The Petroglyphs of Gogdara I (2019)

Petroglyphs are captivating forms of rock art, created by removing part of a rock surface through incising, picking, carving, or abrading. They can be found worldwide and are often associated with prehistoric peoples, providing glimpses into their ancient cultures and artistic expressions. The term "petroglyph" originates from the Greek words "petra," meaning "stone," and "glyphō," meaning "to carve." It was first coined in French as "pétroglyphe."

It is important to distinguish petroglyphs from petrographs, which are images drawn or painted on a rock face. While both types of images fall under the broader category of rock art or parietal art, they differ in the technique used. Petroglyphs involve the physical removal of rock material to create the image, whereas petrographs are created using pigments or paints. Additionally, petroforms refer to patterns and shapes made by arranging large rocks and boulders on the ground, which is a distinct form of rock art. Another unique form of rock art is the Inuksuk, found only in the Arctic, except for reproductions and imitations built in other regions.

One remarkable site showcasing prehistoric petroglyphs is Gogdara in the Swat Valley. These petroglyphs were discovered by G. Tucci in 1955 and depict a variety of wild and domestic animals, as well as anthropomorphic representations. According to the excavator of the site, the Gogdara rock surface boasts 117 graffiti. Among these, 71 are animal figures, 17 represent objects, and 29 remain unidentified, with no human figures present. These petroglyphs are believed to date back to the period from 1 AD to 2 BC, providing a glimpse into the artistic expressions and cultural practices of the ancient inhabitants of the Swat Valley.

Exploring prehistoric petroglyphs allows us to connect with the past and gain insights into the beliefs, lifestyles, and artistic talents of our ancestors. These intricate carvings on stone surfaces serve as a testament to the human desire for expression and communication across time and space. By studying and preserving these petroglyphs, we can deepen our understanding of our shared human history and appreciate the rich diversity of ancient cultures around the world.

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