium BEC.303 Terracotta figurines were also traced at

Gahaligay in Swat during the same period.304Large numbers of terracotta figurines

301 R.M. Riefstahl,(1931) Persian Islamic Stucco Sculptures, The Art Bulletin 13, pp.438-463. 302Muhammad Ashraf Khan, (1998) Excavation at Gumbatunna stupa (Swat), in: Saeed-ur-Rahman, (ed) Archaeological reconnaissance in Gandhāra, Department of Archaeology and Museums, Ministry of culture and sports, Government of Pakistan Karachi, pp.96-107. 303 F.A.Khan, (1969) Architecture and Art Treasure in Pakistan: Pre-historic, Proto-historic, Buddhist and Hindu periods, Elite Publishers, Karachi, p.22. 304G, Stacul (1987), Pre-historic, Proto-historic Swat Pakistan (c 3000-1400 BCE) Reports and Momeries XX, Rome, pp.7-8. 105 were discovered in the course of excavations at Kot Diji and Indus valley.305History of the moulds in India goes back to the Mauryan period.306 Terracotta art of the

Mauryan period has four phases.

The technique used in plaster of moulding in north-west Pakistan was utilized for the first time in the Bhir Mound Taxila during the period of third century BCE, the new technique is very frequently used in the Hellenistic period and moves to the

Sythio-Parthian period and sometimes even to the Kushan period.307Terracotta has been used throughout history for sculptures, pottery as well as bricks and roof shingles. What were the main features of the art in Gandhāra before the introduction of the Buddhist art is difficult to say. However, we have a number of terracotta figurines and specimen of minor arts and crafts of everyday use.308

Although the artists of Swat were well familiar with the use of terracotta and clay, but very rare terracotta has been found in the whole region of Swat even in Taxila where no suitable stone was available.309 During the excavation at the sites of Andan

Dheri, Chatpat, Bambolai and Dadahara and Sisiko Kandro Patay very few stucco, terracotta heads were found but all were modelled in the later period.310

3.9 Stone Quarries in the Swat Valley

Ancient Uḍḍiyāna, Swat was one of the most important centers of Buddhism, which prevailed in the valley after its introduction in the region during 4th century

305 Muhammad Ashraf Khan, (1993) Gandhara stone sculptures in swat museum, Saidu Ssrif, pp. 24- 30. 306S.Chowdhury, (2000) Early terracotta figurines of Bangladesh. Bangla Academy, Dhakka, p16. 307 Muhammad Ashraf Khan, (1992) Hellenistic type terracotta figurines of Gandhāra, Journal of Pakistan Archaeologist Forum, Karachi, l, pp.129-135. 308Ibid. 309Ahmad Hasan Dani, (1968-69) Excavation at Chatpat, in: Ahmad Hasan Dani, ed Chakdara Fort and Gandhāra art, Ancient Pakistan (4), pp.1-68. 310 Marshall, (1960) The Buddhist Art of Gandhāra, the story of the early school its birth, growth and decline, p.109. 106

BCE.311 It is closely linked with the ancient caravan roots which played an important role to promote the commercial and cultural relations between China and West.

The cultural history of the valley goes back round about 3000 BCE.312 Due to it picturesque beauty, prosperity, thick forest, mineral deposits, fertile plain with rich crops and fruit-laden orchards attract people from all over the world. Geologically the mountains of upper and lower Swat are composed of philitic schists siliceous, limestone, marble dolomites and broad belt of plutonic rocks, which contain granite, diorite, gabbros and associated pegmatites.313 The mountains of Kalam are constituted metasedimentary and volcanic rocks including greenish phylite together with allied hornfels and quartzite.314

The mountains of Kalam are constituted metasedimentary and volcanic rocks including greenish phylite together with allied hornfels and quartzite.315Stone of different quality and types were used for carving the Buddhist sculptures and making architectural elements. It is said that at the start wood was used for this purpose but it was not durable so wood was replaced by stone. Some stone quarries contain fine, soft blue slate were reported in Totalai hills of the Ranizai sub-valley,316two more quarries were found near Gul Maqam.317 Some stone quarries were also reported by the Italian

311V.A. Smit and Spear, (1958) The Oxford History of India.3rd edition, Oxford University press, pp. 96-98. 312D.Faccenna, S Lorenzoni,Zanettin Lorenzoni and Luca M.Olivieri, (1993) Geo Archaeology of Swat valley (NWFP, Pakistan) in the Charbagh-Barikot Stretch: preliminary note,.East & West 43 (`1- 4),pp.257-262. 313 Ibid. 314 Ibid 315Ibid.. 316H.W.Bellew,(1864/1994) A general report on the Yousafzais,Lahore:Sang-Meel publications. 317D.R.C.Kempe, (1986) Gandhāra Sculptural Schist: proposed source, journal of Archaeological science, 13, pp. 79-88. 107

Archaeological Mission (IsMEO) in the Swat valley at Sewgalai, Gogdara,Saidu

Sharif, Amluk-dara, Bologram and Mingora.318

Another stone quarry was reported by Ashraf Khan at the Buddhist site of

Gumbatuna.319 Stone from these quarries was extracted for making sculptures and different type of the building materials.

3.10 Kinds of Stone Used in the Zonal Workshops

On the basis of analysis of kind of stones we will be able to find out that which sort of stones have been used in the workshops selected for the present study.

Jambil Valley Zonal Workshop

This workshop comprises the archaeological site of Butkara-I,320 Butkara-

III,321Panr322and Leobanr.323Excavation carried out at the above mentioned sites revealed that the sculptors used black, green, pale green, black and grey schist stone, soap stone and very rare stucco for making sculptures and different architectural elements.

318Di Florio, M. R., S. Lorenzoni, L. M. Olivieri & E. Zanettin Lorenzoni (1993) Evidence of ancient quarrying in Lower Swat (N.W.F.P. Pakistan), A geo-archaeological Study, Science and Technology for Cultural Heritage 2, pp. 63-74,Rome

319 Muhammad Ashraf Khan,(1996) Excavation at Gumbatuna Stupa, (Swat),in: Saeed-ur-Rahman, (ed) Archaeological Reconnaissance in Gandhāra Department of Archaeology & Museum Ministry of Culture and Sports, Govt of Pakistan, Karachi, pp.104-105. 320D.Faccenna, (1980-1981) Butkara-l. (Swat, Pakistan) 1956-1962. Reports and Memories lll (1-5.2) Rome: IsMEO. 321A.Rahman, (1991) Butkara-III: A preliminary report, Ancient Pakistan VII, pp.693-705. 322D.Faccenna.A.N.Khan and I.H.Nadiemet, (1993) Panr I (Swat Pakistan) Reports and Memories XXVl (1), Rome: IsMEO, pp. 1-179. 323Tucci, G, (1958) Preliminary report on an archaeological survey in Swat, East & West 9(4), pp279- 328. Note: Leobanr a Buddhist monastery excavated by Department of Archaeology, Peshawar University in 1980 but unfortunally the report of this site is not yet published. It is located 3km east of Panr in the Jambil valley. 108

Adinzai -Shamozai Valleys Zonal Workshops This zonal workshop consists of varies Buddhist monasteries such as

Nimogram, Chatpat, Marjanai, Andan Dheri and Gumbatuna.

Excavations of the above mentioned monasteries showed that blue schist stone, green phyllite stone, grey schist, soap stone were used by the sculptors in large number to decorate these sacred places. A good number of architectural elements were also reported from these sites.324 But stucco and terracotta sculptures are very rare.

Ilam Khawar Valley Zonal Workshop The zonal workshop of the Ilam Khawar is very important for various

Buddhist monasteries located here such as Shnaisha,325Top Dara stūpa and Mount

Ilam. Most of the sculptures are made of green schist or phylite. Soapstone is also used by the artists for the same purpose.326Over all black, green, blue, gray, green phylite, pale green and soapstone were used. Stucco and terracotta was also used for making sculptures and architectural materials.

Dargai-Thana Sub Valleys Zonal Workshops

These zonal workshops consists of Buddhist monasteries and stūpa s such as

Loriyan- Tangai (Shahkot), Malakand and Palai (Thana). Excavations of the above mentioned sites reveal that blue green schist stone-gray schist stone, black schis stone,

324 Ahmad Hasan Dani, (1968-69) Excavation at Chatpat, in: Ahmad Hasan Dani, ed Chakdara Fort and Gandhāra art, Ancient Pakistan (4), pp..66-68. 325 Muhammad Asaraf Khan, (2011) Outline of the archaeological field research in Swat valley carried out by Pakistani institutions, Journal of Asian Civilizations 34 (1), pp.88-89. 326 A.Rahman, (1993) Shnaisha gumbat: first preliminary excavation report. Ancient Pakistan VIII, p.20. 109 bluish soapstone, soft bluish schist327 were used by the sculptors to decorate these sacred places.

A large number of pieces of Gandhāra art from Loriyan-Tangai were found during excavation and taken to the Indian Museum in Calcutta. The site of Loriyan-

Tangai was visited again by A. Foucher and published few sculptures of the above mentioned site presently displayed in the Indian Museum of Calcutta (Figs.XXIV 1-2,

XXV 1-2).328

327Ahmed Hasan Dani and Nazir Ahmad khan, (1998) Relic casket addorsed sculpture from Buchkan Stupa, Palai, Journal of Asian Civilizations XXl (ll), p.157. 328A. Foucher, (1901) .Sur la frontier Indo-Afghane. Parise: Librairie Hachette ETG, pp.164-167. 110

3.11 Statistical Division of the Malakand Collection Based on the Kind of

Stone Used in Zonal Workshops

The Jambil Sub-Valley Zonal Workshop:

On the basis of stylistic and statistical analysis out of one hundred and thirty- four reliefs‟ panels of the Malakand collection, thirty-four are placed in the Jambil sub-valley. Out of these fifteen are made of black schist stone, seventeen are carved in green schist stone while terracotta was used for only one relief and one is made of lime stone.

3.12 Graphical Representation of the Stone Material used in the Relief of the

Jambil Sub-Valley Zonal Workshop

18 17

16 15

2 1 1 0 Black Schist Stone Green Schist Stone Terracotta Lime Stone

111

The Adinzai -Shamozai Sub-Valleys Zonal Workshops:

Thirty eight reliefs panels of the Malakand Collection belong to the above mentioned workshops, among them eleven are carved in black schist stone. Green schist stone was used for twenty-four reliefs panels where stucco, soft stone and red sand stone found for one each.

3.13 Graphical Representation of the Stone Material used in the Relief of the

Adinzai-Shamozai Sub-Valleys Zonal Workshops

25 24

1 1 1

0 Black Schist Stone Green Schist Stone Stucco Soft Stone Red Sand Stone

112

The Ilam Khawar Sub-Valley Zonal Workshop:

Fifty one panels belong to this workshop, out of which fifteen are made of black schist stone. Thirty three panels are made of green schist stone. While three reliefs are made of stucco.

3.14 Graphical Representation of the Stone Material used in the Relief of the

Ilam Khawar Sub-Valley Zonal Workshop

35 33

15 15

5 3

0 Black Schist Stone Green Schist Stone Stucco

113

Dargai-Thana Sub-Valleys Zonal Workshops

Total numbers of eleven panels are placed in this workshop. Seven panels are made of green schist stone while four are made of black schist stone.

3.15 Graphical Representation of the Stone Material used in the Relief of the

Dargai-Thana Sub-Valleys Zonal Workshops

7 7

4 4

0 Black Schist Stone Green Schist Stone

114

On the basis of the style and stone material, it seems that most of the sculptures came from the Ilam Khawar sub-valley. Fifty-one objects fall in this zonal workshop, thirty-eight relief panels came from the Adinzai and Shmozai Zonal workshops, thirty-four pieces came from the Jambil sub valley zonal workshop whereas eleven objects belong to the Dargai Thana Zonal workshop.

On the basis of the characteristics features of development stages of art of the valley, out of one hundred and thirty-four relief panels of the present collection, thirty-six are placed in the first stage of the art, forty-one belong to second stage while fifty-seven pieces falling in the third stage of art in the valley.

Among thirty-six objects of the first stage, eight fall in the Jambil sub-valley, nineteen probably from the Ilam Khawar sub-valley, seven belong to the Adinzai and

Shamozai sub-valleys zonal workshops and two probably from Dargai-Thana sub- valleys zonal workshops

3.16 Graphical Representation of Sculptures of Each Sub-Valley Stage – I

20 19

10 8 8 7 6

4 2 2

0 Jambil Sub-Valley Ilam Khawar Sub-Valley Adinzai and Shamozai Dargi Thana Sub-Vallys Sub-Valleys

115

Among forty-one pieces of the second stage, six falls in Jambil Sub-Valley twenty-five in Ilam Khawar Sub-valley whereas seven belong to Adinzai and

Shamozai Sub-valleys, while three reliefs came from the Dargai Thana sub-valleys zonal workshop.

3.17 Graphical Representation Sculptures of Each Sub-Valley Stage – II

25 25

10 7 6 5 3

0 Jambil Sub-Valley Ilam Khawar Sub-Valley Adinzai and Shamozai Dargai Thana Sub-Vallys Sub-Valleys

116

Out of fifty-seven reliefs panels of the third stage thirty are probably from the

Jambil Sub-valley, twelve from Ilam Khawar Sub-Valley whereas nine pieces belong to Adinzai and Shamozai sub-valleys and six pieces came from Dargai Thana sub- valleys zonal workshop.

3.18 Graphical Representation of Sculptures of each Sub-Valley Stage – III

30 30

15 12

10 9 6 5

0 Jambil Sub-Valley Ilam Khawar Sub-Valley Adinzai and Shamozai Dargai Thana Sub-Vallys Sub-Valleys

117

Jambil Valley

Stage-l

Figure No: 15, 31, 37, 39, 71, 72,77and 92.

Stage-ll

Figures Nos: 44, 56, 65, 74, 90 and 100.

Stage-lll

Figures Nos: 4,20,25,34,41,73,81,86,93,94,96,97,99,101,102,106,109.107,108,110

111,113,114,115,121,122,126,123,124 and 125.

Graphical Representation of Sculptures of Jambil Sub-Valley Sub-Valley

Stage-l, ll and lll

30 30

10 8 6 5

0 Stage-l Stage-ll Stage-lll

118

Ilam Khawar Valley:

Stage-l

Figures Nos: 6,8,10,11,12,13,24,26,49,46,47,59,51,52,53,54,55,57 and 58.

Stage-ll

Figures Nos: 1,3,5, 9,19,60,61,64 ,67,69,76,78,82,83,84,87,88,89,91,95,103

112, 117,133 and116.

Stage-lll

Figures Nos: 85,98,118,119,120,127,128,129,130,131,132 and 134

Graphical Representation Sculptures of Ilam Khawar Sub-Valley

Stage-I, II and III

25 25

20 19

15 12

0 Stage-I Stage-ll Stage-lll

119

Adinzai and Shamozai Valleys:

Stage-l

Figures Nos: 2, 7, 14, 17, 21, 22 and 23.

Stage-ll

Figures Nos: 27,28,29,32, 36and (104,105, un-identified).

Stage-lll

Figures Nos: 33, 38, 45, 48, 62,63,68,70 and 79.

Graphical Representation of Sculptures of Adinzai and Shamozai Sub-Valleys

Stage- I, II and III

10 9 9

8 7 7 7

0 Stage-l Stage-ll Stage-lll

120

Dargai Thana Valleys: Stage-l

Figures Nos: 16, 66

Stage-ll

Figures Nos: 30, 35, and 42

Stage-lll

Figures Nos: 18, 40, 43, 50, 75, and 80

Graphical Representation of Sculptures of Dargai-Thana Sub-Valleys

Stage- I, II and III

6 6

3 3

2 2

0 Stage-l Stage-ll Stage-lll

121

CHAPTER 4

CONCLUSION AND DISCUSSION

The Chinese pilgrims Fa-Hien (Faxian) and Hsuan-Tsang who visited Swat in 4th and 7th centuries had reported that remains of the desolated Sangharamas were scattered all over in the Swat valley. It indicates that Swat remained the centre of

Buddhist activities. During the process of excavations and exploration in the valley thousands of art pieces were found from the Buddhist sites which play an important role in highlighting the social, cultural, economic, political and religious activities of the people of the past who lived in these different areas. In 1980s, Swat Museum received major part of the Malakand Collection. Some sculptures of this collection were founded in the compound of Dargai fort which were handed over to the Museum by the political Agent. Some pieces of the collection are still on display in the boundary wall of the Dargai fort. The administration of the Malakand Agency donated 134 pieces to the Archaeological Museum in Saidu Sharif, Swat. The present research work was undertaken to study the Malakand collection lying in the reserve collection and on display of the Museum. Despite of its importance and artistic value, the Malakand collection of Buddhist period has not been researched. The present study would enhance the understanding and comprehension of the experts as well as the interested readers; secondly the analytical and comparative study will bring this important collection into the main stream of the Gandhāra art. After studying the style and materials of these sculptures and comparative analysis of these sculptures to those sculptures which were obtained from the scientifically excavated sites. An effort was made to establish chronology of the art and reconstruct the most probable provenance of the sculptures of the present Collection. 122

Style and material used for the sculptures found during the course of scientific excavations at the sites of Butkara-l Butkara-lll and Shnaisha stūpa provide enough material of prime value to come to the conclusion that the Gandhāra art started in the late 1st century BCE or beginning of the 1st century CE in the region.329

Developmental Stages of Art in the Swat Valley

The first stage of the development of Buddhist art in Swat started during the

Saka period in the last decade of the first century BCE. The Buddhist monks came to

Swat for the propagation of Buddhism, for this purpose they constructed stūpas for their religious rituals and monasteries for residential purposes. The important

Buddhist sites of this stage are, Butkara-I, Butkara-III and Panr located in the Jambil valley which have been excavated scientifically. The figures of this stage are crude and stiff execution (Fig.43). Proper composition with the simplification of the volume bringing focus on certain body parts for example, eyes, hands and legs (Fig.50 and57).Three quarter and frontal view can be seen during this stage of development(Figs.2,22,81, 99 and 24). Execution of Buddha figure was in vogue from the very beginning (Fig.51and 52) and is found seated and rarely in standing with abhaya pose. This stage of the Buddhist art of Swat valley belongs to early Kushan and the Scytho-Parthian period which appeared in the last decade of the first century most probably in C.E 80 to 90.330The artist of this stage brought changes in the sculptures by replacing stiffness, frontality and drawing like attention into flexibility

(Figs.35, 37and 40) and mobility (Figs.16, 17, 19and 26).The sculptures became more refined (Figs.26, 96).This indicates maturity of the Buddhist art of the valley. Drapery folds were free billowing and parallel lines (Figs.38, 49, 50 and 54).

