Buddha Rock Carvings 1, 2 at Fizaghat , Swat Valley

19-04-2019

All fotos are owned

All Text of article owned

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

Interaction with famous Indonesian Traveling writer Agustinus Wibowo in Taxila

August 15, 2014

In 2003, during my university visit to Taxila;  I met a Chinese-Indonesian traveler Agustinus Wibowo who was at that time of very young age and travelling all alone in North of Pakistan.

He entered Pakistan, from Khunjerab Pass and visited valleys of Gilgit, Skardu, Deosai and than came to Taxila he had plans of visiting Afghanistan after that as well. 

He told me that he had also visited Burma, Malaysia, Indonesia and Vietnam and he always travel alone. I asked him why, He replied, "When you travel alone you can hear inside of your soul."

Years back, when Facebook came into being, i luckily find his profile. Got surprised and happy to learn that he became famous travel writer of Indonesia. He has also worked with channels like Nat Geo.

Statue of Buddha at Ghaligay Swat

19-04-2019
All fotos are owned

Source of Text Web
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

All fotos are owned

All Text owned

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

All Text own

All photos own

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.

Jahanabad Rock Inscriptions

18-04-2019
All pictures are owned
Write up Text taken from Mr. Badshah Sardar Research Paper "Rock Art in Swat Valley"
Essay-3 Swat Archaeology Diaries 

Swat valley, an administrative district of the province of Pakistan is rich in innumerable ancient remains like stupas, monasteries, viharas, forts, castles, petroglyphs, carvings, rock inscriptions, painted shelters and stele. 

Jahanabad Rock Inscriptions

This hamlet is situated at distance of about one and half kilometer northeast of Shakhorai village and about five km northeast of Manglaur village on the left bank of Sairkhwar, is approachable by a Jeep track from main Malamjaba road. During the author’s field survey of the Valley he found three inscriptions on two gigantic living rocks. Two huge rocks on the hillside one is known as ‘Oba Ghat’ while the other is known as “KhazanaGhat”. The site is approachable by a steep rise over boulders and through thorny wild bushes. Two inscriptions are carved on ‘Oba Ghat’, meaning the rock of the water and there being a spring below it. The third inscription is engraved on a huge isolated rock of ‘KhazanaGhat’. Their details are as follows:

Oba Ghat Inscription-I 

Oba Ghat inscription-1

Measurement:  length 4 Meters, 3 lines in north south direction

Material: - Granite

Script: - Gupta Brahmi

Orientation:  Facing West

Ref:	Bühler 1979: 135; Stein 1930: 50
Reading:	Line 1: sarvvapāpasyākaranakusalasyopasampada Line 2: svacittavyavadānam Line 3: caetadbudanusasanam
Translation:	“Not to commit any sin, to acquire merit, to purify one’s mind - that is the teaching of Buddha”

Oba Ghat inscription-I, is a Sanskrit rendering of Dhammapada, verse 183 (Bühler 1979: 135). It carved on the upper portion of the rock immediately above the cave is engraved in bold and deeply incised characters. The inscription contains three lines in north south direction, carved high up in the center of the rock face; no one can reach or teach it from the ground surface. This inscription is in a bad condition due to weathering.Oba Ghat Inscription II.

Oba Ghat Inscription-II 

Oba Ghat Site- 2

Measurement:  Length 4 meter 4 lines North South Direction

Material: Granite

Script: Gupta Brahmi

Orientation: Facing West

Reference

Bühler 1979: 135; Stein 1930: 50
Reading 

	Line 1: vācānurakst Line 2: samvrtahkkāyanacaivakusalannakurvan Line 3: tāstrāyinkarmapathānuisokyaāraghye Line 4: nmārgamrpippraveditam Translation
	“(Let him be one) who guards his speech, is well restrained in mind, and commits no evil with his body. Keeping these three roads of action clear, one may gain the path taught by the Sages”

Oba Ghat inscription-II is a rather free Sanskrit rendering of Dhammapada, verse 281 (Bühler 1979: 135). Engraved in bold and deeply incised characters, having four lines, extends over a surface of about four metres in length in north south direction. The lower inscription is carved in the right lower corner of the rock and easily accessible to human activities. It is exposed to both natural and human vandalism.

Both inscriptions engraved on the western face of the rock; contain Sanskrit verses from the Dhammapada. The palaeographic character of their letters, according to Buhler’s analysis, seems to date the inscriptions as from the early Kushan period (Stein 1930: 50).

Khazana Ghat Inscription-III.

Khazana Ghat

Khazana Ghat

KhazanaGhat Inscription-III
Measurement: Length 2.5 meters, 3 lines in east west direction
Material:- Granite
Script Gupta Brahmi
Orientation: Facing West
Reference

	Bühler 1979: 134; Stein 1930: 50
	Line 1: anityāvava (sic! for vata) samskārāutpādavyaya Line 2: dharminahutpadyahinirud (dh)yantetepā (read tesām) Line 3: vyupasamassukham Translation “the Samskaras are truly subject to originating and decay. For, after originated the disappear. Calming them is happiness”

This is the famous verse spoken according the Maha-Parinibbana-Sutta, vi. 16, by Indra at the time of Sakyanuni’s death, or proclaimed by Buddha himself according to the Maha-Sudassana-Jataka (Bühler 1979: 134).

The stone, on which the inscription-III exists, is known as “KhazanaGhat”, as some treasure was at one time found near it. The extensive ruins still exist near the inscription. According to P. O. V. Hinüber, the inscription is well written in spite of two very obvious mistakes as indicated. Paleographicaly the inscription can be dated roughly to the 6th century CE (personal communication).

