Avalokiteshvara, Buddhist Carvings at Gogdara II (2019)

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Bodhisattva as the lotus-bearer Padmapani was a favored form of Avalokiteshvara, the embodiment of Buddhist compassion. His identifiers are the lotus (padma) held in his left hand, and the small figure of the Buddha Amitabha atop his head. In this early representation, he sits in royal ease, with one leg pendant and a hand poised as if gesturing contemplation. The antelope skin over his shoulder is a reminder of his ascetic nature, akin to Shiva.

Associated with the site of Gogdara II are the two rock Buddhist carvings, both depicting Avalokiteshvara.

Site 1

Site 1

site 2

Site 2

Jahanabad Buddha Reborn

Italian archaeologists have achieved a remarkable feat by restoring one of South Asia's most significant pieces of Buddhist art, nine years after it fell victim to a devastating attack by the Taliban.

The Jehanabad Buddha, renowned for its grandeur, suffered the loss of its face at the hands of Taliban militants. However, through a series of six month-long expeditions, an Italian-led team of restorationists has successfully reinstated the Buddha's visage, resurrecting its former splendor.

This majestic sculpture, an immense cliff-face carving, held an esteemed position as one of the foremost treasures of Buddhist art in the region, second only to the colossal Bamiyan Buddhas of Afghanistan. Tragically, the Bamiyan Buddhas, towering at heights of 115 and 174 feet, met their untimely demise in 2001 at the hands of the Taliban. In a similar act of wanton destruction, the Jehanabad Buddha suffered a similar fate in 2007 when militants callously implanted explosives into its face and shoulders under broad daylight.

Carved during the 6th or 7th century, this sculpture stands as a testament to the Swat Valley's historical significance as a thriving center of Buddhism. At its zenith, the valley radiated with the teachings and practices of the faith, attracting devotees and scholars from far and wide. It is worth noting that Padmasambhava, an influential figure in Tibetan Buddhism, is believed to have been born in the valley shortly after the statue's construction, further emphasizing its cultural and spiritual importance.

The successful restoration of the Jehanabad Buddha stands as a testament to the indomitable spirit of Italian archaeologists and their commitment to preserving and honoring our shared cultural heritage. Through their meticulous efforts, they have breathed new life into this extraordinary work of art, ensuring that future generations can marvel at its beauty and gain a deeper understanding of the profound Buddhist legacy that once thrived in the Swat Valley.

Buddha Rock Carvings 1, 2 at Fizaghat , Swat Valley

19-04-2019

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Nestled in the picturesque Swat Valley, Fizagat emerges as a captivating tourist spot, captivating visitors with its enchanting allure. Perched along the meandering banks of the Swat River, this idyllic location offers a resplendent panorama, allowing one to bask in the mesmerizing vista of the river's cold, flowing waters.

Across from Fizagat, a small hill rises majestically, its surroundings adorned with a bustling array of hotels, shops, and houses. At the heart of this elevated terrain, a remarkable sight awaits the discerning observer—the remnants of two Buddha statue carvings emerge, silently testifying to the region's rich historical and cultural legacy. Alas, the passage of time has not been kind to these statues, as both bear the scars of complete defacement, with the elements of weathering eroding away the intricacies of their once-exquisite features.

It is important to emphasize that the degradation of these carvings is solely a consequence of the relentless forces of nature. Perched at a significant height, these statues have endured the ceaseless battering of wind, rain, and sun, each element contributing to their gradual erosion. Yet, even in their diminished state, their presence exudes an aura of timelessness and invokes a deep sense of reverence.

Adding to the allure, both statues are positioned to face the Swat River, as if in harmonious communion with its mighty flow. This alignment creates a captivating illusion, whereby it appears as though the river gracefully caresses the feet of the Buddha, forging an inseparable connection between the natural landscape and the spiritual realm.