329D.Faccena, (1980-1981) Butkara-l(Swat, Pakistan) 1956-6.,Reports and Memories,lll (1- 5.2),Rome:IsMEO, pp.34-67. 330A.Rahman, (1991) Butkara-III: A preliminary report, Ancient Pakistan VII, pp.150-164. 123

The third phase of development of the Buddhist art of Swat valley was the Kushano-

Sananian and Kidara period. The artist of this period became more expert to carve the sculptures beautifully. The figures were showed with prominent chin on longer head.

Sharp lips, narrow eyes with pronounced upper lids, sharp edges of eyebrow appeared in this stage (Fig.26).Various forms of mudrā such as dharmachakramudrā, dhyānamudrā and abhayamudrā appeared in this phase of the development

(Figs.49,50,56 and57).

Subject Matter of the Collection

Malakand collection is very rich due to its architectural as well as unique cultural material. The subject matter of the Malakand collection is propagation of the life and teaching of Buddha. For systematic study, the present collection is classified on the basis of subject matter. All panels found in the Malakand collection represent the life stories of the Lord Buddha. There is only one Jātaka that is the Dipankara jātaka (the story of the previous birth of the Buddha, which is an important and popular subject in old Buddhist art) in the collection. Individual images of the

Bodhisattvas and the Buddha, some motifs like Corinthian and Persepolitan pilasters,

Atlantes(Sculptured human figures used in place of pilasters) , dresses, fire-alters, architectural elements like harmika, brackets, capitals, corner, stūpa model and stūpa pegs are found from the Malakand collection.

Thematic and Statistical Analysis of the Collection on the Basis of Zonal

Workshops

A large number of Buddhist sites preserving stūpas, monasteries, rock carving, caves, Viharas, settlements and inscriptions are found in plains as well as in the hilly 124 areas of the Swat valley. Chinese pilgrims who visited the valley in 6th century CE reported 6000 gold images in the sacred monastery of Talo “Butkara” at Meng-Che-li

(present Mingora). Recent research on the sculptures of Butkara-l and lll by Italian

Archaeological Mission showed that both are situated close to the Jambil sub-valley indicates that the first sculpture workshop in the Swat valley was established over here. The prominent physical features of the sculptures of this workshop are broad round faces, bold physical make up and short stature (Figs.119, 120 and 133). The reliefs of the first stage of this valley are very crude and no attention was paid to the minor details. The artists of this workshop carved many figures on a single plane due to which space is filled with inextricable mass of the figures, so very less empty back ground can be seen. Owing to overcrowding of the figures it seems that they are overlapping each other (Figs.5, 40 and 41). Reliefs of the collection that can be assigned to the second stage of the Jambil valley indicate that the artists became expert and can carve three dimensional viewed figures (Figs.2, 22, 81 and 99). The reliefs of the collection classified to the third stage of the Jambil sub-valley attain more refinement and artists could carve different images of the Buddha. Decorated throne with lotus flower of Buddha appeared in this stage of development (Fig.50).

The artists were more careful about the beauty of the images rather than the natural approach. Different hand gestures of the Buddha like dharmachakramudrā, abhayamudrā and dhyānamudrā appeared in this stage. Dresses of women, mostly, were Indian (shawl and dhoti), (Fig.41).

At the first stage of the Zonal workshop of the Adinzai and Shamozai sub valleys, the figures were in crude form, stiffened and hard carved figures can evidently be seen (Fig.27 and 28). At the second stage of the development of this valley artists start carving the image of Buddha in standing position in abhaya pose 125

(Fig.49). Indian and central Asian dresses can be seen at this stage of development (35 and 38). At the third stage of the Zonal workshop, remarkable development was found. Stiffness was replaced by mobility (Fig.17and 26) and figures were carved in three quarter view (Fig.1and 2). During this stage figures have body tight drapery

(Fig.36). Sculptors paid more attention to the subject matter rather than filling up the gaps (Fig.38).

In the Ilam Khawar sub-valley Zonal Workshop at the first stage, chaitya arches of the Indian fashion with Persepolitan pilasters can be seen. The depiction of various episodes from the life story of the Buddha is also a prominent feature of this stage (Figs.6, 7 and 8). Drapery folds are heavy (Fig.49) halo is smaller and uṣṇīṣa is bigger at the early stage of this zonal workshop (Fig.24). Important mudrā that is abhaya and dhyāna were in practice at this stage, (Fig.50 and 52). In Buddha image no proper proportion was found in the body parts, for example legs are larger and are not in proportion with the other limbs of the body (Fig.54). At the second stage in the

Ilam Khawar sub-valley Zonal Workshop different episodes from the life of Buddha are in greater number (Figs. 5,7,13 and 14). Figures of Ascetics were also practiced at this stage of development (Fig. 92).The artists of this stage became more expert as compared to the previous stage, figures became more refined. The stiffness of the early stage disappears; mobility and flexibility in the figures can be seen in this stage of development (Figs.1, 3,5 and 9). Hand gestures of the Buddha that is dhyānamudrā and abhayamudrā can be seen at this stage of development (19 and 81). At the third stage of Zonal Workshop of the Ilam Khawar sub-valley artists started carving the individual images of the Buddha. Individual images of Buddha in different mudrā like abhayamudrā, dhyānamudrā were also practiced in this stage (Figs.50, 51, 52, 53, 54,

55, 56 and 57). Indian and central Asian dresses can be seen at this stage (25, 96). At 126 the first stage in Dargai-Thana sub-valleys Zonal Workshop poor quality of stone was used (Fig.43). The figures are crude and rough limbs are not in proper proportion that is head and hands (Fig.75). Reliefs of the collection that can be assigned to the second stage of the Dargai-Thana sub-valleys we can see the stiffness and static carving of the figure (Fig.43 and 80). During this development stage of the valley, besides the figures of Buddha, figure of Bodhisattva is also found (Fig.68). Figures were carved; wearing Indian dresses (Fig.16). During third stage of Dargai Thana sub valleys Zonal workshop, the figures are shown in three quarters view. The sculptors became more skilled and stressed on the beauty of the sculptures, during this stage of development dhyānamudrā became more delicate and popular (Fig.35 and 42).

Carving of the figures became more refined. The static and stiffness carving of the sculptures changed into mobility and flexibility (Fig.16 and 30).

Kinds of Stone Used in Malakand Collection

It is observed that the sculptors of the valley used varieties of stones for their sculptures. Excavations carried out at the sites of Jambil sub-valley revealed that the sculptors used black and green schist stone, pale green schist stone, grey and soap stone and very rare stucco for making sculptures and different architectural elements at the first stage. Excavations at the sites of Adinzai and Shamozai, Ilam Khawar and

Dargai-Thana sub-valleys showed that same kind of stone was used in addition to green phylite stone. At the second stage of the art, terracotta and stucco objects are also found which make it clear that the artist of the Swat valley was well aware of the developments taking place in the neighboring workshops of Taxila and Gandhāra.

127

Provenance of the Collection

The main problem with artifacts of the Buddha art is that the objects were found scattered in the debris of mixed layers.331 The chronological order of the Gandhāra art always remained a great problem for almost all the scholar and this became more complicated when the artifacts were collected in the case of Malakand collection.

After establishing the chronology and on the basis of characteristic feature of local artistic tradition of workshops, the researcher tried to reconstruct the most probable provenance of every piece of the present collection.

On the basis of the thematic and characteristics features of development stages of art of the valley, out of one hundred and thirty-four reliefs panels of the present collection, thirty-six are placed in the first stage of the art, forty-one belong to second stage while fifty-seven pieces fall in the third stage of art in the valley.

Among thirty-six objects of the first stage, eight fall in the Jambil sub-valley, nineteen are probably, from the Ilam Khawar sub-valley, seven belong to the Adinzai and Shamozai sub-valleys zonal workshops and two are probably, from Dargai-Thana sub-valleys zonal workshops. At second stage of the art among forty-one objects, six fall in Jambil Sub-Valley, twenty-five in Ilam Khawar Sub-valley whereas seven belong to Adinzai and Shamozai Sub-valleys, while three reliefs came from the

Dargai Thana sub-valleys zonal workshop. Out of fifty-seven relief panels of the third stage, thirty objects came from probably the Jambil Sub-valley, twelve from Ilam

Khawar Sub-Valley whereas nine pieces belong to Adinzai and Shamozai sub-valleys and six pieces came from Dargai Thana sub-valleys zonal workshop.

Swat, the ancient Uḍḍiyāna, remained the centre of Buddhism and cultural activities of Gandhāra art for a long course of time. Buddhism dominated the Swat

331A.Rahman, (1991) Butkara-III: A preliminary report, Ancient Pakistan VII, pp.150-164.

128 valley during the period of third century BCE to the eighth century CE332, if viewed from historical perspective. It shows that the people who settled in the above mentioned area, they absorbed in Buddhism with the passage of time. The new settlers also brought their own culture and traditions to that area. Infact, it was the amalgam of Buddhist culture and traditions and that of the invaders and new settlers.

This resulted in the construction of thousands of Buddhist sanctuaries by the followers of Buddhism. This motivated the people who came here from all parts of the world in search of reality and to get knowledge about Buddhism for their religious satisfaction.

Analysis of the sculptures selected for the present study reveals that there existed different ateliers in the sub-valleys of Swat which are referred to as zonal workshops.

Butkara-l possibly seems to be the origin of these workshops. There the earliest samples of sculptures suggest a very humble start of the cultural traditions which are completely based on indigenous style of life, cultural, architectural and physical conditions.

Strong roots of the cultural history of the region go back to 1700 BCE333, when it was first conquered by the Aryans who came here in search of pastures.334During the excavations thousand of art objects were found from different sites of the Swat valley which played an important role in highlighting the social, cultural, economic, political and religious activities of the people of the past who lived in these different areas.

During first quarter of the 20th century, archaeological activities were started in the region.335 Miangul Abdual Haq Jehan Zeb, the ruler of Swat is the most important and

332Muhammad Frooq Swati, (1997), Special Features of Buddhist Art in the Swat valley. Athariyat (Archaeology), l, p19. 333G,Stacul (1987), Pre-historic, Proto-historic Swat Pakistan (c 3000-1400 BCE) Reports and Momeries XX, Rome, pp.7-8. 334Muhammad Ashraf Khan, (1993) Gandhāra stone sculptures in swat museum, Saidu Ssrif, P.2. 335Berger and Wright, (1941) Excavation in the Swat and exploration in the Oxus territories of Afghanistan.MASI, No 64, Calcutta, pp.iv-v. 129 unforgettable figure who helped different Archaeological Missions and encouraged their archaeological research in the valley. The natives of the Swat valley contributed a lot to facilitate the art lovers and historians to collect and write about the material having archaeological value.

Gandhāra sculptures of the Malakand collection were the part of a large collection inaugurated by Major Deane, the ethnographic part of which was deposited after 1906 in the Peshawar Museum. About 134 pieces were donated by the Political

Agent of Malakand Division to the Swat Museum, where these objects were registered under the label of Malakand Collection. Some of them are currently displayed in the gallery no. 6 whereas the remaining objects are stored in the reserve collection of the Swat Museum.336

Archaeological importance of this major part of the Malakand collection remained unattended and unexplored. The researcher has thoroughly studied the style and materials (Stone) of this collection. The sculptures were further studied and classified on the basis of zonal workshops. Each workshop has its own distinctive style and material. The researcher has tried to reconstruct the most probable provenance and to establish the chronology of each sculpture of the collection. The art objects of the collection highlight the picture of all phases of life of the people of ancient Uḍḍiyāna, their costumes, traditions, living style, agricultural implement, cult objects and different musical instruments. All these elements have been carved in stone very skillfully.

Architectural elements such as Persepolitan and Corinthian pilasters, lotus flowers and terracotta toys can still be seen in the villages of Khyber Pakhtunkhwa and tribal areas. The fortified cities and houses with boundary walls and the gateways

336Haralad Hauptmann and Luca Maria Olivieri, (2014) Antiquities of Northern Pakistan 6, p.281. 130 show security measures taken for the safety of the citizens. This art enjoyed a long life, flourished and reached to its climax during the time of the great Kushanas in the

1st - 2nd century CE.337 A large number of Buddhist monasteries and stūpas were constructed by the Buddhists in the entire valley, during that time.

Material of the present collection was thoroughly studied. A large number of foreign motifs were observed. This indicates that the material under research was highly influenced by Persian, Greek and Roman cultures, reflecting that the ancient

Uḍḍiyāna was not an isolated state, but it had strong cultural and trade relations with the outside world. The descriptive analyses revealed that the Malakand collection contains all important episodes from the life of Buddha such as his birth, the renunciation, his departure from the palace (known as great departure), his marriage and various events of his life, death scene ( Maha Parinirvāna), transportation of relics, distribution of relics and cult of stūpa etc. Only one Jātaka story (Dīpankara

Jātaka) was found in the collection.

Since, the artifacts of the present collection were not obtained from the scientifically excavated sites, so it was difficult to place them in their probable provenance. However, after studying the style and materials used by the artists for these sculptures and the comparative analysis of these sculptures to those sculptures which were obtained from the scientifically excavated sites by different

Archaeological Missions to Swat mentioned earlier, it became possible to put them in their proper place of origin in order to establish the chronology.

The objectives set for the present study were to trace the provenance, chronology and material of Malakand collection. The study aimed at identifying the

337Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum, p.40.

131 place from which these sculptures were probably acquired / transported. It was also analyzed that how stone of different type and color was used in carving these sculptures. The study finds out that the sculptures were made of the stone of different colors and types which was locally available and came from different Zonal

Workshops such as Jambil, Dargai-Thana, llam Khawar, Adinzai and Shamozai. The study remained successful in achieving all goals set for it. It is expected that this study would also help the researchers, who intend to conduct their research in the neighboring areas. It will further open up new horizons in the research about the nearby areas which are still unidentified and unexplored. 132

APPENDIX 3. 4. DESCRIPTIVE CATALOGUE OF MALAKAND COLLECTION

Buddhist sculptures of Malakand collection lying in the Archaeological Museum

Saidu Sharif, Swat, and with private collections was properly documented and studied thoroughly. For this purpose the scholar obtained permission from the concerned authority to access the collection. After getting photographs, prepared a descriptive catalogue .The order followed in the study corresponds to the narration of Buddha life story, architectural pieces and reliefs and individual figures of Buddha and

Bodhisattvas in Gandhāra art.

133

THE CATALOGUE

134

Figure No : 01

Inventory No : MK47

Material : Green schist stone

Size : H. 16 cm, W.16.5 cm, D. 7.3cm

Condition: Broken, chipped, defaced. Top and bottom are smooth and flat. Both side broken irregularly.

Description: Fragment of panel showing Dīpankara Jātaka. Dīpankara Jātaka is mostly depicted in the Gandhāra stone sculptures. In the present panel only King with princely figures is visible while rest of the scene is missing. Read from right to left is the figure of the king wears uttariya and paridhana, folds of the drapery are not visible, holding a bunch of flower and robe in his left hand while right hand is bent towards his chest missing from wrist, wear elaborate turban, facial features are not clear, walking towards Buddha Dīpankara which is now missing, behind the king are two princely figures, the central figure wears an elaborate turban and ear pendants. The figure has somewhat round fleshy face broad forehead other facial feature are damaged. The cords of the turban are twisted on the forehead; some hair is clearly visible below the turban. The figure clad in uttariya and paridhana holding hem of the drapery in his left hand and getting flowers petals from the basket held by a figure behind him in his hand. The figure on extreme left clad in similar dress as the preceding figure, wears an elaborate turban the cords of the turban are clearly visible and twisted on the forehead, some hair are visible below the turban.

This figure has somewhat round and fleshy face. Eyes are wide and open. Thick nose 135 with small heavy moustache, closed lips holding a basket containing flowers petals338 are visible. Top of the panel is decorated with a row of (up right) leaf- and-dart; see

Zwalf, A Catalogue of the Gandhāra Sculpture in the British Museum l, 1996, p.134,

Fig. 127.

Figure No : 02

Inventory No : MK 20

Material : Black schist

Size : H. 41 cm W. 41 cm, D. 11.3 cm

Condition: The relief is in good state of preservation.

Description: The relief panel showing birth of Siddhārtha, Queen Māyā is standing cross legged (The left leg across the right at the ankles) holding branches of a śāla tree with her right hand. She is wearing bracelets in her right hand. She is wearing uttariya (The upper garment) and paridhana (The lower garment). Her hair is tied up in a chignon with help of a ribbon. On left side of the Queen her sister Mahāprajāpatī is standing crossed legged facing towards Queen is supporting her with right hand.

She is also wearing uttariya (around it there is a scarf passing behind the back side) and paridhana. On the same side behind the Mahāprajāpatī, a female attended holds a water pot in her right hand and holding the branch of tree with her left hand. She is also wearing uttariya and paridhana and her hair is tied up in a chignon.

Above the heads of Māyā„s sister and attendant woman, drum sticks in crossed position are present. The (infant) newly born Siddhārtha is coming from the right side of her mother‟s womb and god Indra with elaborate turban (Turbans were used for attendant figures , such as yaksas and kings, for Indra and for heavenly beings such as gandharvas semi divine beings living in sky as well as for Buddha-to-be, Svetaketu,

338Muhammad Ashraf Khan, Mahmood-ul-Hasan and A.G.Lone, (2005) A Catalogue of the Gandhāra Stone Sculptures in the Taxila Museum, Vol, ll, p.69. 136 when he was prince Regent of Tusita and as Siddhārtha, the earthy prince prior to his enlightenment)339 is wearing uttariya and paridhana slightly bends toward the Queen with a cloak to receive the infant behind the Indra god Brahmā dressed in uttariya and paridhana with elaborated turban bring his right hand towards his face keeping index finger on his lips. This action of Brahmā shows that he is amazing to see the birth of

Siddhārtha. At the top with the branches of śāla (Shorea robusta) tree a musical instrument (Drum) is hanging on the heads of gods Indra and Brahmā; see Ingholt,

Gandhāran Art in Pakistan, p.213, Figs.13, 14.

