My visit to Manthal Buddha Rock Skardu (2003)

June 2003

 

During student days, we decided to do a little hike to Manthal Buddha Rock on the foot from Skardu city. When we reached to Rock site heavy rain started, and we did not have any rain cover at that time, In this picture, we were sitting behind the buddha rock under a tree waiting for a stoppage of rain. 

Centuries have passed, yet the watchful gaze of Buddha endures over the tranquil town of Skardu in Gilgit-Baltistan (G-B). Carved in stone, the sage continues to emanate wisdom to those who seek it, although sadly, there are few who do.

Perched on the edge of Manthal village, adjacent to a stream from Satpara Lake, the pale and smooth granite, known as the Buddha Rock, is a relic believed to have been carved between the 8th and 10th centuries. It represents a glorious bygone era when individuals sought enlightenment in the footsteps of the "One Who Woke Up."

The rock bears witness to a vanished tradition and holds significance beyond borders. However, it languishes on the outskirts of Manthal village, neglected and forgotten by the world.

According to Pakistani folklore, the rock remained unknown until British traveler Jane E. Duncan documented it in the early 1900s. Duncan's encounter with the rock brought it to the attention of German scholar August Hermann Francke, who deciphered the Tibetan inscription on the rock and published it, unveiling its magnificence to the world.

Nevertheless, evidence suggests that the rock and its Tibetan inscriptions were noticed earlier. GT Vigne, a British explorer, reproduced the carvings and inscriptions in 1836 and 1838, while AGA Durand published a photograph of the entire rock in 1899.

The ancient relief on the rock depicts Siddhārtha Gautama, the present-time Buddha, at its center. Surrounding him are twenty smaller Buddhas representing the past, with future Buddhas, known as Maitreya, standing on both sides. The carving, known as the "Council of all Buddhas," holds deep significance in the Buddhist tradition and lends its name to the village.

The Tibetan script, although incomplete in places, instructs followers of Gautama to preserve and care for the sculpture. It emphasizes the faithful ones' responsibility to maintain the brightness of the sculptures and keep the offering place clean to prevent decay. Only one part of the script remains visible today, but when Duncan examined the rock, the entire script—with a few missing characters—was intact.

The purpose of the square hole above the Buddha's head, as described by Duncan, remains a subject of debate. Some believe it was used to hold a light, while others suggest it once supported a beam and roof to protect the carving. The square recess and cuts on the edges indicate the presence of a canopy that shielded the paintings on the rock face.

Preservation of the site is essential to safeguard its history. Many believe that the location played a vital role in the spread of Buddhism and attracted pilgrims from distant places. However, concrete evidence regarding its exact use remains elusive.

Despite its historical and cultural significance, the Buddha Rock has not been recognized as a UNESCO heritage site, nor has it been included in Pakistan's Tentative List. Organizations like the Baltistan Culture and Development Foundation (BCDF) have initiated efforts to protect and promote the site. BCDF has constructed a boundary wall around the rock, deployed a security guard, and collaborated with the government's tourism department to build a nearby tourist hut.

While the true story behind the rock may never be fully revealed, its unique composition and depiction of all Buddhas make it an invaluable piece of art. As part of a larger group of Buddhist relics in the region, the rock carving in Skardu stands out for its high-quality craftsmanship and emphasis on the cosmic nature of Buddha.

Baltistan's Buddhist heritage gradually faded over time, replaced by the advent of Islam. The religion's preachers called for the abandonment of the past, resulting in the deterioration and destruction of religious sites and monuments. Today, only a handful

 of artifacts, including the Buddha Rock, remain as enigmatic remnants of "Little Tibet's" ancient legacy.

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.

Shingardara Stupa (2019)

As you travel along the scenic river Swat, specifically from Barikot to Odigram, you will come across several Buddhist monuments that dot the landscape. Among these remarkable structures, the most notable is the stupa located at Shingardar, also spelled as Shankardâr. According to local legend, this stupa holds a connection to a legendary king named Uttarasena.

Legend has it that King Uttarasena, under the command of his master, collected and safeguarded the relics of Buddha within this magnificent stupa. The significance of this historical figure and the sacred relics stored within the stupa have contributed to its esteemed reputation.

However, it is worth noting that the stupa associated with King Uttarasena was not constructed during the late fifth century BCE, which marked the period after Buddha's ascent to Nirvana. Rather, it was built during the sixth century CE, indicating a considerably later timeframe. The architectural features of the stupa, particularly the presence of "Greek" pilasters, exhibit Greek influences, further supporting this later dating.

The stupa of King Uttarasena stands as an imposing structure, its grandeur captured in the accompanying photographs. In the second photo, the foreground reveals a road that cuts through the stupa's foundation. While this act can be seen as an unfortunate act of vandalism, it inadvertently provides us with a better understanding of the monument's immense size. The stupa itself measures a striking eighteen meters, with its foundations extending a significant eight meters below the surface.

Within the stupa's basement, there exists a hole that has been utilized by treasure hunters seeking to acquire the sacred relics of Buddha. This stupa, in comparison to the one at Zurmala, not only surpasses it in size but also boasts superior preservation due to its relatively more recent construction.

The stupa of King Uttarasena stands as a testament to the rich Buddhist heritage in the region, inviting visitors to appreciate its historical significance and architectural splendor. It serves as a tangible reminder of the profound impact Buddhism had in shaping the cultural and artistic landscape of the Swat Valley.

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.