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.