Figure No : 03

Inventory No : MK104

Material : Green schist stone

Size : H.40 cm W. 20 cm D. 8.4 cm

Condition: Top and bottom flat, right side is somewhat smooth while right side broken irregularly and with soil incrustation.

Description: A panel from stūpa drum is showing birth of Siddhārtha. Figure of

Queen Māyā is now missing, only her right hand with which she is holding the branch of the śāla tree is visible. The( infant) newly born baby Siddhārtha is coming from the right side of his mother‟s ( Queen Māyā ) womb, the god Indra clad in uttariya and paridhana also wears an elaborate turban slightly bends towards the Queen with a cloak in his both hands to receive the infant, god Indra is bare footed and behind him probably god Brahmā is standing cross legged (The left leg crossed the right leg at the ankle wearing paridhana, and an elaborate turban bent his right hand towards his face and having hem of the drapery, on his left shoulder the folds of the drapery and tummy are visible. The figure is facing towards his right and touches

339 C.W.Schmidt, (1990) Bodhisattva Headdress and Hair Styles in the Buddhist Art of Gandhāra and Related Regions of Swat and Afghanistan, Vol-l. PhD thesis, The Ohio State University, pp.139-140. 137 the top of the panel with his left hand. Tenon on the top of the panel is clearly visible; see Muhammad Ashraf khan .et al .A Catalogue of the Gandhāra Stone

Sculptures, 2005, p.74, Fig.6

Figure No : 04

Inventory No : MK113

Material : Black schist

Size : H.15.7 cm W. 36 cm D.7.3 cm

Condition: Top partly broken and chipped bottom flat and smooth. Both sides are broken irregularly; a tenon is visible at the bottom. .

Description: A fragment of relief is showing two scenes. On the left side is Queen

Māyā ( mother of prince Siddhārtha) and father of Siddhārtha King Suddhodana is seated in European fashion on a raised seat, the Queen clad in uttariya and paridhana, facial features are not clearly visible, head of the king is now missing, on the left of the Queen is Ashita wearing uttariya and paridhana with right hand raised holding something in the hand and left hand bent towards his chest casting the horoscope of the newly born baby of Queen Māyā (Siddhārtha). On the extreme right side is an elephant with a box like howdah having floral design on it is showing return of Queen Māyā to Kapilavastu after the birth of Siddhārtha, and an attendant is holding the elephant walking forward. The top of the panel is decorated with the row of (up right) leaf and drat.

Figure No : 05

Inventory No : MK78

Material : Green schist stone

Size : H. 12 cm W. 25 cm D. 11.2 cm 138

Condition: Broken, defaced and soil incrustation. Top of the panel is smooth and flat, bottom is also smooth but lower left is broken, rejoined, right side smooth but left side is broken randomly.

Description: A panel of relief is showing two scenes, first bath and the second interpretation of horoscope of Siddhārtha separated by an encased Corinthian pilaster

.On the left , the scene shows King Suddhodana father of Siddhārtha. Seated on a high seat flanked by two astrologers, the astrologer on the left of the King wears uttariya and paridhana facing towards the King while the top of astrologer on the right is missing, only his lower portion is visible. The right scene shows the bath of newly born baby Siddhārtha on high pedestal, two figures that is god Indra and

Brahmā are pouring water on the young Siddhārtha, two figures in seated position holding the child. The figures on the extreme left and right side of the young

Siddhārtha are in anjalimudrā. All the figures are clad in uttariya and paridhana; the figures on the left of the child are wearing turbans while heads of the figures on the right are missing. Top of the panel is decorated with a row of vertical separate acanthus leaves with plain leaves behind.

Figure No : 06

Inventory No : MK82

Material : Black schist

Size : H. 23.4 cm, W. 27.6 cm, D. 12.4 cm

Condition: Broken, chipped, defaced. Bottom is smooth and flat .Top is also smooth but broken from right side and with soil incrustation.

Description: A fragment of relief is showing Siddhārtha in school. The prince is seated on a high coach under canopy writing on a slab (board) resting in his lap. The prince wears uttariya and paridhana, drapery folds are clearly visible on his shoulder, 139 prominent eyes, closed lips and somewhat round and fleshy face, wears ear pendants and long flat necklace. On the right of the Siddhārtha, there are two standing figures clad in uttariya and paridhana wears long necklace, facial features are not clear. On the extreme left side of the panel a figure clad in uttariya and paridhana seated crossed legs having writing board in his lap and writing on the board, wear long and flat necklace. The figure has broad forehead closed prominent round eyes, fleshy round face, short and broad nose sitting under the palm tree.

Figure No : 07

Inventory No: MK 39 a

Material : Green schist stone

Size : H. 26 cm, W.15 cm, D. 9.8 cm

Condition: Broken defaced , top flat and decorated with foliage bottom flat and smooth left side broken at the bottom.

Description: The relief panel is showing scene of the tournament. The panel is divided into two horizontal registers. The lower register is further divided into two portions by an enclosed Corinthian pilaster. In the lower register two scenes of the tournament are shown. Reading from right to left ,on the extreme right side is probably Yakshi facing towards her right with right leg bent and left leg stretched backwards holding sword in her both hands, wearing longoti ( Lion cloak). Facial features are not clear. In the next scene two male figures are wearing tunic and trouser, turned their faces towards their left stretching bow with left leg bent while right leg stretched backwards. On the left side is an encased Corinthian pilaster. Upper register of the panel is decorated with foliage.

140

Figure No : 08

Inventory No : MK 97

Material : Black schist stone

Size : H. 26 cm, W.15 cm, D. 8cm

Condition: The upper portion of the relief from the right side is damaged and from the left side lower portion is broken.

Description: The relief panel is divided in two registers separated by a fillet of saw tooth motif. A fillet of the same design also decorated the top of the upper register while there is a flat fillet at the bottom. The relief is curvilinear perhaps used as drum of stūpa. Upper register shows seven turbaned figures standing in different postures.

The lower register divided by incased Corinthian pilasters shows two scenes of tournament, on extreme left side is wrestling while on right side is event of archery, lower register depicted King Suddhodhana father of Siddhārtha wanted that his son to get married with Yashodhara the beautiful daughter of Dandapani. The father of

Yashodhara wanted that his daughter be married with a soldier. So for this a tournament was arranged in which Siddhārtha his step brother Sundaranand and his cousin Devadatta participated. They were all defeated by Siddhārtha at this princes agreed to marry him. The whole story is explained in two lower scenes. On the right is an archery scene. A male figure in the centre is wearing tunic and trousers turned his face on his left side stretching bow which is touching the round disk on the left. On the right is a princely figure (Siddhārtha) wearing uttariya and paridhana and turban raised his right hand and holding uttariya with his left hand slightly turned towards his left. On his left again present empanelled Corinthian pilasters. The scene on the left side shows a princely figure (Siddhārtha) wearing uttariya and paridhana and turban, raised his right hand and holding uttariya with his left hand on the 141 right of these princely figure two males are wrestling with. In short on lower right side prince Siddhārtha is contesting archery and on the lower right side wrestling of

Siddhārtha is shown separated by Corinthian pilaster.

Figure No : 09

Inventory No : MK111

Material : Black schist

Size : H. 23.3 cm, W. 32.5 cm, D. 13.9 cm

Condition: Top flat and smooth but lower left and right side broken irregularly.

Description: An architectural fragment is divided into two horizontal registers by foliage. The lower register shows two scenes separated by an encased Corinthian pilaster. The scene on the right side is completely damaged, while the scene on extreme left side shows tournament (wrestling).

Upper register shows scene of taming of white elephant by Buddha and six male figures. In the centre of these figures is a palm tree which separates upper register into two parts, on the right side there are three male figures clad in uttariya and paridhana also wearing turbans, round fleshy face with prominent almond shaped eyes, the central figure is facing towards the Buddha. Three figures on the extreme left of the panel are defaced and facial features are not clearly visible. A horizontal richly carved vine scroll runs in the centre. Upper fillet of the panel is enriched with heart shaped petals pointed upwards.

Figure No : 10

Inventory No : MK114

Material : Black schist stone

Size : H. 3.5 cm, W. 19 cm, D. 7.8 cm 142

Condition: Broken, defaced, top and bottom broken irregularly, sides are somewhat smooth.

Description: The panel is divided into two registers; the upper portion of the panel is completely missing only feet of the figures are visible. The lower register is further divided into two parts by a framed Corinthian pilaster. (Read from right to left).

In the right scene marriage of Prince Siddhārtha is shown. The Siddhārtha and

Yashodhara are holding hands of each other and about to move around the holy fire, Siddhārtha wears a dhoti, elaborate turban and ear pendants. The princess is in wedding dress. A Brahmān is seated near the fire wears a turban and pouring oil over the fire. On the right of the princess, a man is blowing a trumpet and his cheek are puffed because of the blowing of trumpet, he is also wearing dhoti and turban like cap, facial features are not clearly visible. Two figures are shown on the left side, one of them is in standing position wears uttariya and paridhana second one is seated on a pedestal holding a ring like object in his left hand. Facial features of the figures are completely damaged. A horizontal moulding which divides the panel into two registers is decorated with pointed leaf pattern ; see Sehri, The

Buddha life Story, 1982,p.30,Fig.19. Majumdar, Guide, p.38, Fig.11.

Figure No : 11

Inventory No : MK 25

Material : Black schist stone

Size : H. 18 cm, W. 38 cm, D. 14 cm

Condition: Broken, defaced, top and bottom broken irregularly. Outlines of the figures are visible and with soil incrustation. 143

Description: A fragment of relief is showing two scenes, probably marriage scene and interpretation of horoscope of Siddhārtha separated by an encased Corinthian pilaster. On the left, the scene shows King Suddhodana and queen Māyā father and mother of Siddhārtha seated on a high couch flanked by two astrologers, the astrologer on the right of the King clad in uttariya and paridhana facing towards him is seated on a lower seat while the astrologer behind the first one, also clad in uttariya and paridhana and is in standing position. The King wears a turban and clad in uttariya and paridhana. The facial features of all the figures are not visible. In the left scene five figures are shown. Three of them are carrying the palanquin of the princes on their shoulders. One figure is walking in front of the palanquin one is on the back. The figure on front wears tunic where as the figure on the back is clad in uttariya and paridhana, facial features are not clear. There is a nail hole for hanging the panel in the center; see Ingholt, Gandhāran Art in Pakistan, 1957, p.215,

Fig..34.

Figure No : 12

Inventory No : MK 6

Material : Black Schist Stone

Size : H. 23.5 cm, W. 27 cm, D. 12.3 cm

Condition: Broken, Chipped, defaced. Top is smooth, bottom and both sides are broken irregularly.

Description: An architectural fragment of panel is divided into two horizontal registers by decorated scroll of pointed vine leaves. The upper register shows life in palace, while the lower register shows two scenes separated by two framed Corinthian columns. Right scene shows the marriage scene of Siddhārtha, and the extreme left 144 scene shows life in palace. The bottom of the upper register is decorated with foliage while the top of the lower register is also decorated with foliage.

Figure No : 13

Inventory No : MK 12

Material : Green schist stone

Size : H. 16.16 cm, W. 16.5 cm, D. 6.9 cm

Condition: A fragment of relief broken from the right side the upper corner of the left side is also broken. The figures on the left are chipped.

Description: A stūpa drum panel is showing the great departure of Siddhārtha from palace. The hooves of the horse are supported by a yaksha to avoid noise so that the guards should not wake up in the palace Siddhārtha is riding the horse holding the reins of the horse, on the head of the horse is little globe shaped ornament. At front of the horse is a fatty figure bow in his hands may be Chandaka or Mara and at his back the figure of Indra. On the right side is framed Corinthian column. Upper portion of the relief panel is decorated with scroll of Pipal leaves.

Figure No : 14

Inventory No: M K 37

Material : Black schist

Size : H. 20.6 cm, W. 28 cm, D. 11.9 cm

Condition: Broken and chipped. Top is broken irregularly, bottom flat, left side smooth while right side is also broken irregularly. A hole is visible between the feet of the left fig.

Description: A fragment of relief is showing great departure of Siddhārtha. The feet of Kanthaka are supported by a yaksha. Usually in Gandhāra art we find the side poses of Kanthaka, complete horse supported by two yakshas but in this scene one 145 can see the front pose, just two front legs and one yaksha. Such type of panel is rare in the Gandhāra art; however the same piece is displayed at Guimet Museum in Paris.

The hooves of the horse are lifted by yaksha on his shoulders. The strap of the saddle is visible on the chest of the horse. On the right side of Siddhārtha is probably evil

Mara who tries to stop Siddhārtha who is wearing paridhana, the loop of paridhana fall on hips. On the left of Mara there may be the figure of Vaisravana ( or Mara or

Indra)facing towards front is also wearing paridhana and the loop of paridhana comes from the left side of the figure and touches his right knee. The figure is holding something in his right hand which is not clearly visible. On the right of this figure a headless bust is visible. The upper and right side of the panel is missing whereas the lower part and left side of the panel is damaged; see Muhammad Ashraf khan .et al .A Catalogue of the Gandhāra Stone Sculptures, 2005, p.82, Fig.15.

Figure No : 15

Inventory No : MK 51

Material : Black schist stone

Size : H. 15.5 cm, W. 8 cm, D. 4.3 cm

Condition: Broken chipped, pitted and with soil incrustation.

Description: A part of stūpa drum panel is showing the sharing of the relics. A rider is shown on the horse-back, holding round object (casket) in the hands. The head of the rider is now missing, wears uttariya and paridhana; the folds of the drapery are visible on the left leg. The horse has a breast-place and crupper with phalerae or disc.

Figure No : 16

Inventory No: MK 91

Material : Black schist 146

Size : H. 15 cm, W. 28 cm, D. 12.8 cm

Condition: Broken chipped, defaced, and with soil incrustation. Top flat and smooth with a tenon, right side is smooth, left side is broken irregularly.

Description: A panel of relief is showing worship. Five princely figures are proceeding towards left, carrying flowers in their hands. Read from left to right, a princely figure wears an elaborate turban with central gem and a cord, clad in uttariya and paridhana, folds of the drapery are clearly visible, right hand is missing now, holds a defaced object in his left hand ,facial features are not clearly visible, next is another princely figure clad in the same dress as preceding figure, wears elaborate turban with central gem, somewhat oval face holds a defaced object in his right hand, resting left hand on his hip, remaining body parts are defaced. Third figure wears the similar dress as the preceding figure, holds flowers in his both hands, wears an elaborate turban, remaining body parts are much defaced. Fourth figure clad in uttariya and paridhana bends forward hold flowers in both hands, details of the other body features are not clearly visible. The figure on the extreme right is wearing elaborate turban, with fantail crest, the cords of the turban are twisted on the forehead. Top of the panel is decorated with row of bordered ogival upright leaf - and

– dart. There is a tenon at the bottom of the panel.

Figure No : 17

Inventory No: MK 90

Material : Black schist

Size : H. 16 cm, W. 30.8 cm, D. 14.3 cm

Condition: Broken, chipped and defaced. Top and bottom are flat, right side broken irregularly and has a tenon at the bottom. 147

Description: Five worshippers are proceeding toward the standing Buddha, on the right of the panel whose head and hands are now missing, lower portion of the body is badly damaged so the features of the lower portion are not clearly visible. Five princely figures are standing in a line. Read from the right, a princely figure in anjalimudrā is standing on the right side of the Buddha wears an elaborate turban some hair is visible between the ear and the turban, clad uttariya and paridhana facial features are not clearly visible, wears ear pendants, next to this figure is another princely figure with the same turban as the preceding one, also wears ear pendants some hair between the turban and ear is visible, fleshy face, closed lips round opened eyes clad in uttariya and paridhana holds up the hem of the drapery with his left hand , and flowers in his right hand. Third figure with similar headdress, wears ear pendants, round and fleshy face ,broad forehead ,short nose, shaped lips, round opened eyes, looking towards outside clad in similar dress as the previous one, left hand is missing, right hand is resting on his hip, right leg is stretched backwards. The fourth figure is in walking position clad in uttariya and paridhana wears the similar head dress as the previous one right hand is missing from the elbow, holding flowers in his left hand looking towards the figure behind him, facial features are not clear. The figure on the extreme left clad in same dress as the preceding figure, holding the hem of drapery with his left hand right hand is missing from the elbow, folds of the uttariya are visible on his left shoulder, and facial features are damaged, top of the panel is decorated with saw-tooth designs

Figure No : 18

Inventory No : MK 106

Material : Black schist stone

Size : H. 25.5 cm, W. 8 cm, D. 3.2 cm 148

Condition: Broken, chipped, top and bottom are flat and smooth. Right side is broken diagonally.

Description: A fragment of stūpa drum panel is showing two different scenes separated by Corinthian column. Scene on the right side is missing only half worshipper can be seen, facial features of the worshipper are not clear. Right scene shows Buddha with halo in dhyānamudrā seated on a low pedestal decorated with vertical strips, with wavy hair combed backwards having small circular uṣṇīṣa half open almond eyes narrow forehead, small flat nose clad in monastic robe covered both shoulders, drapery gathered below the hand flanked by two worshippers wearing uttariya and paridhana holding some offerings in their hands in front of the chest, facial features of the both worshippers are not clearly visible. Top of the panel is decorated with lotus petals pointed upwards. Left side is bordered with a pilaster decorated with open lotus with reverse petals; see Zwalf, A Catalogue of the

Gandhāra Sculpture in the British Museum l, 1996, p.224, Fig. 270.

Figure No : 19

Inventory No : MK 36

Material : Green schist stone

Size : H. 8 cm, W. l 2.8 cm, D. 6 cm

Condition: Broken, chipped top and bottom flat, left side is irregularly broken and with soil incrustation.