Moreover, it is worth noting that the selection of the location for these monumental carvings was not arbitrary. Instead, it was guided by a profound appreciation for the significance of the territory and the sacredness of the ground upon which they stand. Affectionately referred to as "Fizgat Buddha Rock Carving 1" and "Fizgat Buddha Rock Carving 2," these statues hold a prominent position that resonates with a deep historical and cultural importance.

As visitors traverse this area, they are transported to a bygone era, enveloped in an ethereal atmosphere that immerses them in the wonders of the past. Despite the ravages of time, the Fizgat Buddha Rock Carvings endure as resilient symbols, reminding us of the impermanence of existence and the necessity of cherishing our shared cultural heritage. They encapsulate the essence of the region, inviting all who encounter them to embark on a profound journey of exploration, contemplation, and spiritual enlightenment.

Fizgat Buddha Rock Carving 1

Fizgat Buddha Rock Carving 2

Statue of Buddha at Ghaligay Swat

19-04-2019
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Essay-6 Swat Archaeology Diaries 

Situated near the quaint village of Ghaligay, approximately 18 kilometers away from Mingawara and nestled at the base of rocky slopes, a colossal statue of Buddha commands attention. This magnificent figure, facing west, proudly resides on the left side of the main road leading to Mardan. With its proximity to the left bank of the Swat River, it stands about 1 kilometer away, exuding a captivating presence.

Carved intricately into the living rock of the hillside, deep within the heart of the Swat valley, this statue stands as a testament to the rich heritage of the region. Among the many monumental stone carving Buddhas that grace the landscape, it bears witness to the illustrious past of the people of Swat, the ancient Udyana. Each stroke of the chisel represents a profound connection to the cultural legacy that has shaped this land.

Regrettably, the passage of time has not been entirely kind to this remarkable statue, as it has suffered from the touch of ignorant hands, their scratching and handling leaving their mark upon its surface. The ravages of weathering have also contributed to its partial deterioration. However, despite these challenges, the lower portion of the statue remains remarkably well-preserved, showcasing the endurance of its craftsmanship. In contrast, the upper section of the statue has suffered significant defacement, leaving only faint traces of the head and the halo that once adorned it.

Standing at a height of 4 meters, the graceful statue emanates an air of tranquility and serenity, reminiscent of the typical Gandhara Buddhas of the region, albeit in an enlarged size. Carved meticulously from marble stone, it finds its place enthroned atop a lofty seat, assuming a pose of meditation. The intricately arranged drapery, flowing in delicate folds, envelops both the body and the throne, a testament to the skill and artistry of its creators. Reflecting the later phases of Gandhara sculpture, dating back to the 7th and 8th centuries A.D., it embodies the evolving styles and influences that shaped the artistic expression of the era.

As one stands in the presence of this awe-inspiring statue, a profound sense of reverence and admiration fills the air. The fusion of natural beauty and human craftsmanship is palpable, creating a harmonious blend that transcends time and transports visitors to an era of artistic magnificence. Amidst the tranquil surroundings and the whispers of ancient stories, the colossal Buddha of Ghaligay stands as a poignant reminder of the Swat valley's glorious past and its enduring cultural legacy.

Buddha Rock Carving located at Ghowandai, Barikot

19-04-2019

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During our visit to Barikot, we had the opportunity to explore a captivating site known as Ghowandai, where a remarkable Buddha Rock carving awaited us. Perched on a large boulder face, two sculptures of Buddha stood as enduring testaments to the rich heritage of the region. However, the passage of time had taken its toll, leaving both carvings defaced and the once intricate features fading away due to the relentless impact of weathering. Adding to the site's tumultuous history, it was said to have suffered significant damage in the past as a result of devastating floods in the nearby Swat River.

Barikot, situated in the lower Swat region, earned its reputation as the "gateway to Swat Valley." This vibrant town, bustling with a population of twenty-five thousand, held great significance in the surrounding area.

