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Painted Rock Shelters of the Swat-Malakand Area from Bronze Age to Buddhism

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Painted Rock Shelters of the Swat-Malakand Area from Bronze Age to Buddhism Painted Rock Shelters of the Swat-Malakand Area From Bronze Age to Buddhism - Materials for a Tentative Reconstruction of the Religious and Cultural Stratigraphy of Ancient Swat Zur Erlangung des Doktorgrades eingereicht am Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin Im November 2010 Vorgelegt von Luca Maria Olivieri aus Rom, Italien Tag der Disputation: 5. November, 2011 With Appendices by Matteo de Chiara, Gerhard Payr and Abdul Nasir Khan English Translation by Kirsten Scriven-Haldis Revision and Editing by Massimo Vidale 1. Gutachter: Prof. Dr. Harry Falk. 2. Gutachterin: PD Dr. Ute Franke. I The lowlands S of Malakand as seen from the study area. II III To our friend Mr Aktar Manir (Panr village, Swat) Restorer and Chief Surveyor for its 50 years of work with the Italian Archaeological Mission IV V CONTENTS General map...........................................................................................................I Map 1....................................................................................................................II Map 2 (by E. Morigi)..........................................................................................XI Map 3 (by E. Morigi).........................................................................................XII General Photos A-H (by L.M. Olivieri and C. Primangeli)...............................XV PREFACE......................................................................................................................1 INTRODUCTION Rock Art in Swat-Malakand and Surrounding Areas: the State of the Art..........5 The Painted Shelters of Swat-Malakand...............................................................8 Topographical Setting...........................................................................................9 Documentation Techniques.................................................................................11 The Problem of Dating........................................................................................12 METHODOLOGY The Painted Shelters as Privileged Spaces: Landscape Archaeology.................15 Informed Methods for a ‘Visual Art’...................................................................17 A Question of Style...............................................................................................21 Cognitive Archaeology and Rock Art: Exploring the Meaning..........................26 DEFINITIONS Physical Setting.....................................................................................................29 Organization of the Paintings................................................................................30 Interpretation of the Figures..................................................................................31 Others Terms.........................................................................................................33 VI DESCRIPTION OF SUBJECTS PICTOGRAMS 1. Human Figures..............................................................................................35 1.1 Warriors and Archers 1.2 Horseback riders 1.3 Hunters 1.4 Dancers 1.5 Farmers and Shepherds 2. Anthropomorphs............................................................................................41 2.1 Super-human Beings 2.2 Therio-zoomorphs 3. Deities.............................................................................................................45 3.1 Heroes 4. Wild animals...................................................................................................47 4.1 Monkeys 4.2 Felines 4.3 Caprids 4.4 Other ungulates 4.5 Canids 5. Domestic animals...........................................................................................49 5.1 Equids (Horses) 5.2 Bovines 5.3 Ovines 5.4 Canids 6. Structures........................................................................................................51 6.1 Buddhist Architecture 6.2 Other Architectural Features 6.3 Geometric Patterns and Grid-like Designs 7. Objects............................................................................................................57 7.1 Tools and other items 7.2 Headgear and Clothes 7.3 Weapons IDEOGRAMS 8. Ideograms and Icons......................................................................................59 8.1 Grid-like Designs VII 8.2 Symbols and Tamğas PSYCHOGRAMS 9. Psychograms.................................................................................................61 9.1 Dots 9.2 Association lines 10. Body modifications.....................................................................................64 10.1 Modifications of the Head and Torso 10.2 Modifications of the Arms and Hands 10.3 Modifications of the Legs and Feet ADDENDUM 1: Charts I-IX (Typologies)..................................................................68 I. Human Figures II. Body Modifications III. Animals IV. Structures and Geometric Patterns V. Tools and Headgears VII. Weapons VIII. Psycograms, Ideograms, Deity or Kings IX. Main Actions ADDENDUM 2: Graphics I-X (Percentage of occurrence).........................................76 I. Major groups of figures II. Human Figures III. Animals IV. Structures V. Main Actions CATALOGUE Introduction.........................................................................................................79 Key Gazetteer.............................................................................................................81 ADDENDUM 3: Chart X...........................................................................................104 X. Correspondence Chart VIII DISCUSSION.............................................................................................................107 Elements of Continuity and Discontinuity........................................................108 A Homogeneous Physical Setting Recurring Physical Features Elements of Lexical and Synctactical Continuity/Discontinuity Evidence for Chronology...................................................................................113 Structures Horseback Riding Horsemanship Gears Triśūla-like Ideograms and Associated Figures Deities and Heroes Other Chronologically Relevant Information Further Archaeological Evidence.......................................................................124 Direct Associations Indirect Associations External Associations Different Types of Painted Shelters....................................................................130 Topographical Constraints Description and Interpretation Comparisons Syntax, Style and Meaning.................................................................................143 ‘Sanctuary’ Complexes ‘Hermitage’ Complexes Deliberate Private Place Complexes Public Painting Place Complexes Casual (and Short-term) Place Complexes ADDENDUM 4: Charts XI-XIII.................................................................................157 XI. Distribution Chart according to the major themes or groups of figures XII. Distribution Chart according the physical site features XIII. Lexical and synctactical continuity/discontinuity CONCLUSIONS Preliminary Summary........................................................................................163 Marginality and Acculturation: Space and Time...............................................165 IX On the Existence of a ‘Tribal Belt’...................................................................180 Subsistence and Role of the ‘Tribal Belt’.........................................................185 Who were the Makers of the Painted Shelters?................................................195 Post-scriptum1...................................................................................................202 ADDENDUM 5: Chart XIV.......................................................................................205 XIV. Distribution Chart according the major recognized cultural horizons APPENDICES 1. Toponomastic Lexicon..................................................................................209 (Matteo De Chiara) 2. Die Felsmalereien von Tanawal (Manshera District)...................................211 (Gerhard Payr) Vorbemerkungen Geographische Lage und Bevölkerung Geschichte Diskussion der Felsbilder Schlussfolgerungen 3. The painted shelters of Chargul (Mt. Karamar N, Swabi District)...............221 (L.M. Olivieri/A. Nasir Khan) A Brief History Recent Documentation Conclusions 4. Post scriptum2: Painted shelters in and around Mt. Ilam...............................227 (L.M. Olivieri) Introduction The shelter nearby Amluk-dara, Mt Ilam N (Serai site, Swat District) The shelters at Marghan, Mt. Ilam S (Buner District) LIST OF PLATES......................................................................................................233 PLATES Graphic Documentation: Pls. 1-49.....................................................................239 (Drawings by L.M. Olivieri, M. Vidale, F. Martore, and R. Micheli) X Photographic Documentation: Pls. I-CXXII......................................................265 (Photographs by L.M. Olivieri, M. Vidale and C. Primangeli) Swat-Malakand..................................................................................................267 Tanawal.............................................................................................................309 Chargul..............................................................................................................317
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