Conclusion

All the three are deeply and boldly incised on rough stones. The letters, which vary between two and four inches in height, resemble in many respects the so called North-Western Gupta Brahmi characters. Though all three inscriptions unfortunately have not furnished conformed date, yet they provide some justification to the following conclusion.

The Jahanabad inscriptions of Gupta Brahmi characters rendering a Dhammapada,verses reveal and testify the fact that Jahanabad was once an active center of Buddhism. On the basis of Palaeographical characters Hinüber roughly suggests a 6th century CE for these inscriptions (personal communication). According to him it is certainly not younger than about 650 CE at the very latest. Beside these three inscriptions, the colossal relief of Jahanabad Buddha of 7th century CE, and rock relief of seated Avlokitesvara of 7th century CE, in centre of the orchard are the living proof of Buddhism in the Swat valley (Sardar 2005: Pls. 68 and 69).

It was generally believed that Brahmi did not traveled towards North West regions of subcontinent, but the existence of these inscriptions reveal that during Gupta period Brahmi prevailed as language of Dhammapada, verse. It throws light on the fact that engravings and carvings practices were on peak during the 7th century CE in the Swat valley. Those who proposed a theory that Buddhist art was finished in 4th or 5th century CE should revise their thesis. In brief stone has been used from the time of immemorial for petroglyphs, engraving, paintings and writing purposes. It must be remember that any form of rock art has the capacity to display the unknown scene before our eyes. It should not be simply viewed as events depicting daily lives of the remote society. Rock art also renders a spiritual reality before us. It was undying material, used by the primitive man and one of its great functions was to make the rock art everlasting.

Sunset captured from OB Ghat Site

Jogian Sar and Amluk Dara Stupa

Elum Mountain, located in the Buner district, has held great significance for the Hindu community for centuries. Revered as a divine site and a place of pilgrimage, it is known as Jogian Sar among the locals and Ram Takhat (God's Throne) among Hindus. According to Hindu beliefs, Lord Ramchandra, the deity, spent time meditating on this mountain during his pilgrimage, known as binbas. As a religious practice, Hindus visit this sacred site every year in June, although the number of pilgrims has somewhat decreased in recent years.

The name Jogian Sar signifies the peak of the Jogis or Yogis, attributed to the presence of a few Hindu Sadhus (monks) who choose to meditate and reside on the mountain throughout the year. Atop this revered mountain, one can find the remains of ancient temples and a man-made pool carved entirely out of solid stone. This pool serves as a collection point for rainwater, considered holy by the Hindus.

A remarkable structure in the vicinity is the grand stupa of Amluk Dara, which, although now in ruins, still commands attention. Once standing as tall as the Pantheon in Rome, it is situated at the foot of Jogian Sar. This stupa was just one among many Buddhist structures in the kingdom of Udyāna, a prominent region along the Silk Road.

Amluk Dara lies on the route followed by Hindu devotees from lower Swat during their annual visit to the sacred peak of Mount Elum, which serves as a majestic backdrop to the stupa. Even during Buddhist times, the mountain's summit was a revered destination for pilgrims and may have been associated with legendary tales that have persisted to this day.

This area, owing to its strategic location connecting North India with Central Asia, has historically been of great importance. It often marked the borders of larger empires, with rulers from India unable to expand further north due to the mountainous terrain, while rulers from beyond the mountains faced challenges in extending their domains into the Indian plains. Notably, the renowned conqueror Alexander the Great waged significant battles in this region during his campaigns in Central Asia. His army marched east from the city he founded in Kapisa, known as Alexander on the Caucasus (Bagram), and fought numerous battles to gain control of the area. Some of these battles took place in the Swat valley, culminating in Alexander's successful siege of Aornos, an apparently impregnable mountain where locals had sought refuge. Identifying the precise location of this ancient battle has intrigued scholars for over a century, with Pir Sar and Mount Ilam being the most probable candidates.

Legend speaks of the Apalala, a serpent king residing in a high mountain lake in the Hindu Kush. Each year, the Apalala demanded a grain offering from the people residing in the Swat river valley, which flowed from the lake. When the people refused to make the offering, the Apalala flooded their lands as an act of revenge. Seeking help, the people turned to Buddha, who came to the valley, converted the Apalala, and left his footprint on a rock as a symbol of his visit. This footprint, now preserved in the local museum, serves as a reminder of Buddha's presence. The Swat River still floods, and for centuries, the valley remained a significant center of Buddhism. The choice of Amluk Dara and its central stupa was influenced by the landscape, with the fertile Swat valley portraying a picturesque setting with blooming flowers, lush hedges, and trees.

Scholars have highlighted the close connection between monasteries and the Indian concept of a garden, featuring pleasure groves and arbors. The establishment of monasteries often aimed to assimilate them into the cultural category of gardens. The selection of monastery sites considered the framing of views within the garden, which later travelers also noted. This careful selection of sacred spots added to the charm and allure of these places.

During its prime, news of Udyāna's Buddhist sites and temples spread along the Silk Road, carried by monks and merchants, with the mountain valley becoming part of the itinerary for pilgrim monks en route to India. The Chinese monk Faxian was among the first to record his visit to Udyāna around 403 AD. He stayed for several months, visiting the Buddha's footprint, the rock where Buddha dried his clothes, and the place where he converted the "wicked serpent." Faxian documented the presence of 400 Buddhist monasteries in the region.

The historical and religious significance of Elum Mountain, Jogian Sar, and the surrounding areas make them captivating destinations for pilgrims, scholars, and enthusiasts interested in exploring the cultural heritage and ancient wonders of the region.

Elum Mountain (Jogian Sar) in Background