Delving into the history of Barikot, expeditions conducted during the 1980s and 90s unveiled the remnants of an Indo-Greek town, dating back to the time of King Menander I in the 2nd century BC. However, it was the excavations that commenced in 2011, particularly in the southwest corner of the site, that unearthed even older settlements, unraveling the layers of the town's past. Among these discoveries, an intriguing pre-Indo-Greek level emerged, dating to the mid-3rd century BC, aligning with the illustrious Mauryan era. It was evident that a previous town had met its demise, likely falling victim to the conquest of Alexander the Great during the 4th century BC. Furthermore, in the vicinity of Bazira, a village belonging to the Gandhara grave culture of the 7th to 8th century BC was also brought to light, adding further depth to the historical narrative. Delving deeper, the oldest layer beneath Barikot revealed the remains of a village that had thrived between 1000-1100 BC. Under the rule of the mighty Kushan Empire, Barikot had flourished, evolving into a bustling town before succumbing to a series of catastrophic earthquakes in the 3rd century AD, which left it devastated. Throughout its vibrant history, the city had served as a prominent center of Buddhism, leaving behind a wealth of archaeological sites that still bear witness to its glorious past.

Intriguingly, my friend Majid F. Masud shared a captivating insight, emphasizing the enduring presence of Buddhism in Barikot. According to him, if one were to excavate anywhere within the town, remnants of Buddhist architecture would undoubtedly be unearthed, underscoring the deep-rooted influence of this ancient religion.

Buddha Rock Carvings 1 & 2

Buddha Rock Carvings 2

Buddha Rock Carvings 1 

The Defaced Buddhist Rock Carvings at Rasha Ghata in Kokarai Village

18-04-2019

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During my visit to Swat, I had the privilege of exploring various archaeological sites adorned with Buddha Rock carvings. One of the remarkable sites I visited was located in Rasha Ghata, nestled within the village of Kokarai. Kokarai, a union council in Tehsil Babuzai of Swat District in Khyber Pakhtunkhwa, boasted a rich historical heritage.

Accompanying me on this journey was my gracious host and dear friend, Mr. Majid F. Masud, a Swat native who had spent the last decade meticulously collecting photographs of archaeological sites in the region. Driven by his deep passion for documenting these magnificent historical sites, he was even planning to compile his extensive research into a book.

As we arrived at Rasha Ghata, we encountered a sight that stirred a mix of intrigue and sorrow. Engraved on a single boulder, we discovered two Buddha rock carvings, their once pristine features now defaced and marred. Curious about the cause of their deterioration, I turned to Majid for an explanation. He shared a poignant and disheartening story. During the Taliban era, local villagers, driven by a misguided belief, had intentionally inflicted damage upon these carvings. Mistakenly perceiving the Buddhist statues as symbols of sin, they deemed it their religious duty to deface them, resulting in significant vandalism to these engravings.

Renowned journalist Mr. Fazal Khaliq, a prominent figure in Swat, highlighted the historical significance of these carvings in one of his articles. He noted that the carvings hailed from the Gandhara Civilization, widely regarded as a cradle of Buddhism, which thrived from the early first millennium BC until the 11th century AD. Their existence served as a testament to the rich cultural and religious heritage of the region.

Luca Maria Olivieri, the esteemed head of the Italian Archaeological Mission in Pakistan, emphasized the importance of these carvings to archaeologists, historians, and tourists alike. Describing their significance, Olivieri explained that the sculptures found in the Swat valley were representative of the late Vajrayana Buddhist schools, which had flourished in Swat between the seventh and ninth centuries. The mission, in its dedicated efforts, had successfully documented a total of 221 sculptures, shedding light on the profound artistic and spiritual legacy of the region.

As I stood amidst the defaced carvings, their silent beauty resonated with a profound sense of loss and resilience. These engravings, though bearing the scars of human ignorance, served as poignant reminders of the enduring power of history and the urgent need to preserve our shared cultural heritage.