Description: A stūpa drum panel is showing two offering scenes separated by

Corinthian columns. The right scene shows a Buddha seated on a low pedestal in pedmasanamudrā with small halo, oval head wavy hair combed backwards circular small tight uṣṇīṣa, half open eyes narrow forehead small flat nose wearing monastic robe both shoulder are covered with drapery, folds are like narrow steps drapery 149 gather below the hands and spreads out on the seat making vertical folds on the front of the seat. On the right side of the Buddha, perhaps the figure of god Brahmā is wearing uttariya and paridhana, long curly hair is visible on the back of his neck; his hands are damaged and may be in joined position and offering something to the

Buddha. On the left side of the Buddha, figure with joined hands wearing a turban uttariya and paridhana may be god Indra. In the left scene which is separated by a

Corinthian column shows a seated Buddha in dhyānamudrā on low pedestal. The figure with plain small halo wearing uttariya and paridhana, wavy hair combed backwards round small tight uṣṇīṣa, round half open eyes with prominent lids small flat nose narrow forehead are the main features of the figure, drapery covered both shoulders and gathered below the hands spreads out on front of the seat. On the right side of the Buddha is joined handed figure facing towards Buddha. Buddha is wearing uttariya and paridhana having a small chignon on his that head appears to be god

Brahmā offering something. On the right side of the panel is Corinthian column. The top of the panel is decorated with lotus petals pointing upward. Tenon is visible at bottom of the panel; see Zwalf, A Catalogue of the Gandhāra Sculpture in the British

Museum l, 1996, p.165, Fig. 273.

Figure No : 20

Inventory No : MK 11

Material : Black schist

Size : H. 24 cm, W. 27 cm, D. 12.9 cm

Condition: Broken and defaced. Both sides are broken irregularly, top and bottom flat.

Description: Fragment of a panel is showing Buddha in meditation with worshippers, seated on throne under Pipal tree. Upper edges of the halo are broken. Buddha is in 150 monastic robe, hands placed in his lap front of the throne are badly damaged. Two worshippers holding offerings in their hands, clad in uttariya and paridhana wear turban, are on the left side of the Buddha. One worshipper with joined hands is also clad in uttariya and paridhana wear turban is on the right side of the Buddha. Facial features of all the figures are not visible; see Muhammad Ashraf khan.et al. A

Catalogue of the Gandhāra Stone Sculptures, 2005, p.23, Fig.30.

Figure No : 21

Inventory No : MK183

Material : Green schist stone

Size : H. 25.5 cm, W. 28 cm, D. 12 cm

Condition: Broken, defaced and soil incrustation. Top is flat and smooth, bottom broken irregularly, right broken.

Description: Right side of the panel is missing. On the left two princely figures are standing in line, the figure on front clad in uttariya and paridhana, wears an elaborate turban, some hair is visible between the turban and the ear. Facial features and parts of the turban are not clear, resting his right hand on his waist while the left is extended outwards. On extreme left is the bust of the princely figure in adoration perhaps holds offering object in his both hands, clad in the same dress as the first one; somewhat round face, open round eyes, short nose and closed lips; wears an elaborate turban cord of the turban are visible on the back some hair is also visible between the turban and the ear. Top of the panel is decorated with a row of pointed leaf pattern.

Figure No : 22

Inventory No: MK94

Material : Green schist stone

Size : H. 17.5 cm, W. 10.5 cm, D. 6.1 cm 151

Condition: Broken, defaced and soil incrustation. Left and right sides of the panel is broken diagonally making the panel in triangular shape. Top of the panel is smooth and flat broken top right.

Description: A relief panel is showing two worshippers. The worshipper on extreme left clad in uttariya and paridhana wears an elaborate turban having fantail crest, cords of the turban are visible on the back. Facial features are not clear; hands in anjali mudrā, body below the waist is missing now, behind this figure another figure clad in uttariya and paridhana, deep folds of the drapery are clearly visible on the body ,probably wears a turban. Facial features and the turban are much defaced; hold some offering object in both hands, in the centre of the panel is Corinthian pilaster, while the scene on right of the pilaster is missing now. Top of the panel is decorated with saw- tooth design.

Figure No : 23

Inventory No : MK 76

Material : Green schist

Size : H. 16 cm, W. 28.3 cm, D. 12.9 cm

Condition: Broken and chipped, defaced and with soil incrustation.

Description: A panel from the stūpa drum, top and bottom flat and smooth the panel shows two images of Buddhas under semi circular arches. There is a Corinthian pilaster in the centre of the two arches. In both left and right arches Buddhas are seated on a low mat in dhyānamudrā. On left and right side of the panel are framed

Corinthian pilasters. The arches have beaked head volutes with grapes small pendants.

Under the right arch Buddha wears monastic robe leaving right shoulder bare, drapery folds are not clear, gather below the hands and spread between the knee in front of the mat. The Buddha under the left arch is wearing monastic robe, left shoulder 152 covered leaving right shoulder bare. Broad shaped drapery folds are clearly visible on chest and gathered below the hand, spread in front of the mat gracefully, facial features of the figures are not clear.

Figure No : 24

Inventory No: MK 142

Material : Green schist stone

Size : H. 11.5 cm, W. 12 cm, D. 5.11cm

Condition: Broken, defaced and soil incrustation.

Description: Architectural fragment is decorated with Persepolitan capital and a figure under an arch (probably Buddha). Under the arch is a standing Buddha clad in uttariya and paridhana. The upper garment covers both shoulders, drapery folds are visible on chest, abdomen and on the right arm, facial features are not clear. Right side of the arch is now missing while volute of the arch on left side is of a beaked monster and bunch of grape is hanging below. Only upper part of the pillar is visible having two humped bulls sitting back to back. Between backs of the bulls there is a head of the lion which is damaged now while lower portion of the pillar is missing.

Figure No : 25

Inventory No : MK66

Material : Black schist

Size : H. 38.6 cm, W. 18.5 cm, D. 7.9 cm

Condition: Broken, Chipped and defaced. Left side is smooth whereas right side is broken irregularly.

Description: Panel showing that Buddha is lying on a couch under śāla tree his head is on a high pillow. The wavy hair of the Buddha continuous into the uṣṇīṣa having long oval shaped face with closed eyes. In front of the couch perhaps Ananda is 153 sitting on the ground with bowed head. Behind the Buddha is a figure in mourning attitude, on left is Vajrapāni with vajra clad in robe wearing an elaborate turban, his head is turned towards his right drapery folds are clearly visible. In the background two busts of the figures could be observed.

Figure No : 26

Inventory No : MK0018

Material : Black schist

Size : H. 36.5 cm, W. 51 cm, D. 13.6 cm

Condition: Broken, chipped; bottom chipped, upper portion of the panel is flat but left side is broken from the corner. Overall the relief is in good state of preservation.

Description: In this panel Kāśyapas brothers are shown (mourning) in grief going for last ceremony of Buddha after his death. Three of them are holding water flasks in their left hands. All four bothers wear dhoti. Read from right to left, figure one is with missing head holding a water flask in his left hand raised up to the chest lower portion of this figure is damaged. The second figure is also holding water flask in his left hand, while right hand is on his right side of the face, this action shows that he is in great grief, head slightly tilt towards his right, has chignon, almond shaped closed eyes and thin nose. The third figure is slightly bent forwards also holding water flask in his left hand, right hand is not visible ,hair combed back with slightly narrow spaced parallel lines tightened on the top in chignon, hair of the beard is depicted with narrow spaced parallel lines. The figure has prominent almond shaped closed eyes, small and flat nose with moustaches and narrow forehead. Fourth figure is in anjalimudrā putting face on his hands, the figure has oval shaped face with prominent almond shaped closed eyes, long flat nose, closed and thin lips, narrow forehead, curly long hair falls on 154 the back of the neck and shoulder form a high chignon. The placenta of the fourth figure is clearly visible. Folds of the dhotis of second third and fourth figures are very prominent, whereas the dhoti of the fourth figure is badly damaged. In the middle of the panel is a hole for hanging purpose.

Figure No : 27

Inventory No : MK 0076

Material : Black schist

Size : H. 43 cm, W. 24 cm, D. 12.9 cm

Condition: The relief is broken from lower left side. Over all the relief is in good condition of preservation.

Description: The relief shows priceless vessel which rests upon a throne and covered with a bell-shaped canopy. The canopy is decorated with beautiful acanthus leaves reversed. The relief is broken from lower left side. The relics are guarded by two guards armed with spears. A bearded figure is sitting in front of the throne holding a vessel in his left hand and touching his head with its right hand. Left side of the relief is separated by an enclosed Corinthian pilaster, on extreme left side there are two guards facing towards each other. They are armed with daggers.

Figure No : 28

Inventory No : MK112

Material : Black schist

Size : H. 20 cm, W. 30 cm, D. 13.11cm

Condition: Broken, chipped and defaced. Top and both sides are broken irregularly, bottom somewhat flat broken from right.

Description: A fragment of relief is showing cremation of the Buddha. There is a terrace with three steps and above these steps is a platform on which pyre of Buddha 155 in oil container tailadroni is placed. On the left of platform is the kneeling mourning figure wears elaborate turban resting his head and right hand on the platform, long hair visible down the turban on the back of neck, clad in uttariya and paridhana folds of the paridhana are clearly visible. Somewhat oval fleshy face, short and broad nose, closed almond shaped eyes are the prominent facial features. In the back ground are two figures one standing on the extreme left of the preceding figure perhaps Malla pouring water or milk on the blazing fire, head of this figure is now missing on the back of this figure is standing a youthful Vajrapāni clad in paridhana holding vajra in his right hand folds of paridhana are clearly visible on legs, head is now missing on the extreme left side, the panel is bordered with a framed Corinthian pilaster, top of the pilaster is missing now. There is a hole on top of the platform for hanging the panel.

Figure No : 29

Inventory No : MK 116

Material : Green schist

Size : H. 9.8 cm, W. 17 cm, D. 9.4 cm

Condition: Broken, Chipped and corroded. Top and bottom are smooth and flat, top with brackets, both sides broken irregularly and with soil incrustation.

Description: Fragment of relief is depicting two pointed arches separated by framed

Corinthian columns. Under right arch is Buddha‟s alms bowl, the bowl is on the low stool which is covered by the cloak hanging between the legs of the table, legs of the table are on the pattern of reel and bead design. Brim of the bowl is scratched under the left arch is a kneeling worshipper, right knee is on the ground, wears tunic, elaborated turban and ear pendants, left leg from the knee is damaged. Pointed arches on the both sides are with indistinct volutes and grape pendants. On the top of the 156 panel is a row of horizontal grooved brackets, upper of the panel is decorated with pointed leaf; see Ingholt, Gandhāran Art in Pakistan, 1957, p.292, Fig.230.

Figure No : 30

Inventory No : MK13

Material : Black Schist

Size : H. 24 cm, W. 53.5cm, D. 15.8 cm

Condition: Broken, defaced, chipped and damaged. Top and bottom flat, left corner is broken irregularly.

Description: A part of the stūpa drum panel is showing two scenes that is a horse with rider and a complete scene of worship of the relics. Both scenes are separated by an emplaned Corinthian pilaster. According to Buddhist tradition the relics of Buddha were distributed and then taken to their final resting places that are in stūpas. These resting places stūpas were built by the followers of Buddhism. After placing the relics of Buddha in these stūpas their worship becomes the religious cult of Buddhism. In this relief on the right side there is an incomplete scene of rider possibly transportation of relics only its front portion can be seen. The rider is wearing uttariya, where as the trouser is not clearly visible, he also wears a turban. The rider carries globular reliquaries. The horse has rein which is visible. On the left side of the

Corinthian pilaster there are two monks and two princely figures; stūpa is between the two columns topped by lines on both side of the stūpa worshipping the relics of

Buddha. The figures on the right side of the stūpa are worshippers wearing uttariya and paridhana. The figure near to the stūpa is holding a reliquary and the figure behind it joins her hands. On the left side of the stūpas there are two monks, the monk very close to the stūpa join his hands in anjalimudrā while the monk behind him holding reliquaries in his right hand both figures are wearing uttariya and paridhana. 157

Figure No : 31

Inventory No : MK 17

Material : Black schist

Size : H. 14.5 cm, W. 16 cm, D. 3 cm

Condition: Top and bottom flat both sides are broken irregularly defaced and chapped.

Description: A fragment of panel is showing the worshiping of stūpa. The upper border of the panel is decorated with deep carved foliage. In this panel two figures stand on either side of the stūpa, the figure on right side clad in uttariya and paridhana drapery folds are clearly visible on the right leg, this figure holds something in his right hand which is now missing, wears a turban, on the left side is a guard with spear who guarded the relics, wears uttariya and paridhana. The stūpa is on a plain rectangular base, the dome is decorated with lotus petals which are not clearly visible, and above the harmikā one umbrella (disc) is visible. Left side of the panel is bordered with framed Corinthian pilaster. A horizontal ovolo enriched with vine scroll of pointed leaves run in the centre. Upper fillet of the panel is enriched with braid design, the lower fillet of the panel is enriched with the row of lozenges and ovals design.

Figure No : 32

Inventory No : MK 5

Material : Black schist

Size : H. 36 cm, W. 39 cm, W. 6.5 cm

Condition: Square base is chipped off. Faces of the monks on both side of the square base and pedestal are chipped off (defaced). 158

Description: A relief panel is depicting monks worshipping the Triratna that is the

Buddha, the dharma and the sanga or three Jewels, symbolized by the three wheels, panel showing three inter locking wheels held on Triratna which is fixed on a triśula having saw tooth moulding on the upper edge. Each interlocked wheel has eight spokes. Spokes are connected with the hub of the wheel. All the monks on both sides of the Triratna are with hands joined in anjalimudrā and shaven heads. The right side of the panel is damaged at the bottom.

Figure No : 33

Inventory No : MK99

Material : Green Schist stone

Size : H. 32 cm, W. 25.5 cm, D. 11.9 cm

Condition: Broken , defaced, chipped; top has a tenon, left side is smooth while right side broken irregularly.

Description: A panel of relief is depicting two interlocked wheels, the wheel on the left side has only six spokes remaining are missing now, and the wheel on the right side is also missing. Now only half portion of it is visible, perhaps indicating the first sermon. In Buddhism Triratna has an important place. It shows the law, the Buddha and the monks. On the extreme left are two figures, the first figure is much defaced, damaged so facial features and body dress is not clear to explain. Behind it is another figure in standing position wearing uttariya and paridhana leaving left shoulder and tummy bare has curly hair with chignon on the top half open eyes ,short nose, closed lips ,oval shaped face and a necklace in the neck, right hand is in abhaya position while left is not visible.

159

Figure No : 34

Inventory No : MK 0061

Material : Green Schist stone

Size : H. 37 cm, W. 34.5 cm, D. 6 cm

Source : Malakand Collection

Condition: Broken, defaced, chipped, top and bottom right corners broken, left side is smooth while right side broken irregularly.

Description: A relief panel is showing monks worshipping the Triratna that is the

Buddha the dharma and the sanga. The three wheels of the Triratna resting on a lotus flower. Flanking the throne are two deer couchant regardant. Three interlocked wheels having eight spoke each. Spokes are connected with the hub. Triratna is under a chaitya arch having volutes with grapes pendants, this arch resting on another arch which is large in size. The inner steps of these arches are decorated with saw tooth designs. On both side of the Triratna shaven heads monks and worshippers are present. On right side of the Triratna, a monk dressed in uttariya and paridhana is in kneeling position with hands joined in anjali mudrā and the figure behind the monk, wearing an elaborate turban and dhoti is also in kneeling position, holds an unidentified object in her raised right hand. Facial features of this figure are not clear.

Monk on left side of the Triratna also dressed in uttariya and paridhana is in kneeling position with hands in anjalimudrā, behind this figure is another figure in kneeling position clad in dhoti holding an unidentified object in her raised right hand while left hand and face are missing now.

Top of the square panel is decorated with sharply cut pointed leaves.

160

Figure No : 35

Inventory No : MK10

Material : Black schist

Size : H. 15.5 cm, W. 34 cm, D. 4.5 cm

Condition : Broken, chipped and defaced. Top and bottom are flat and smooth. Right side is broken whereas left side is flat.

Description : A fragment of stūpa drum panel is showing Buddha attended by worshippers and donors. In the centre Buddha seated on throne in dharmachakra mudrā under śāla tree with low uṣṇīṣa, wearing monastic robe, facial features are not clear. On the left of him five worshippers /donors are standing clad in caftan and trousers, and the worshipper on the extreme right side of the panel is also clad in the same dress. All five figures on the right of the Buddha have bowls with flowers. First two figures ( from right to left ) are facing towards Buddha while remaining three figures are facing forwards; the last figure holds flowers in left hand, resting right hand on his hip. All five figures wear elaborate turbans with high fantail crest, facial features are not clear. The top of the panel is decorated with pointed leaf pattern.

Figure No : 36

Inventory No : MK 21

Material : Black schist

Size : H. 12 cm, W. 26 cm, D. 3.5 cm

Condition: Top and bottom flat, left side is broken irregularly while right side is smooth; the figures are damaged and defaced.

Description: The fragment of relief is showing Buddha rests on a grass matted throne under the śāla tree in the reassuring pose. Three monks are on the right side, on low 161 raised grass mat facing towards Buddha with hands in their laps, between these monks a worshipper is also seated on the low grass matte facing towards front. On the left hand is a woman in standing position holding something in her hand, top of the relief is decorated with saw- tooth design.

Figure No : 37

Inventory No : MK 27

Material : Black schist

Size : H. 10cm, W. 18.5 cm, D. 8.3 cm

Condition: Top and both sides of the panel are broken irregularly, whereas bottom is smooth.

Description: Stūpa drum panel is depicting two Dhyani Buddhas with worshippers in two scenes, separated by a palm tree having long leaves. From the right side in the first scene Buddha is seated on a low grass mat in dhyānamudrā wears monastic robe covered both shoulders, drapery gathered bellow the hands and spread on the front of the grass mat. Head of the Buddha and worshippers on his left side are missing only legs are visible. On the right side of the Buddha two worshippers are standing with clasped hands, head of one worshipper closed to the Buddha is missing, facial features of the second worshipper are not clear. In the second scene, on the left side of the panel Buddha is seated on a low grass mat ,both shoulders are covered with monastic robe, folds of the drapery gathered beneath the hands and spread over the front of the grass mat gracefully. Buddha has oval shaped head, squat circular uṣṇīṣa, and narrow forehead, with small mouth, shaped lips with deep corners. Buddha is flanked by two worshippers turned towards him with hands joined, the figure on the left of the Buddha has curly hair with prominent opened eyes, small and flat nose shaped closed lips, whereas the figure on the right of the Buddha has curly hair 162 opened eyes, large broad nose shaped lips and on the back of this figure is a palm tree with long leaves.

