Bhallar Stupa Taxila (2021)

The coordinates of Bhallar stupa are 33°48'48.44"N, 72°49'30.85"E. Located on the Sarada Hill, just beyond the Haro River, along the route from Mechanical Complex to Haripur, this stupa holds a commanding position. It proudly stands as the tallest stupa in Taxila.

Bhallar stupa has a rich history, with notable visits from Chinese pilgrims pa Hien and Hiuen Tsang. They believed it to be the spot where Buddha himself offered his head. Constructed during the "medieval period" following the Hun era, this magnificent structure comprises a grand stupa, surrounded by votive stupas, shrines, and a monastery. It served as the place where the Buddhist monk Kumaralabha composed his treatise.

The main stupa, though now broken on its northern face, once stood on a majestic oblong base. A flight of steps on the eastern side leads up to this base. The stupa consists of a plinth base, a drum, a dome, and originally, umbrellas. The drum is adorned with Corinthian pilasters, freezes, and dental cornices, beautifully divided into six or seven tiers.

Butkara I, Mingora Swat (2019)

Butkara I, which existed from the 3rd century BCE to the 10th century CE, is identified as the magnificent Tolo described by the Chinese pilgrim Songyun in the 6th century CE. It served as a significant and enduring Buddhist sacred area in modern-day Swat, located in the Khyber Pakhtunkhwa province of north-west Pakistan. Previously known as Uddiyāna, this region held immense importance as one of Buddhism's most sacred locations. It served as a vital hub for trade and pilgrimage routes until at least the 6th century CE when international traffic shifted towards Afghanistan. Despite this shift, Uddiyāna's Buddhism remained prestigious and continued to contribute significantly to the development of the esoteric Vajrayāna tradition. According to Tibetan tradition, Buddhism was introduced to Tibet by the renowned master Padmasambhava, hailing from Uddiyāna.

In the 1950s, the Italian Archaeological Mission of IsMEO (later IsIAO), under the leadership of Domenico Faccenna, commenced the archaeological investigation of Swat, starting from Butkara itself. The primary objective was to rediscover the reasons behind the ancient fame of this land.

The focal point of the sacred area of Butkara I is the Great Stupa, surrounded by 227 minor monuments including shrines, small stūpas, and columns from different periods. Over time, the Great Stupa underwent four major phases of reconstruction, progressively expanding and embellishing its structure. Interestingly, despite these renovations, the original circular plan remained intact, likely to preserve its venerable recognition as a "Dharmarājikastūpa," a stūpa believed to have been built by Emperor Aśoka in the 3rd century BCE, as attested in two early inscriptions.

The most significant period in terms of Buddhist art and architecture is the period of Great Stupa 3, which likely occurred during the reign of the Indo-Scythian king Azes II around the transition from the 1st century BCE to the 1st century CE. This phase marked a crucial turning point in the development of Gandharan art, initiating a wide artistic phenomenon that can be observed within a reliable archaeological sequence. It is noteworthy that the archaeological evidence suggests that the figurative language of Gandharan art originated from Indian influences rather than being purely Hellenistic, challenging the common belief that it started Hellenistic and gradually became "corrupted" by Indian aesthetics.

Equally important is the subsequent period of Great Stupa 4, spanning from approximately 300 CE to the 7th century CE. This period, which includes the time of Huna dominion, is not only one of the longest phases in the site's history but also marked by extensive construction activities and decorative enhancements. Phase 5 (5th to 7th century CE) within this period stands out particularly for its rich architectural and artistic contributions.

The archaeological exploration of Butkara I sheds light on the fascinating journey of Buddhism in the region and the evolution of Gandharan art and architecture. It provides valuable insights into the interplay between Indian and Hellenistic influences and challenges preconceived notions about the origins and development of this significant artistic tradition.