Figure No : 38

Inventory No : MK 53

Material : Green schist stone

Size : H. 15.6 cm, W. 13.5 cm, D. 6.2 cm

Condition: Broken, Chipped, defaced top flat and smooth, bottom and sides are broken irregularly.

Description: A drum panel of stūpa is showing standing Buddha wearing monastic robe covering whole of the body up to the feet holding hem of the drapery with his left hand, hair drawn back into the uṣṇīṣa facial features are not visible. The Buddha is flanked by four worshippers; two on his back are completely damaged, while two on his right side, the first figure on the right side is in closed fitting knee-length tunic with curly hair looking behind him, and the figure behind him is holding his right shoulder with his right hand, clad in badly damaged robe. Facial features of all the figures are not clear.

Figure No : 39

Inventory No : MK75

Material : Green Schist Stone

Size : H. 18 cm, W. 31.6 cm, D. 6.2 cm

Condition: Broken, Chipped, defaced top flat and smooth, bottom and sides are broken irregularly.

Description: A fragment of relief is divided into two horizontal registers. The lower register shows two Buddhas with worshippers separated by a framed Corinthian pilaster. Read from the right is seated Buddha on low pedestal in dhyānamudrā with 163 wavy hair combed backwards, circular small tight uṣṇīṣa half open almond shaped eyes narrow forehead, small flat nose wearing monastic rob, flanked by two worshippers wearing uttariya and paridhana, folds of the drapery of both worshippers are clearly visible, holding bunch of flowers in their hands. The figure on the right of the Buddha perhaps wears turban whereas the head dress of the worshippers on the left of the Buddha is much defaced. Left scene shows a seated Buddha in dhyāna mudrā on the low pedestal, wears uttariya and paridhana, drapery covered both shoulders and gathered below the hands spreads out on front making vertical folds on left side of the Buddha, facial features are not visible, flanked by two worshippers wearing uttariya and paridhana, drapery folds of both worshippers are not clearly visible, holding bunch of flowers in their hands, facial features of both worshippers are not visible. The extreme left side of the lower register is bordered with a framed

Corinthian pilaster. In the central arch there is a hole for the nail to hang the panel. In the upper register, the panel contains three chaitya arches separated by three framed

Persepolitan pilasters, while the fourth pilaster on the extreme right is missing. In the central arch Buddha seated on a low pedestal in dhyānamudrā wears monastic robe, facial features are not clear. In the right and left arches are two worshippers with joined hands facing towards Buddha, wearing uttariya and paridhana. The extreme left side of the upper register is bordered with framed pilaster. A horizontal side is decorated with pointed leaf design. The upper fillet of the panel is enriched with the pointed leaf design; see Muhammad Ashraf khan.et al. A Catalogue of the Gandhāra

Stone Sculptures, 2005, p. 246, Fig.311.

164

Figure No : 40

Inventory No : MK 16

Material : Green Schist

Size : H.21.5 cm, W. 39 cm, D. 5.5 cm

Condition: Top and both sides of the panel are broken irregularly, whereas bottom is smooth.

Description: This panel has two scenes of Buddha in dhyānamudrā with worshippers.

These scenes are separated by a Corinthian pillar. On the left side of the panel is a seated Buddha with four worshippers, Buddha is seated on a throne, halo is not clearly visible, wears monastic robe up to the neck, drapery gathered below the hands forming an elaborate tassel, flanked by two worshippers on each side with joined hands wearing uttariya and paridhana, garments with narrow grooves showing drapery folds. Two worshippers on the front are slightly tilt towards the Buddha, hands of all four worshippers are badly damaged. Right side of the panel showing

Buddha seated on a cushion throne with damaged face Halo is not clearly visible, monastic robe covered whole body, flanked with worshippers on each side, worshipper on the left side is completely damaged only feet are visible, whereas on the right side of the Buddha two worshippers stand with hands joined , wearing uttariya and paridhana, the worshipper on the front is tilt towards the Buddha. On the top of the panel broken tenon is visible.

Figure No : 41

Inventory No : MK80

Material : Black schist stone

Size : H. 19 cm, W. 24.5 cm, D. 9.3 cm 165

Condition: Broken, chipped and defaced. Top and bottom are flat whereas right side is broken diagonally.

Description: A relief panel is showing standing Buddha in abhayamudrā, clad in monistic robe which covered whole body up to the ankles, head slightly tilt towards his right, holding the hem of the drapery with his left hand, hair drawn back into circular uṣṇīṣa; narrow forehead half opened almond shaped eyes short and broad nose, shaped lips with thin face, finger tips of the abhaya hand are damaged, left hand is not clearly visible, abhaya hand holds up the upper garment, revealing the lower garment, flanked by worshippers. On the left side in the background of the Buddha are three worshippers. Legs are missing, facial features are not clear. One worshipper behind the first figure has thick locks of the curly hair whereas the second figure completely damaged. On the right side of the Buddha is a princely worshipper wearing elaborated turban and ear pendants. Facial features are not clear, wears uttariya and paridhana standing in anjalimudrā, next to figure is another princely figure with similar head dress as preceding one, facial features are not clear. In the background there are two figures ,the figure on extreme right of the Buddha wears an elaborated turban, ear pendants, facial features are not clear, the next figure also wears an elaborated turban, and a flat neck band facial features of this figure are also not clear. On the left side is a Corinthian pilaster with plain plinth, convex moulding and fillet, on two sides of the pilaster are depicted two human figures. Top of the panel is decorated with saw-tooth designs.

Figure No : 42

Inventory No : MK 23

Material : Green Schist stone

Size : H. 18.5 cm, W. 22.3 cm, D. 9.8 cm 166

Condition: Top and bottom flat, defaced and chipped and with soil incrustation, sides broken irregularly.

Description: A fragment of a curvilinear frieze has two registers, upper and lower register. In the upper register two seated Buddhas were shown under the arches separated by Persepolitan pillars. The right upper arch contains a seated Buddha in dhyānamudrā on a low pedestal wearing uttariya and paridhana, wavy hair combed backwards making round tight and low uṣṇīṣa, round open eyes, small and flat nose narrow forehead small round flashy face. Drapery has covered both shoulder and gathered below the hands on the front side. The left arch contains a seated Buddha in dhyāna mudrā on a low pedestal wearing uttariya and paridhana his neck bent towards his right, open eyes with prominent eye lids, small flat nose oval and fleshy face prominent shaped lips. The semicircular arches moulded and with distinct volutes and grapes pendants. A framed Persepolitan divider pillars separated the arches. The border above is decorated with lotus petal pointing upwards. In the lower register there are also two seated Buddhas with worshippers, both arches are separated by

Corinthian column. Right arch contains a seated Buddha in dhyāna mudrā on a low pedestal wearing uttariya and paridhana wavy hair combed backwards (terminates) making low, round and tightly uṣṇīṣa oval shaped face with half open long eyes with prominent eye lids, shaped lips flat nose, narrow forehead, elongated ears, wearing, left shoulder covered by drapery leaving right shoulder bare, deep drapery folds are clearly visible on the left shoulder and chest. On both sides of the Buddha gods

Brahmā and Indra are present wearing uttariya and paridhana, facial features are defaced and chipped.

The left arch contains a figure of Buddha in dhyānamudrā seated on a low pedestal wearing monastic robe covered both shoulders, drapery gathered below the 167 wrests and makes or forms an elaborate tassel, wavy hair combed backwards making low and round. Uṣṇīṣa, facial features are defaced and chipped, elongated ears, drapery folds are visible on arms and knees. On the right side of the Buddha is

Brahmā wearing uttariya and paridhana is also wearing a turban, his facial feature and hands are damaged and may have been joined. On left of the Buddha is a standing figure with joined hand. It seems holding something, wearing uttariya and paridhana, also wears a turban which has a globular ornament in the centre of the turban. Wavy hair clearly visible below the turban on the back of the neck, it appears to be god

Indra. The panel is decorated with petal pointing upwards.

Figure No : 43

Inventory No: MK 92

Material : Green Schist Stone

Size : H. 12.4cm, W. 16.8 cm, D. 9 cm

Condition: Broken and deface both sides are broken irregularly top somewhat flat and smooth having cramp mortise, bottom broken irregularly.

Description: Upper part of a stūpa drum panel is depicting bust of three figures.

Central figure is clad in monastic robe probably, Buddha with two worshippers in anjalimudrā. The worshipper on the right of Buddha has open eyes with prominent eyelids, damaged lips, while the worshipper on left of the Buddha has curly hair, long open eyes, closed lips with deep corners. Buddha‟s face is oval in shape, wavy hair are arranged in backward making flat uṣṇīṣa, full open eyes with prominent eyelids, closed shaped lips, broken nose. On extreme left side is a branch of palm tree.

Figure No : 44

Inventory No : MK38

Material : Green Schist Stone 168

Size : H. 14.5 cm, W. 17 cm, D. 7 cm

Condition: Broken, defaced and soil incrustation.

Description: A broken part of the chaitya arch, left side of the arch is completely missing now, whereas volute of the right side of the arch is in the shaped of beaked head. At the neck feathers are present which are not clearly visible, round eye and curved beak facing towards its back. The fragment of arch is decorated with two fillets, outer fillet, saw-tooth enrichment and the inner enriched with a vine scroll laves. Under the right portion of the arch are two princely worshippers in anjalimudrā facing towards Buddha which is now missing, read from right to left first worshipper is in kneeling position clad in uttariya and paridhana wears an elaborate turban with large fantail, some hair is visible below the turban, cords of the turban are also visible, somewhat round fleshy face prominent eyes ,whereas remaining facial features are not clear. The second worshipper is sitting on a stone stool with cross leg facing towards Buddha clad in uttariya and paridhana, wears an elaborate turban with large fantail cords of the turban are visible, some hair below the turban is clearly visible; somewhat round fleshy face, narrow forehead, short and flat nose almond shaped open eyes are prominent facial features of the figure.

Figure No : 45

Inventory No : MK 54

Material : Green Schist

Size : H. 6 cm, W. 39 cm, D. 6.6 cm

Condition: Top and bottom flat and smooth left and right sides are broken irregularly.

Description: A fragment of cornice is showing two seated Buddhas one is on left side while other is on right side. Buddha on left side has two worshipers on his either sides under arches. The Buddha on left side is in dhyānamudrā is wearing uttariya and 169 paridhana seated on a very low seat, wavy hair drawn back into low uṣṇīṣa. Both worshipers are facing towards Buddha with hands joined. Drapery folds are very clear on the left shoulder leaving right shoulders bare. The Buddha on the right side has one worshiper facing towards Buddha with bow head and joined hands. The Buddha on right side is also in dhyānamudrā wearing uttariya and paridhana seated on a low seat wavy hair drawn back into low uṣṇīṣa, both shoulders are covered with drapery, folds are visible on the left knee of the image. The semi circular arches are having volutes with grapes pendants. The inner of the arches have saw tooth enrichment. All five arches are separated by Persepolitan pillars. The border above the panel is decorated with lotus petals pointing upwards.

Figure No : 46

Inventory no : MK 7

Material : Black schist

Size : H. 8.5 cm, W. 35cm, D. 5 cm

Condition: Fragment of frieze, bottom and top flat and smooth sides are broken irregularly.

Description: A fragment of frieze is showing three semi circular arches, under the central arch a worshiper facing toward his left with hand joined right leg extended outwards and the left is bent. Under the right arch Buddha is sitting on a very low seat facing towards his left, wearing uttariya and paridhana touching left end of the arch with his right hand combed backwards curls of the hair are visible on the neck .

The Buddha under the left arch sits in dhyānamudrā on a low seat wearing uttariya and paridhana, wavy hair drawn back into low uṣṇīṣa. The semi circular arches are moulded and with distinct volutes and grape pendants. The three framed Persepolitan 170 columns separate each arch from the other. The border above is decorated with lotus petals pointing upwards.

Figure No : 47

Inventory No : MK 61

Material : Green schist

Size : H. 11.12 cm, W. 31 cm, D. 4.5 cm

Condition: Top and bottom flat, sides are broken irregularly.

Description: A fragment of panel is representing three figures under semi circular pointed arches. Under the central arch is the bust of Buddha in abhayamudrā wearing uttariya oval shaped head, wavy hair arranged backwards in a circular uṣṇīṣa, narrow forehead, half open eyes with prominent lids broad nose small mouth, lips with deep corners. Thick monastic robe covers his whole body. A flexible chain is visible in the neck. The abhaya hand is webbed and the left hand touches the folds of drapery.

Under the right arch the figure is facing the Buddha with right hand extended outwards. The features of the right figure are defaced. Under the left arch is the bust of a male holding flower in right hand wearing a turban wavy curly hair is clearly visible, below the turban perhaps the figure is without uttariya. The figure has narrow forehead, wide open eyes short and flat nose shaped lips and small mouth. The pointed arches are moulded with volutes rest on a circular capital; between each arch a standing opening lotus is clearly visible which separates the arches from each other.

The border is decorated with lotus petal pointing upwards. The curves of the arches are of stepped fillet.

Figure No : 48

Inventory No: MK 3

Material : Green schist 171

Size : H. 18 cm, W. 3.4 cm, D. 3 cm

Condition: Halo broken and both hands are missing.

Description: Figure of standing Buddha in abhayamudrā. The image is clad in the monastic robe. Both of the shoulders are covered with robe. Folds of the drapery started from the left and are broad with sharp edges, in centre folds are very (deep) clear, the samghati upheld by the right arm showing the right side and edge of the under garment (antara-vasaka). Both the hands are missing; see Muhammad Ashraf khan.et al. A Catalogue of the Gandhāra Stone Sculptures, 2005, p.39, Fig.52.

Figure No : 49

Inventory No: MK 58

Material : Black schist

Size : H. 21cm, W. 14 cm, D. 6.3 cm

Condition: Halo broken, (right hand) abhaya hand broken, head and legs are missing.

Description: A standing image of Buddha is seen in abhayamudrā, abhaya hand is now missing from the elbow; left hand holds a hem of drapery. Traces of the broken halo are visible behind both shoulders. The image wearing uttariya and paridhana, both shoulders are covered with drapery, folds are very prominent and started from the left side. From the centre, the folds of the drapery are very deep. The samghati (robe) upheld by the right arm is showing edge of the under garment

(antara-vasaka).

Figure No : 50

Inventory No : MK 95

Material : Green schist

Size : H. 28 cm, W. 23 cm, D. 4 cm 172

Condition: Head is missing Halo broken and traces are visible behind the neck. Tips of the abhaya hand are broken left hand is missing from elbow.

Description: Seated Buddha is seen in abhayamudrā on grass mated pedestal. Front side of the pedestal is decorated with five patelled rosette with central boss clearly visible, probably there are two more five patelled rosette which are completely chipped off. Pedestal has a plinth having convex moulding and fillet. Halo of the image is damaged, only a small portion of the halo is visible from the left side of the image behind the neck, while body of the image is covered with thick monastic robe.

Left hand is missing probably fold of the drapery are gathered under the left hand and spread on the front portion of the mat. Abhaya hand of the image is webbed. There is a round hole in left side of the ribs for hanging the sculpture.

Figure No : 51

Inventory No : MK 43

Material : Green schist

Size : H. 15 cm, W. 12 cm, D. 5.6 cm

Condition: Broken chipped, defaced and with soil incrustation.

Description: Fragment of image of the Buddha is seen in dhyānamudrā seated on a high pedestal. Halo of the image is broken and a small portion is visible from the right shoulder of the image, left shoulder covered with the drapery folds. Round high uṣṇīṣa is visible. Overall the image is badly defaced.

Figure No : 52

Inventory No : MK 8

Material : Green schist

Size : H. 20 cm, W. 9.5 cm, D. 3.1 cm 173

Condition: Edge of the halo is broken, head and face are damaged. Sculpture is yellowish due to burning and with soil incrustation.

Description: Buddha in dhyānamudrā seated on low pedestal and facial features are not clear. The front of the pedestal is decorated with the hanging drapery of the image having beautiful folds. The image is seen wearing monastic robe covered whole body up to neck. Folds of the drapery are like narrow and deep strips drapery gathered below the left arm. On front side of the mat there are two confronted worshipers separated by fire altar both worshipers bend their knees on the platform with hand in anjalimudrā folds of the drapery are flattened at the knees to form low steps. The image has a large halo broken from left side of the image.

Figure No : 53

Inventory No : MK 45

Material : Green schist

Size : H. 9 cm, W. 11 cm, D. 3.5 cm

Condition: Head is missing, hands are chipped off drapery folds are chipped and defaced.

Description: Buddha is seen in dhyānamudrā seated on throne. Head is missing. Both shoulders are covered with robe. Folds of the drapery started from left side and are board with sharp edges in the centre throne is completely chipped off.

Figure No : 54

Inventory No : MK 33

Material : Green schist

Size : H. 18.2 cm, W. 13.6 cm, D. 3 cm

Condition: Broken, chipped, damaged, and defaced and with soil incrustation.

Description: Buddha is shown with missing head in dhyānamudrā seated on a throne. 174

Hands are in dhyānamudrā. Halo of the figure is missing now. Only very small portion is visible on the left shoulder, both shoulders are covered with monistic robe, drapery falls on the throne below the hands and form triangular design, drapery folds are like broad strip and are visible on both arms and knee.

Figure No : 55

Inventory No: MK 1

Material : Stucco

Size : H. 15 cm, W. 12 cm, D. 4.6 cm

Condition: Halo broken having visible edges drapery folds and hands are chipped and defaced.

Description: Image of seated Buddha is seen in dhyānamudrā. He is shown with elongated ear lobes, small round head with wavy hair, combed upward, circular small tight uṣṇīṣa and forehead. The figure has broken halo, round full open eyes with prominent lids and eye-brows fleshy face, long and prominent nose, shaped lips and wearing monastic robe covering both shoulders, looking upwards. Folds of the drapery near the neck are semicircular form and prominent gathered below the hands and spread over the ground, bended knees are thin and prominent.

Figure No : 56

Inventory No : MK 73

Material : Stucco

Size : H. 19 cm, W. 23 cm, D. 4.3 cm

Condition: Broken head, hands and drapery folds are chipped and defaced.

Description: Bust of Bodhisattva in dhyānamudrā is wearing uttariya; both shoulders are covered with robe. Folds of the drapery are broad and started from the left side. 175

On the right arm, there is a trefoil armlet with straight base. Bodhisattva is wearing bracelets in both arms.

Figure No : 57

Inventory No: MK148

Material : Green Schist stone 28

Size : H. 19.5 cm, W. 20 cm, D. 4 cm

Condition: Broken, chipped, defaced and with soil incrustation.

Description: Buddha is seen in dhyānamudrā seated on a throne. Upper portion of the image is missing. Drapery folds are clearly visible on the lower portion of the abdomen and on the left knee while the left knee is damaged .The robe is gathered below the left hand. The space between the legs of the throne is decorated with hanging cloak. In the centre, there is a fire altar or censer on a stand flanked by two worshippers‟ right knee on a platform with hands in anjalimudrā. The legs of the throne have claw motifs at the bottom.

Figure No : 58

Inventory no : MK 57

Material : Green schist

Size : H. 12 cm, W. 9 cm, D. 2.5 cm

Condition: Halo broken from right side facial feature defaced, neck is also damaged.

Description: A head of Buddha is shown with broken halo. The halo is broken from the right side and damage near the neck from the left side. The facial features of the figure are defaced; saw tooth motif is used to decorate the relief panel. Head of the

Buddha is depicted in frontal position with wavy hair, tightened on the top in chignon, the traces of which are still visible. Ear lobes are elongated and pierced. It seems that the face is fleshy. Behind the head is a large halo decorated with ray edges. 176

Figure No : 59

Inventory no : MK 173

Material : Green schist

Size : H. 13 cm, W. 8 cm, D. 9.5 cm

Condition: Head of Buddha broken and a panel lower portion is missing. Facial features are defaced.

Description: An oval shaped head of Buddha. The facial features of the figure are defaced. Head of Buddha is shown in frontal position with wavy hair, tightened on the top in chignon, the traces of which are still visible. Ear lobe of left side is visible and is elongated and pierced. It seems that the face is fleshy. Head is attached with a large broken panel.

Figure No : 60

Inventory No : MK 117x

Material : Green schist

Size : H. 8 cm, W. 6 cm, D. 2.7 cm

Condition: Damaged with pitted surface, defaced, chipped and with soil incrustation.

Description: Head of Buddha is shown with curly hair arranged backwards, with high round uṣṇīṣa, narrow forehead, and urna is not clearly visible, damaged wide open almond shaped eyes with heavy lids, closed shaped lips with deep corners long nose badly damaged, long ears with prominent lobes. Oval shaped fleshy face is scratched.

Upper fillet of the panel is plain, while cornice below is decorated with saw-tooth designs.

Figure No : 61

Inventory No : MK 56

Material : Green schist 177

Size : H. 8 cm, W. 5.5 cm, D. 2.3 cm

Condition: Badly damaged, defaced and chipped. Face is pitted and scratched.

Description: Head of Buddha is seen in oval shape with wavy hair. The hair is arranged in upwards direction. High round uṣṇīṣa made with the help of hair, open almond eye with eye lids, lips are thin with deep corners (long corners) overall the face is pitted and scratched.

Figure No : 62

Inventory No: MK 46

Material : Green Schist

Size : H. 12 cm, W. 5 cm, D. 2.1 cm

Condition: Back side of the head is missing, uṣṇīṣa, hair, nose chin lips are damaged and with soil incrustation.

Description: Ear, nose, chin, lips are damaged. Head of the Buddha is seen with oval fleshy face and full opened almond shaped eyes. The iris is in relief. The wavy hair radiating from the centre of forehead is tightened on the top in low chignon.

For comparison: Schmidt C.W 1990: 821, no .743

Figure No : 63

Inventory No : MK155

Material : Green schist

Size : H. 14.5 cm, W. 6 cm, D. 3 cm

Condition: Broken Chipped and corroded.

Description: Head of Buddha is seen in oval sloped in much defaced position. Curly hair combed upwards in flat round uṣṇīṣa probably half opened eyes nose and lips are badly damaged.

178

Figure No : 64

Inventory No: MK 9

Material : Green schist

Size : H. 30 cm, W. 23 cm, D. 6.9 cm

Condition: Badly chipped, edges of the halo and both hands are broken, face and drapery chipped.

Description: Buddha is shown in dharmachakramudrā seated on a high pedestal.

Halo is broken from the edges, head and the facial features are badly damaged.

Forearms of the both hands are missing, the figure clad in monastic robe covers left shoulder leaving right bare. Both knees are covered by robe while feet are bared. The robe is gathered under the left arm and spread on the low pedestal; a cloak falls between the legs of the pedestal in beautiful folds and pleat.

Figure No : 65

Inventory No : MK108

Material : Black schist

Size : H. 29.5 cm, W. 21 cm, D. 8.9 cm

Condition: Chipped, defaced, bust broken irregularly, both hands from elbow and with soil incrustation.

Description: A bust of Bodhisattva is shown in abhaya. Both hands below elbow are missing. He wears uttariya and paridhana. The uttariya is in the narrow mode, covers the upper left arm like a short sleeve. Face and head are damaged; curly long hair spread over the shoulder is partly visible. Jewellery comprises a long flexible chain, neckband decorated with square shaped gems and a bead necklace from the left shoulder, passing over the right arm. On the right arm wears an armlet.

179

Figure No : 66

Inventory No: MK143

Material : Green schist

Size : H. 19.5 cm, W. 17.5 cm, D. 5.5 cm

Condition: Broken, chipped and with soil incrustation.

Description: A fragment of Stella is representing a bust of probably Buddha in dhyānamudrā and lotus flowers all around him. Head is round, wears ear pendants, a broad and flat neckband. It has oval shaped face, short nose but remaining facial features are not clear.

Figure No : 67

Inventory No : MK18

Material : Green schist stone

Size : H. 20 cm, W. 9.5 cm, D. 4.1 cm

Condition: Halo is broken right hand and small portion of chest is also broken.

Description: Fragment of relief is showing the figure of an ascetic. His hair is tightened on the forehead in Jata by making straight narrow spaced parallel line. His head is bent towards his right. His right hand raised touching his right eyebrow and cheek. He has moustaches curl downwards and cover the upper lip. He has almond shaped open eyes. There is a sacred cord on his left shoulder crossing under his right arm. He has fleshy face.

Figure No : 68

Inventory No : MK 77

Material : Green schist stone

Size : H. 15 cm, W. 14 cm, D. 5.9 cm

Condition: Defaced, chipped, neck is pitted and scratched. 180

Description: Head of Bodhisattva wears a turban decorated with ornament, from low side the turban is secured with a plain band. Large conical gem on the forehead connects the cords of the turban. The beautiful folds of the turban are clearly visible from the right side. Forehead is half covered with turban. Almond shaped eyes are half opened having prominent eye lids. Small nose, the nose is chipped, lips are thin and closed, chin and lips are damaged; see Ingholt, Gandhāran Art in Pakistan, 1957, p.326, Fig.330.

Figure No : 69

Inventory No : MK 146

Material : Green schist stone

Size : H. 6.5 cm, W. 10.2 cm, D. 6 cm

Condition: Broken, defaced and with soil incrustation.

Description: Head of a princely figure is shown, probably fragment of a bracket. The figure wears an elaborate turban with high tuft fastened with wide beaded band, cords of the turban are clearly visible, broad forehead shaped eyes with heavy, oval shaped fleshy face, with closed shaped lips, short heavy dropping moustache, closed almond shaped eyes with heavy eyelids, long and broad nose. Tip of the nose and left cheek are damaged. Some curly hair between the turban and ear are clearly visible, behind the head bracket has horizontal and vertical broad lines.

Figure No : 70

Inventory No : MK 162

Material : Green schist

Size : H. 8 cm, W. 3.5 cm, D. 3.1 cm

Condition: Defaced, chipped with line and soil incrustation. 181

Description: A princely figure is wearing an elaborate turban, the cords of the turban overlap on the forehead and running towards backside. The space between the cords is decorated with lines. Forehead in narrow urna is not shown (missing). The end o the cords come out at the top of the turban. Moustaches have curl downwards. Lips are thin and damaged. Chin is narrow and ears are missing. Overall the sculpture is made by an expert artist.

Figure No : 71

Inventory No : MK 60

Material : Black schist

Size : H. 12 cm, W. 48 cm, D. 11.3 cm

Condition: Top and bottom flat left side is broken irregularly with soil incrustation.

Description: A long stūpa drum panel is representing four figures under arches.

Figures from left to right under 1st right arch is the bust of donor wearing uttariya ear rings and flexible necklace holding a bunch of flower in his right hand while left hand raised up to the chest and holds folded edge of the drapery under the 2nd arch (from right to left) is bust of donor wearing uttariya holding a bunch of flower in his right hand. Left hand is chipped off; under the 3rd arch (from right to left) is the bust of a

Buddha in abhayamudrā wavy hair arranged backwards into low circular uṣṇīṣa.

Thick monastic robe covers his both shoulder, folds of the drapery are clearly visible, half open eye, small nose and mouth are visible under the 4th arch (from right to left).

Only head is visible, the round head has a turban the remaining portion of the arch is broken. Almost pointed semicircular arches are molded with volutes on a circular capital. A standing opening lotus is clearly visible between the arches. The curves of the arches are of stepped fillet. The top border is decorated with lotus petals pointed upwards. 182

Figure No : 72

Inventory No : MK 63

Material : Green schist

Size : H. 11.5 cm, W. 25.3 cm, D. 9.6 cm

Condition: Top and bottom flat, both sides are broken irregularly chipped, defaced and with soil incrustation.

Description: A fragment of frieze is representing two figures under semi circular arches, right arch contain a bust of figure in abhayamudrā facing slightly towards his right, hand is webbed wearing uttariya leaving right shoulder bare while left shoulder covered with drapery, the hem of the drapery is holding by the figure with his left hand, deep folds of drapery are clearly visible on the left shoulder. The head of the figure is wearing turban with high round ornaments, the cords of the turban are visible. The jewels comprise a flexible neck chain long ear pendants (ear rings) and bracelet. The face is fleshy, round chin, narrow forehead small flat nose and open eyes are the main features of the Fig. Left arch contains the bust of donor facing towards his left holding a bunch of flower in his left hand and is wearing uttariya leaving left shoulder bare whereas right shoulder covered with drapery. The hem of the drapery held by the image with his right hand, folds on the right shoulder are clearly visible. Figure wears a high turban; a flexible necklace feature of the face is defaced and not clearly visible. Almost semi circular pointed arches have saw tooth enrichment and are moulded with volutes resting on a circular capital. An open lotus is present between the arches, which separates them from each other. The top of the panel is decorated with lotus petals pointed upwards.

183

Figure No : 73

Inventory No : MK 67

Material : Black schist

Size : H. 11.5 cm, W. 35 cm, D. 8.9 cm

Condition: Top and bottom flat and smooth left side is flat and smooth right side irregularly broken.

Description: A fragment of frieze is showing three arches from right to left contain bust of a woman facing outwards with joined hands raised in front of the chest. The facial features of the figure are not clear .There is a bust of woman in the central arch facing outwards with her left hand raised to her shoulder wearing necklace. The facial features of this figure are also not clear. Under the extreme left arch is the male figure turned to his left with hands joined. Between each arch a standing opening lotus is clearly visible almost pointed arches are molded with volutes resting on a circular capital. The top border above is decorated with lotus petals pointing up wards.

Figure No : 74

Inventory No : MK 64

Material : Green Schist

Size : H. 12 cm, W. 20.4 cm, D. 7.9 cm

Condition: Top and bottom flat left side is plain whereas right side is broken irregularly.

Description: A fragment of frieze is showing two figures under semi circular pointed arches in their outer profiles. Right arch contains the bust of a figure turned towards left wearing uttariya leaving right shoulder bare whereas left shoulder is now missing.

The round head is wearing high turban, half open eyes flat nose shaped lips with deep corners round chin, wearing ear pendants and narrow folds of the drapery are visible 184 on right shoulder. Under the left arch the figure is facing towards his right hand is webbed, wearing uttariya leaving right shoulder bare whereas left shoulder is covered with drapery. The figure is holding hem of drapery with his left hand. The deep folds of the drapery are clearly visible on the left shoulder, round and fleshy face with open eyes, narrow fore head, flat nose wearing ear pendants, flexible neck chain and a bracelet. In right hand the figure wears a turban the cords of the turban are clearly visible. Almost pointed arches are molded with volutes resting on a circular capital. An open lotus is clearly visible between the arches, which separates the arches from each other. The top of the fragment is decorated with lotus petals pointed upwards.

Figure No : 75

Inventory No: MK 65

Material : Green schist

Size : H. 7 cm. W. 21 cm, D. 11.2 cm

Condition: Top and bottom flat, both sides are broken irregularly.

Description: A fragment of relief is showing bust of a figure under an arch. On both sides of the arches, there are framed Ionic pillars. On extreme left and right sides are pointed arches which are now damaged. Only small portion of these arches is visible on both sides. Under the central arch figure is slightly bent towards left, wearing uttariya, right arm touching his chest and pointing outwards from elbow. Oval face with long wavy hair combed backwards, narrow forehead other features of the face are defaced. Bottom is flat and smooth while the top of the fragment is decorated with lotus petals pointing upwards.

185

Figure No : 76

Inventory No: MK 74

Material : Black schist

Size : H. 78 cm, W. 23.7 cm, D. 12 cm

Condition: Top and bottom flat, left side is broken irregularly the figure are damaged and defaced.

Description: A fragment of relief is showing two figures under arches. The right arch contains the bust of Buddha in dharmachakramudrā, wearing uttariya leaving right shoulder bare, folds of the drapery are slightly visible on the left shoulder wavy hair combed backwards and form an uṣṇīṣa open eyes flat chipped nose and fleshy face.

Left arch contains a bust of Buddha in abhayamudrā, wearing uttariya, the drapery covers left shoulder leaving right shoulder bare bent his head slightly towards his right shoulder abhaya hand is webbed while the left hand holds the edge of robe drapery folds are visible on the left shoulder. Wavy hair is combed backwards and terminates in a very low uṣṇīṣa narrow forehead flat nose, open eyes with prominent lids and round fleshy face are the main features of the figure. Arches are separated by two framed Ionic columns. The bottom of the fragment is flat and smooth while the top is decorated with lotus petals pointing upwards.

Figure No : 77

Inventory No: MK 102

Material : Green schist stone

Size : H. 11 cm, W. 20.4 cm, D. 6 cm

Condition: Top and bottom are flat and smooth; left side is broken irregularly, top corner of the right side is missing. 186

Description: A fragment of panel is showing a bust of princely figure under semi circular pointed arch, figure turned towards his left, holding a bowl with floral design in his both hands, clad in uttariya and a turban, facial features are not visible. Almost pointed arch is molded with volutes rest on a circular capital. A standing open lotus is clearly visible between the two arches; the arch on the left side is missing. Only a small portion of circular capital is visible. Right side of the panel is decorated with two framed five petalled eglantines having central boss or ( row of rosette-and-sheaf) whereas top of the panel is decorated with lotus petals pointed upwards, tenon on the bottom is clearly visible.

Figure No : 78

Inventory No: MK 149

Material : Green schist

Size : H. 9 cm, W. 24 cm, D. 4 cm

Condition: Broken, defaced and soil incrustation.

Description: A fragment of relief panel is showing two heads of male figures. The head on the left side has a turban. Facial features are not visible, the head next to it, is completely damaged. On extreme left side is an encased Persepolitan capital, only upper portion of the pillar is visible. Over all, the whole lower portion of the panel is now missing.

Figure No : 79

Inventory No : MK 162 a

Material : Green schist stone

Size : H.11.5cm, W. 16 cm, D. 7.3 cm

Condition: Bottom of the panel is somewhat plain and smooth. Upper portion of the panel is broken diagonally. 187

Description: A fragment of relief panel is representing a bust of male figure under semi circular pointed arch. The figure turned towards his left, hands are in anjali mudrā. Somewhat round fleshy face, narrow forehead, broad flat nose, close lips, open prominent eyes, wearing a bracelet in his right hand, figure clad in uttariya and a turban, cords of the turban and wavy hair below the turban are clearly visible.

Almost semicircular pointing arch is molded with volutes rest on circular capital.

Arch on extreme right side of the panel is missing; only molded portion of the arch rest on circular capital is clearly visible.

Figure No : 80

Inventory No: MK 184

Material : Green schist

Size : H. 12 cm, W. 16.5 cm, D. 7.1 cm

Condition: Broken, chipped, defaced top smooth and flat, bottom is missing and with soil incrustation.

Description: A fragment of relief panel is depicting heads of two male figures. The figure on the right wears elaborate turban. Crest cords of the turban are somewhat visible and twisted on the forehead, facial features are not visible. The figure on the left side also wears an elaborate turban, some hair is visible below the turban, wears ear pendants, somewhat long face, open round eyes, broad forehead, long and broad nose, thin closed lips with deep corners. Top of the panel is decorated with a row of (up right) leaf-and-drat.

Figure No : 81

Inventory No : MK 55

Material : Green schist

Size : H. 14 cm, W. 18 cm, D. 8cm 188

Condition: Broken, chipped and corroded. Top smooth bottom is broken irregularly right side broken diagonally, and with soil incrustation.

Description: A drum panel of stūpa is seen with a dwarf Corinthian pilaster and a standing figure with right hand rose like in abhaya pose and left placed on the left hip

(most probably a Bodhisattva). The figure wears uttariya and paridhana folds of the robe are clearly visible on the shoulders, chest and the thigh. The figure has oval shaped fleshy face, long open eyes with prominent lids long and flat nose, with thick moustaches, and thin lips wavy. On the right side of the figure is an encased Ionic pilaster, having four horizontal grooves, round shaft and smaller upper torus at the base.

Figure No : 82

Inventory No : MK 133

Material : Green schist stone

Size : H. 14.7 cm, W. 37 cm, D. 8 cm

Condition: Broken irregularly chipped, defaced and with soil incrustation.

Description: Broken panel is shown with an undulating garland and Putto. The garland is decorated with pointed leaf pattern, right of the frieze is completely defaced, while on the right is Putto with wavy hair combed backwards, wearing longoti. He supports the garland on his left shoulder, right hand is resting on the lower end of the garland and the left leg forwarded. The garland loop at the bottom is decorated with leaves springing out of the garland, above the loop a half figure appears, whose face is completely defaced. Garland bearer has slightly swallowed abdomen, oval shaped fleshy face with open eyes broad nose, thin lips. On the right of the Putto is a Corinthian pilaster.

189

Figure No : 83

Inventory No : MK 4

Material : Black schist

Size : H. 14.8cm, W. 28 cm, D. 8.3 cm

Condition: Broken defaced, top and bottom flat right side is broken irregularly while left side is smooth.

Description: Fragment of a frieze depicts undulating garland with three amorini who supported garland on their shoulders. Each loop is bound by ribbons with flowing ends. The garland is decorated with leaf like designs and at the bottom the garland loops are decorated with leaves spring (running) out of garland. The garland is supported by three amorini on their shoulders. Above each loop two half figure appear. Both half figures have open eyes and curly hairs. The amorini in the centre turned on his right and shown supporting the garland with the help of his right hand on his right shoulder and left hand resting on his hip right shoulder while left hand is resting on his hip having slightly swallowed abdomen. The amorini on the extreme right is supporting the garland on his shoulder facing towards his left, the lower portion is broken. The amorini on extreme left is supporting the garland on his both shoulders facing towards front.

Figure No : 84

Inventory No : MK 119

Material : Black schist

Size : H. 12 cm, W. 32.5 cm, D. 6 cm

Condition: Broken, defaced, top and bottom flat, both sides are broken irregularly.

Description: Fragment of a frieze depicts undulating garland. Each loop is bound by ribbons with flowing ends. The garland is decorated with leaf designs and the 190 bottom dips of the garland are decorated with leaves running out of the garland.

On the extreme left side is a Corinthian pillar. The panel shows three amorini carrying garland on their shoulders. Above each loop half figures appear. All the three half figures are having curly hair. From right to left, the first amorini is defaced, only his open legs are somewhat visible. The central amorini supports the garland with his shoulder, right arm is resting on his right hip with slightly swallowed abdomen, chest is also pointed outwards, and he has curly hair. At the extreme left side amorini is facing half towards his right. The two amorini which are visible have curly hair.

Figure No : 85

Inventory No : MK 22

Material : Black schist

Size : H. 9 cm, W. 26 cm, D. 4 cm

Condition: Broken, chipped and defaced .Top and bottom are flat and smooth right side broken irregularly.

Description: Relief panel is decorated with Corinthian pilasters, wrestlers and a pair of nude fig. The panel is showing three different scenes separated by Corinthian pilaster, read from left to right, in the first scene there are two nude figures, facing frontally holding hands of each other; the left figure is shown with his raised right hand. In the middle scene again two nude figures are shown with bent knee, facing frontally and facial features are not clear. In the extreme left scene two wrestlers with prominent muscle are wearing longoti (Lion cloak) are wrestling with each other, both wrestlers are holding each other from their longoti, the left leg of the right wrestler and right leg of the left wrestler stretched backwards where as the other two legs are in crossed position. Facial features are not clear. Top of the panel is 191 decorated with pointed leaf design and flowers with four petals. A tenon is visible at the bottom of the panel.

Figure No : 86

Inventory No : MK71

Material : Green schist

Size : H. 11 cm, W. 36 cm, D. 5.5 cm

Condition: Broken, chipped and defaced. Top and bottom are flat. Both sides are broken irregularly and has a tenon at the bottom.

Description: A fragment of relief is showing three different scenes of wrestling separated by two Corinthian columns. On the right side one figure is missing, the remaining one figure on the right side has prominent muscles wearing longoti ( Lion cloak ) with his left hand holding his opponent which is now missing, and right hand is resting on his hip. In the centre, between two columns, two wrestlers having prominent muscles heavy faces, bulgy chest, tuft of hair on the heads and wearing longoti (Lion cloak) are wrestling with each other. The figure on the left side is holding his opponent with his left hand and trying to punch him with his right hand with left leg stretched forwards with bend knee , while right leg is slightly bent backwards, the opponent wrestler with right leg is bent forward is trying to hold the leg of his opponent. In the extreme left scene (3rd scene) again two wrestlers are shown wrestling with each other, both have long hair with small chignon on the top of the heads, muscular body with protuberant belly holding each other with their left hands, having shields in their right hands, right leg of the right wrestler forwarded with bend knee ,while the left leg is stretched backwards which is now missing.

The wrestler on the right side is standing with open legs. The top of the fragment is decorated with lotus petals pointing upwards. 192

Figure No : 87

Inventory no : MK 68

Material : Black Schist

Size : H. 11.5 cm, W. 21.3 cm, D. 6.3 cm

Condition: Broken, defaced and top and bottom are flat.

Description: A fragment of frieze is showing two different scenes of wrestling separated by Corinthian pillar. On the right side two wrestlers with prominent muscles wearing longoti (Loin Cloak) are wrestling with each other. The wrestler on the right side is with heavy face, bulgy chest, tuft of hair on the head right leg forwarded with bent knee, left leg stretched backward, holding the right wrist of the opponent wrestler, the opponent wrestler also has a tuft of hair on his head wearing longoti

(Lion cloak) with prominent muscles, his left leg forwarded with bent knee, right leg is slightly bent backward also holding the hand of his opponent wrestler. On the left scene again two wrestlers are wrestling with each other. The wrestler on the right side has long hair and with small chignon on the top of the head, muscular body with protuberant chest, right leg is forwarded with bent knee holding the left wrist of his opponent with his right hand. The wrestler on his right also has muscular body with prominent belly wearing longoti (Loin cloak), has long hair with small chignon on his head grasping the right wrest with his left hand and resting right hand on the hip with heavy fleshy face, most of the facial features are defaced. Top of the fragment is decorated with lotus petals pointing upwards. There is a tenon at the bottom of the panel.

Figure No : 88

Inventory no : MK 69

Material : Green Schist 193

Size : H. 11 cm, W. 8.7 cm, D. 5.1 cm

Condition: Top and bottom are flat; both sides are broken irregularly, defaced, chipped.

Description: A fragment of frieze is showing two different scenes of wrestling separated by Corinthian column. In the right scene two wrestlers with muscular body and swallowed chest are shown. The wrestler on the right side has tuff of hair on his head, grasping the left hand of his opponent with his right hand, right leg forwarded with bent knee, left leg slightly stretched backward and left hand is resting on his waist wearing longoti, facial features are defaced. The wrestler on his right side has long hair spread on his sturdy neck wearing longoti (Loin cloak) with left leg forwarded with bent knee and right leg stretched back and also holds the right wrest right hand raised up to his chest holding something, facial features are defaced and not visible. On the extreme left side one wrestler is shown with muscular body. A small chignon on his head, wearing longoti (Lion cloak) bending himself is trying to pick his opponent which is not visible. The top of the fragment is decorated with an ovolo enriched with pointed leaf pattern.

Figure No : 89

Inventory No: MK 70

Material : Black Schist

Size : H. 8 cm, W. 17.6 cm, D. 5.1 cm

Condition: Top and bottom flat sides are broken irregularly, defaced and chipped.

Description: A fragment of relief is showing two different scenes of wrestling separated by Corinthian column. On the right side one figure is missing and the 2nd figure on the right side has strong muscular body with swallowed chest, bulging belly, 194 left leg forwarded with bent knee, right leg slightly stretched backward, holding something with his right leg slightly stretched backward, holding something with his right hand which is now missing. Small hair is combed backward; heavy and flashy face facial features are defaced and not visible. On the left side, wrestler has strong muscular body with swallowed chest and bolding belly, long curly hair spared on his sturdy neck wearing longoti (Lion cloak), oval fleshy face with open eye flat nose and shaped lips grasping left wrist of his opponent with his right hand. Left hand is stretched backwards; right leg is forwarded with bent knee. Left leg is slightly stretched backward with bent knee, the figure of his opponents wrestler shows that he has muscular body with heavy belly, wearing longoti (Lion cloak), left leg is forwarded with bent knee while right leg is stretched slightly backward with missing foot. The wrestler also grasped right wrist of his opponent with his left hand while right hand is punching position, facial features are defaced and not visible. The bottom of the relief is decorated with pointed leaf pattern.

Figure No : 90

Inventory No: MK 147

Material : Green schist stone

Size : H. 16 cm, W. 5 cm, D. 3.1 cm

Condition: Head is missing right shoulder broken and feet below the drapery are visible.

Description: Headless ascetic stands on a high pedestal decorated with saw-tooth design. Right arm is damaged at the shoulder bent over the chest towards the left arm . In the left hand he holds a kamaṇḍalu or water flask. The figure clad in uttariya and paridhana, the uttariya covers the left shoulder while the left shoulder is 195 bare. Folds of the drapery are clearly visible at both legs. Pedestal slightly cracks from the left side.

Figure No : 91

Inventory No: MK 49

Material : Green schist stone

Size : H. 16 cm, W. 7.2 cm, D. 4 cm

Condition: Broken, defaced and soil incrustation.

Description: A standing male figure is having open lotus with reverse petals on the head, both arms are now missing. Somewhat smiling face is open and long shaped eyes with prominent eyelids, short flat nose, and prominent close shaped lips, short neck and round chin. Thick curly hair is prominent on the head and wears ear pendants.

Figure No : 92

Inventory No : MK 14

Material : Black schist

Size : H. 47 cm, W. 20 cm, D. 3 cm

Condition: Chipped and soil incrustation.

Description: Fragment of a relief is showing an ascetic clad in paridhana with clasped hands, head tilt towards his left with straight hair falls on the shoulders and topknot fasten with a cord, narrow forehead, round closed eyes, short flat nose, closed shaped lips and small mouth. Right leg is visible while left is missing. Ascetic is standing in front of the Pipal tree (śāla tree) in anjalimudrā.

Figure No : 93

Inventory No : MK115

Material : Green schist 196

Size : H. 46.5 cm. W. 20 cm, D. 9.11 cm

Condition: Broken, defaced and soil incrustation.

Description: A fragment of relief is showing two standing figures, an ascetic and

Brahmān. The figure on left wears uttariya and paridhana, the uttariya covers the upper left shoulder leaving right bare, drapery folds are visible on the body. Figure on left side holds a water flask (kamaṇḍalu) in his left hand, brings his right hand towards his face, facing towards his right, facial features are not cleared, his curly hair falls on his shoulder. Figure on right wears uttariya and paridhana, drapery folds are clear as his body; somewhat long beard face and broad forehead, long nose, strictly closed lips having moustaches curl downwards; hands in anjalimudrā; almond shaped close eyes with prominent eyelids . His hair tightened in jata, a curl of hair falls on his back.

Figure No : 94

Inventory No : MK 96

Material : Green schist

Size : H. 25.5 cm, W. 12 cm, D. 5.1 cm

Condition: Head is missing, feet below the drapery, separated toes are damaged and drapery folds are slightly chipped. The decoration of the pedestal is defaced.

Description: A headless figure (probably a donor) is standing on a low pedestal, the decoration of the pedestal is defaced, holding bunches of lotus flowers in his both hands, figures are wearing uttariya and paridhana, left shoulder and arm are covered by uttariya while the right shoulder is bare wearing a necklace of flexible chain. The figure is bare footed.

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Figure No : 95

Inventory No : MK 87

Material : Green schist stone

Size : H. 39 cm, W. 15.5 cm, D. 6 cm

Condition: Broken, defaced and with soil incrustation.

Description: A Relief panel is showing three worshippers, two worshippers are on the front while third one is standing in the background. Worshippers on the front joined their hands in anjalimudrā. The figure on the extreme right side wears uttariya and paridhana, facial features are not clear except the outer lines but one can recognize that the figure has an oval shaped fleshy face; his long hair has a knot on the top of the head falls on the both sides. The figure behind this also wears uttariya and paridhana with prominent folds on the legs his feet are in frontal view. The left foot of this figure joins with the right foot of the first figure, the figure has oval shaped face with prominent almond shaped eyes with heavy eye lids, nose and lips are damaged , long and curly hair fallen on both side, making knot on the top of the head.

The worshipper in the background wears uttariya and paridhana having flexible chain with right hand raised in a position as he is about to throw something. The figure has an oval shaped fleshy face with prominent long nose, smiling lips and damaged eyes.

Long and curly hair is falling on both sides.

Figure No : 96

Inventory No : MK 109

Material : Green schist

Size : H. 25.5cm, W. 20 cm, D. 9 cm

Condition: Broken, defaced and chipped, bottom is flat and smooth. Right corner is broken from bottom and with soil incrustation; two pinholes are visible on the panel. 198

Description: A gable is depicting a standing Bodhisattva in the center clad in uttariya and paridhana, the uttariya covers the left shoulder, is wearing elaborate jewelry, long necklaces, long ear pendants, and bracelet. His left hand is resting on hips while right hand is missing from elbow. Head dress and facial features are badly damaged; neck band is decorated with lotus flower. Three figures including Vajrapāni holding vajra in his left hand are on the left side of the Bodhisattva and probably four other figures are on the right side. A Yakshi with prominent female features clad in uttariya and paridhana are facing towards her left, with left hand resting on her hips while right hand is touching to her right knee, having round fleshy face, full open eyes with heavy lids, small shaped nose, small mouth with shaped lips, chin is round, wears long ear pendants, curly hair and round twisted band on the top of the head, from the band long hair falls on the forehead is on extreme left side of the Bodhisattva, behind this figure is a standing bearded man dressed in uttariya and paridhana holding an unidentified object in his upraised right hand, left hand is missing now. The figure has open round eyes and badly damaged nose, lips are shaped and hair combed backwards. Behind this is the standing figure of Vajrapāni with vajra in his left hand with chignon on the top of the head. Round fleshy face wide open eyes with prominent lids, nose is badly damaged. A prominent crack on the neck of the

Vajrapāni can be seen. On right side of the Bodhisattva probably four figures are present. Two of them are completely damaged and their description is not possible while among the remaining two figures one is facing outwards clad in uttariya and paridhana holding a bunch of flowers in her upraised right hand, figure wears long ear pendants, facial features are not clear. The second figure is also dressed in uttariya and paridhana with both hands raised in the air. The uttariya made a loop on the back of this figure; facial features of this figure are also damaged. 199

Figure No : 97

Inventory No : MK 170

Material : Green schist

Size : H. 35.5 cm, W. 12.5 cm, D. 3 cm

Condition: Badly defaced, broken, chipped and with soil incrustation.

Description: A standing figure is holding flowers in her hands, wearing tunic. From the position of the legs it seems that the figure is in moving position or about to move.

The left leg is bent forward and the right leg stretched backwards, feet are missing now.

Figure No : 98

Inventory No : MK 86

Material : Schist stone

Size : H. 19 cm, W. 8.8 cm, D. 4.5 cm

Condition: Fragment of relief, top and bottom flat and smooth sides are broken irregularly.

Description: The panel shows two figures under pointed arches, separated by a framed Persepolitan column. Figure under right arch is in (Rajalisana pose) sitting position with right leg folded and left leg bent with knee upwards while right hand is raised up in abhaya pose and the left hand is resting on the left knee, perhaps wears a turban, facial features are not clear. The figure under left arch is facing towards his left with hand joined, right leg is extended forward, the figure is nude with prominent sex organ and heavy tummy, facial features are not clear. Bottom is flat and smooth while the top of the panel is decorated with lotus petals pointed upwards.

200

Figure No : 99

Inventory No: MK 85

Material: Schist stone

Size : H. 9.5 cm, W. 19.5 cm, D. 9.7 cm

Condition: Broken, defaced and soil incrustation. Bottom is flat and smooth, top is broken from right.

Description: A fragment of architectural frieze is shown with two nude figures under semi circular arches, separated by a Persepolitan column. The figure under the right arch is seated on the ground with right leg folded and left leg bent, facial features are much defaced. Head touches top of the arch. The figure on the extreme right is resting against the back wall with open bent legs and joint hands in the lap, head touches to the top of the arch, facial features are much defaced. Heads of the arches are beaked in shaped decorated with grapes pendant. Curves of the arches are of stepped and inner steps of the arches are decorated with saw - tooth designs. Top of the panel is decorated with a row of pointed leaf pattern.

Figure No : 100

Inventory No : MK 62

Material : Black Schist

Size : H. 11.5 cm, W. 24 cm, D. 10.1 cm

Condition: Top is broken irregularly. Bottom is somewhat flat .Both left and right sides are broken irregularly.

Description: A fragment of frieze is representing two figures under semi circular pointed arches. Right arch contain the bust of Bodhisattva turned towards his left wearing uttariya, leaving right shoulder bare. The figure also wears ear pendant and flexible (chain) necklace and has a turban wavy hair visible below the turban. The left 201 arch also contains a bust of Bodhisattva in abhaya- mudrā, the abhaya hand is webbed wearing uttariya and an elaborated turban uttariya covered both shoulders, cords of the turban are visible, wearing ear pendant, other ornaments are, a necklace of flexible chain hanging on front of the chest, wear bracelet in his abhaya hand, oval shaped fleshy face with flat nose and prominent eye lids. Almost pointed arches are molded with volutes rest on a circular capital; a standing opening lotus is clearly visible between the two arches. The top border is broken from right side whereas it is decorated with lotus petals pointing upwards.

Figure No : 101

Inventory no : MK 84

Material : Green schist

Size : H. 8 cm, W. 18.1 cm, D. 8.11 cm

Condition: Top bottom is flat, on left side of the fragment is half squire hole for fixing of the panel, both sides are broken irregularly.

Description: A fragment of relief is showing nude figures in worshipping attitude.

The figures are under the semi circular arches. The right arch contains a kneeling figure of a worshipper facing towards his left with joined hands, wearing uttariya and paridhana and a turban having a globular ornament on the top of the turban, wavy hair visible below the turban on the back of the neck, flat nose, and prominent open eyes with fleshy face. The left arch contains kneeling worshiper with his body slightly bent towards his left while facing towards outside the arch, touching the end of the arch with his left hand while right hand is on the right thigh, wearing uttariya and paridhana, narrow forehead, curly hair, flat nose and open prominent eyes are the main features of the fig. The semi circular arches are moulded and with distinct volutes and grapes pendants. A framed Persepolitan column separates the arches. On 202 the left side, a Corinthian column is also visible. The border above is decorated with lotus pointing upwards.

Figure No : 102

Inventory No: MK 26

Material : Green schist

Size : H. 10 cm, W. 29.5 cm, D. 12.7 cm

Condition: Top flat but left side is broken irregularly, bottom is flat but the lower right is broken, both sides are broken irregularly, defaced and soil incrustation.

Description: A fragment of relief is showing two scenes separated by an Ionic pilaster. On the extreme left is a single standing figure. Facial features are not clear, left hand is resting on his thigh, brings his right hand towards his face. In the next scene, there are three standing figures in dancing position, the figure in the centre is absorbed in dancing, his left hand is on his hip while right hand raised up, somewhat round face, open prominent round eyes and curly hair. On his right is a female in dancing position, her right hand is on her hip while left is on her chest, facial features are not clear, however the figure has curly hair. The figure on the left of the central figure is also in dancing position with cross legged, right hand raised up, left resting on the frame of the pillar, facing towards his right, prominent ear and eyes, remaining facial features are not clear. On extreme right of the panel is an encased pilaster. Top of the panel is decorated with a row of pointed leaf pattern.

Figure No : 103

Inventory No : MK 89

Material : Green schist

Size : H. 10 cm, W. 31cm, D. 3.5 cm 203

Condition: Fragment of relief is broken, chipped, top broken, bottom is flat and both sides are broken irregularly.

Description: A relief panel is showing three different scenes separated by three Ionic columns, read from right to left, in the first scene two nude figures are shown with missing heads and with prominent sex organs facing frontally, both figures raised their left hand up to the chest, while right hand of both figures are missing now. In the second (middle) scene, two nude figures with prominent sex organs, the figure on the right side is holding something in his right hand, left hand bent towards his chest with bent knee facing towards the figure on his left. The figure on the left has right hand on his hip and left hand is missing now facing frontally, their heads are now missing. The figure on extreme left side is standing cross legged with left hand on his left thigh.

The right hand is now missing, facing frontally; head is now missing. Bottom with flat is prominent tenon.

Figure No : 104

Inventory No : MK117

Material : Black schist

Size : H. 16 cm, W. 16 cm, D. 7.9 cm

Condition: Broken irregularly, chipped, defaced and with soil incrustation.

Description: Fragment of a panel, on the left side of the panel is a female with bowl

(offering), standing besides the bodhi tree, clad in uttariya and paridhana, with right shoulder probably bare, facial features are not clear. On the right side, same figure is shown with bowl, dressed in uttariya and paridhana, with right shoulder bare, facial features are defaced. Top of the Panel is decorated with acanthus leaves.

204

Figure No : 105

Inventory No : MK 120

Material : Black schist

Size : H. 3.7 cm, W. 26.5 cm, D. 9.11 cm

Condition: Broken, chipped and defaced. Top flat and smooth, bottom and sides are broken irregularly.

Description: Architectural fragment is divided into two horizontal registers decorated with foliage. The upper register shows two scenes separated by pilaster, whereas the lower register is missing now (The left scene). On the right side of the Buddha is a worshipper in anjalimudrā wearing tunic, with open eyes, short and broad nose, shaped lips, fleshy face wears an elaborate turban, in kneeling position, facing towards Buddha, who is sitting on a stool, clad in uttariya and paridhana with right hand raised facing towards his right. Feet are clearly visible whereas facial features are not clear. On the left of the Buddha is bodhi tree. In the right scene there is Torana

(gate of the monastery in Greek style).

The lower register is decorated with scroll of pointed Pipal leaves. In the centre, an ovolo enriched with pointed leaf runs horizontally which divide the panel into two parts.

Figure No : 106

Inventory No : MK 0015

Material : Red Brown Stone

Size : H. 26 cm, W. 16 cm, D. 7.2 cm

Condition: A rectangular frame is broken from the top right side and from the left side complete edge is broken. 205

Description: An architectural fragment depicts an Indo-Persepolitan tapering pilaster inside the rectangular frame decorated with straight festoon with overlapping leaves, facing downwards. The capital of the pilaster is bell shaped with mushroom dome, above capital is decorated with acanthus leaves in downwards direction. At the capital two humped bulls sitting back to back. Between backs of the bulls there is rectangular head of the lion which is damage now. The base is broken.

Figure No : 107

Inventory No : MK 118

Material : Lime stone

Size : H. 13.3 cm, Dia. 6 cm, D. 3.5 cm

Condition: Broken, defaced and soil incrustation.

Description: Fragment of the stūpa‟s upper part “Pinnacle”, tip of finial and two upper segment of pinnacle are in good condition whereas the lower segment of pinnacle is broken from the right side.

Figure No : 108

Inventory No : MK 93

Material : Green schist

Size : H. 17 cm, W. 13cm, D. 6 cm

Condition: Top and bottom are flat; defaced, chipped and with soil incrustation.

Description: An architectural fragment with front and right sides are decorated with full-blown lotuses flowers having eight heart shaped petals with central boss, fixed in a square shaped frame separated by horizontal fillet. Upper front and right side frames are not showing complete flowers because of degeneration.

206

Figure No : 109

Inventory no : MK 98

Material : Soft stone

Size : H. 5.5 cm, W. 11 cm, D. 5 cm

Condition : Broken

Description: An oil lamp with incised decoration on rim.

1. Lower body of the lamp is decorated with lotus petals.

2. Side view of the oil lamp is also showing incised lotus petals.

Figure No : 110

Inventory No : 83

Material : Black schist

Size : H. 6 cm, Dia. 20 cm

Condition: Edges are slightly broken, defaced and chipped.

Description: A fragment of Chattra is decorated with lotus flowers, spread out from the disc. The engraved lines are prominent.

Figure No : 111

Inventory No : MK 51

Material : Green schist

Size : H. 8.5 cm, W. 12.5 cm, D. 4 cm.

Condition: Broken, chipped and corroded. Top and bottom are smooth and flat, top with brackets, both sides broken irregularly and with soil incrustation.

Description: A fragment of relief is showing flying amorini. Figure clad in uttariya is wearing an elaborate turban, ear pendants, long almond shaped eyes with prominent lids, damaged long nose, shaped closed lips, with narrow forehead, and oval shaped face. 207

Figure No : 112

Inventory No : MK 185

Material : Green schist

Size : H. 17 cm, W. 15.5 cm, D. 7.6 cm

Condition: Broken, left hand is missing and with soil incrustation.

Description: Stūpa peg is decorated with male figure and acanthus leaves. The figure wears a close- fitting upper garment; drapery folds are visible on the left shoulder and on the lower of abdomen. Left hand is missing while right hand is raised and closed in the form of fist, long hair falling on the shoulders and has a round topknot on the head. Round full open eyes, flashy round face, long and broad nose, small closed mouth with shaped lips. On the right of the figure is a branch of acanthus leaves.

Figure No : 113

Inventory No : MK177

Material : Black schist stone

Size : H. 20.5 cm, W. 29 cm, D. 5 cm

Condition: Broken irregularly, chipped and defaced.

Description: A bust of standing male figure is having oval shaped fleshy face. Nose, lips, forehead and eyes are badly damaged, however, right ear and outline of moustaches is visible. Overall facial features are damaged and scratched. Figure is wearing turban and a scarf with prominent lotus at the end, holding the scarf with his left hand, bending right arm towards the chest.

Figure No : 114

Inventory No: MK 135

Material : Green schist

Size : H. 26.5 cm, W. 20 cm, D. 9.11 cm 208

Condition: Broken irregularly, chipped and defaced.

Description: Fragment of gable is decorated with dragon and a parrot, facing backwards with beak resting on his back its tail; chest is attached with the outer surface of the arch. Main part of the scene is missing. The missing seated figure most probably of Buddha, however, a devotee or worshipper most probably a female is clearly visible on extreme left. The worshipper clad in uttariya and paridhana; round face broad forehead, almond shaped eyes remaining facial features are not clear, wears ear pendant. The figure is in anjalimudrā, has chignon on the top. The front face of the arch is decorated with a row of brackets.

Figure No : 115

Inventory No : MK 179

Material : Green schist

Size : H. 10 cm, W. 19.5 cm, D. 6.7 cm

Condition: Broken, hard deposits of soil accumulated on the whole fig.

Description: Fragment of foliage with left hand of a figure is detached from the fig.

The hand is broken from the elbow, resting on foliage; little finger is missing; whereas the thumb and rest of the fingers are clearly visible. Upper side of the hand is chipped off.

Figure No : 116

Inventory No : MK 160

Material : Green schist

Size : H. 18.5cm, W. 10.5 cm, D. 5.7 cm

Condition: Broken leg, chipped hard deposits of soil are accumulated on the whole figure. 209

Description: Fragment of relief is showing the right leg of a kneeling figure on an open lotus with upturned petals, all other parts of the figure are missing. From the part of the leg it is clear that the figure wears paridhana, the thicker fabric at the thigh continues on the knee.

Figure No : 117

Inventory No: MK 159

Material : Green schist

Size : H. 8 cm, W. 12.5 cm, D. 7 cm

Condition: Broken, defaced and soil incrustation.

Description: Fragment of relief is showing a male figure with heavy face, curly beard and puffy cheeks along with acanthus leaves pointed in down wards direction.

Figure No : 118

Inventory No : MK79

Material : Green schist

Size : H. 9 cm, W. 16.5 cm, D. 5.5 cm

Condition: Broken, chipped and scratched.

Description: A fragment of relief is showing head of Central Asian male figure in three dimensional. Head is slightly turned towards his right. He has round fleshy face with full open eyes with iris in relief and probably pupils incised. The hair is in irregular narrow spaced parallel lines gathered in chignon on the top of the head. Nose lips cheek and chin are badly damaged.

Figure No : 119

Inventory No : MK 152

Material : Green schist

Size : H. 4 cm, W. 3.5 cm, D. 2.3 cm 210

Condition: Broken, Chipped, facial features are partially defaced and with soil incrustation. A head of male figure mouth, lips and right cheek are badly damaged and scratched.

Description: A round shaped fleshy face with snail-shell shaped curly hair, narrow forehead; round shaped eyes with thick eye brows are probably closed. Small and flat nose, lips with deep corners, thick curly hair have covered the whole head.

Figure No : 120

Inventory No : MK 57 a

Material : Green schist

Size : H. 9.5 cm, W. 4.5 cm, D. 3 cm

Condition: Broken, Chipped, corroded and with lime incrustation.

Description: Head of an Ascetic with beard and moustaches. Curly hair are combed back with narrow spaced parallel lines, the hair of the beard is also depicted with narrow spaced parallel lines. Forehead is broad. He has convex almond shaped full open eye, ears and nose are missing.

Figure No : 121

Inventory No : MK153

Material : Green schist

Size : H. 12.7 cm, W. 6 cm , D. 2.9 cm

Condition: Broken, chipped and defaced head of an Ascetic with beard is seen.

Description: Fragment of relief is showing a head of an aged ascetic in oval shape, having beard. Schmidt‟s view, “the more senior individuals are generally shown as anchorites with beards and mustaches. They have a wizened appearance and wear 211 their hair bound or wrapped up on top of their heads in large bun or layered coil.”340In the figure hair is combed back with slightly narrow spaced parallel line tightened on the top in chignon. Hair of the beard is also depicted with narrow spaced parallel lines, broad forehead, long nose, lips are thick and upper lip is covered with mustaches. Over all the facial features are damaged and scratched.

Figure No : 122

Inventory No : MK 59

Material : Green schist

Size : H. 10 cm, W. 5.5 cm, D. 2.7 cm

Condition: Broken, chipped, defaced and with lime incrustation.

Description: An oval shaped head of god Indra with beard and chignon on the head, right side of the face is chipped pitted and with lime incrustation, broad forehead, eyes are completely damaged, nose and lips are not clearly visible. The hair is combed backwards. On the upper lip traces of moustache are present which are now missing.

Some hair is visible below the turban.

Figure No : 123

Inventory No : MK 161

Material : Green schist

Size : H. 8cm, W. 4 cm, D. 3.1 cm

Condition: Broken, defaced and with soil incrustation.

Description: Fragment of relief is showing an oval shaped Ascetic head with damaged nose and eyes. He has moustaches and beard. The hair is combed back with straight narrow spaced parallel lines tightened on the top in chignon. Hairs of the beard are also depicted with narrow spaced parallel lines combed downwards. Lips

340C.W.Schmidt, (1990) Bodhisattva Headdress and Hair Styles in the Buddhist Art of Gandhāra and Related Regions of Swat and Afghanistan,Vol-l.PhD thesis, The Ohio State University, pp.281-220. 212 are thick and upper lip is covered with thick moustaches, ears are missing. Side pose of the face is shown, which is much in damaged condition.

Figure No : 124

Inventory No : MK39 b

Material : Stucco

Size : H. 4.5 cm, W. 4 cm, D. 1.9 cm

Condition: Damaged, chipped and defaced.

Description: A male head is wearing a turban decorated with a rosette in the centre; cords of the turban, long curly hair combed downwards below the turban on both sides are clearly visible. Round face, flat small and chipped nose, with robust eyes and prominent eye brows, close and shaped lips with deep corners, narrow forehead are the main facial features of the image.

Figure No : 125

Inventory No : 44

Material : Black schist

Size : H. 14.5 cm, W. 9 cm, D. 4 cm

Condition: Forehead, nose and chin are chipped lips are badly damaged.

Description: Head of a princely figure with dense hair arranged in waving shaped curls almost in wave lines terminate in the top loop in the shape of canopy. Face is oval in shape with broad forehead, half almond shape eyes with prominent eye lids, with deep and sharp edges fleshy face chipped flat nose, wearing moustaches pointed upwards. Lips are not visible. Ears are missing.

Figure No : 126

Inventory No : MK 38

Material : Terracotta 213

Size : H. 6.5 cm, W. 6 cm, D. 2.7 cm

Condition: Broken, chipped and neck break irregularly.

Description: A shaven head of a monk is shown with narrow fore head, long earlobes, flashy round smiling face with prominent eyes and eyebrows. Check bones are slightly prominent. The nose is flat, mouth slightly open and has open lips, upper lip is thin than the lower and has deep corners .Groves on the neck are clearly visible.

Figure No : 127

Inventory No : MK 40

Material : Stucco

Size : H. 7.5cm, W. 5 cm, D. 2.6 cm and H. 6.5 cm, W. 3 cm, D. 1.7 cm

Condition: Two heads of lion the head on right side is defaced and chipped off where as head on left side is in good condition.

Description: Head of the lion on the right has robust eyes with open jaw while the head on left has open mouth full open round eyes pointed ears pinnacles are turned towards the front.

Figure No : 128

Inventory No : MK 101

Material : Green schist

Size : H. 15 cm, W. 15.5 cm, D. 6.7 cm

Condition: Broken hands of Buddha, fingers are badly damaged.

Description: Hands of a seated Buddhas are in preaching pose. The right hand is broke from the elbow while left from the wrist. All the fingers and thumb of the lower

(left) hand touch the bottom of the upper hand (right hand) the lower hand is damaged from the outer side while the little finger of the upper hand is damaged from the knuckle. 214

Figure No : 129

Inventory No : MK 42

Material : Black schist

Size : H. 2.6 cm, W. 7.4 cm, D. 3.5 cm

Condition: Broken hand of seated Buddha image is shown.

Description: The fragment of left arm is broken at the elbow from the image of a seated Buddha. The hand is turned towards the chest. Drapery folds on the arm show that Buddha wears monastic robe, drapery folds are very prominent having broad strips moving downwards which shows that the drapery falls up to the knee. The outer side of the hand is in convex position, thumb and three fingers are in good condition where as the little finger is damaged.

Figure No : 130

Inventory No : MK 41

Material : Black schist

Size : H. 3.4 cm, W. 2 cm, D. 1.7 cm

Condition: Thumb is missing and remaining four fingers are broken from the first necklace.

Description: Broken hand is wearing two bracelets thumb is completely missing. The length of the index finger is more as compared to the middle and the fourth finger has little more length than little finger. The two bracelets appear to be joined. The bracelets are decorated with round and square shape engraving design. see Zwalf, A

Catalogue of the Gandhāra Sculpture in the British Museum l, 1996, p.57, Fig. 87.

215

Figure No : 131

Inventory No : MK 145

Material : Green schist

Size : H. 15 cm, W. 17 cm, D. 7.3 cm

Condition: Broken defaced, damaged and with soil incrustation.

Description: A pedestal with right foot of probably Bodhisattva is wearing local shoe

(Chappal*) having a decorative strap between thumb and long finger. Tips of the fingers and the thumb are damaged. The base of the pedestal is decorated with saw- tooth design, while central part of the pedestal is decorated with a row of vertical trifld calices. Top of the pedestal is plain.

*Chappal; A Pushto word used for shoes.

Figure No : 132

Inventory No : MK 24

Material : Black schist

Size : H. 19 cm, W. 13 cm, D. 4.5 cm

Source : Malakand Collection (Swat Museum)

Condition: Broken chipped top and bottom and soil incrustation.

Description: A winged atlas in a square shape architectural block is looking towards his right upwards wishfully, with right leg vertical upwards and left leg folded horizontal. The right hand rests on the right knee while the left hand is on left knee.

He has broad and fleshy chest, the body slightly turns to the right, and small wings are visible. There is a wreath around his head, thick curly hair arranged in backwards.

Open eyes, small nose are the prominent facial features of the figure. A lower garment covers the left thigh. The upper and lower frame is decorated with saw- tooth design.

216

Figure No : 133

Inventory No : MK 52

Material : Green schist

Size : H. 18.8 cm, W. 14 cm, D. 6.3 cm

Condition: Broken, chipped, right side of the frame is broken and with soil incrustation.

Description: A winged Atlas with a cup of wine is in a square architectural block type frame. The atlas has his right leg almost in horizontal position sloping below the knee the right arm extends from the body while hand rests on the right leg .The left arm bent from the elbow and has a cup of wine in this hand. The head is turned to its left, the figure has broad chest, and the body slightly turns to the right. The figure has small oval shaped face, facial features are much defaced, looking up wards wearing, a lower garment, small wings behind the arms are visible .Upper and the lower of the frame is molding with saw tooth enrichment. There is a wreath around his head. The body is almost muscular. Tenon is visible at the bottom.

Figure No : 134

Inventory No : MK 72

Material : Green schist

Size : H. 18 cm, W. 15.5 cm, D. 7.3 cm

Condition: Chipped and the right top side of the frame is missing.

Description: An Atlas in a square frame, sides of the frame are decorated with row of saw tooth, motifs of the Atlas turns to his right, his right leg is almost in horizontal position whereas the left leg is in vertical position. The heel of the right foot is 217 touching the tummy and lower garment. Right hand is resting on right knee. Fingers are touching the ground, whereas left arm is bent and elbow pointing outwards and hand is resting on the knee. The body is almost muscular. 218

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