Journal of Asian Civilizations

-3Buddhist Collection of Wali-e-Swat: Its History, Classification and

Analysis
Tahira Tanweer
The account of Fa-Hien, I-Tsing and Hiuan Tsang of the 5th, 6th and
7th centuries of the CE and the archaeological remains of the Buddhist
period, scattered all over the Swat valley, prove that Swat remained an
important centre of Buddhism for many centuries. The art at once
dedicated to the services of Buddhism in the heyday satisfied the
spiritual thirst of the devotees. Today thousands of art pieces recovered
from the Buddhist sites unveil the social, political, religious, economic
and cultural life of the people living in that area. This work was
undertaken to study the Buddhist collection of Miangul Abdul Haq
Jehanzeb, the ruler of Swat Valley, populary known as Wali-e-Swat,
who donated it to the Swat Museum, Saidu Sharif. The ruler was
learned and enlightened person, took many steps for the development
of his state. Among the three states of the northern region of Pakistan,
Swat was the only one providing to its people quality education, health
facilities and good communication system available at that time. On the
interest of European scholars, archaeological activities were started
over here in the first quarter of the twentieth century (Stein 1930: 23;
Berger and Wright 1940: iii) . Exploration and excavations were
conducted to ascertain cultural history of the valley (Berger and Wright
1941: iv). The ruler was pleased to facilitate and encouraged
archaeological work in the valley and took keen interest in the
antiquities, which excited him to develop his personal collection mainly
of the Buddhist Sculptures. According to the local sources, he gathered
this collection from various sources.
From his personal collection, the ruler donated 262 relief panels
to the Swat Museum, where they were lying in the reserve collection
unstudied. This significant part of the museum property remaining out
of the focus for a long time, we undertook it for the first time to
document them and bring them into the main stream of research. For
other sculptures, including three relief panels and one stupa model, in a
private collection are also included herewith. This enhances the total
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Buddhist Collection of Wali-e-Swat: Its History, Classification and Analysis

number of relief panels to 266. Their artistic style, kind of material,

classification on the subject matter, analysis for zonal style and
reconstruction of their most probable provenance have been worked out
here scientifically.
Under this work, we have studied the extrinsic and intrinsic
features of the style and material used for the reliefs of the collection in
the context of those found in the scientific excavations of Buddhist
sites in the valley. We have made an effort to establish chronology of
the art and specific features of the zonal workshops of sub-valleys and
at last to reconstruct the most probable provenance of these sculptures.
Because there is no Buddhist site fully intact to provide complete data,
it is difficult to say when Buddhist art started in the valley. The
Buddhist culture, however thrived here at least, from the third century
BC to the tenth century A.D. Their religious establishments were
destroyed by invaders of the succeeding periods as well as by the
ravages of time after they were abandoned by their stakeholders. From
the mid nineteenth century onward, illegal diggers and art lovers
through their clandestine activities spared almost no Buddhist site from
illicit digging, which resulted into the destruction of archaeological
data. Besides criminal activities just mentioned, parallel legitimate and
scientific efforts were also made to preserve the historical and cultural
assets of the valley and establish probable chronological profile by all
possible scientific investigations. Some scholars suggested the date by
studying iconography and stylistic analysis (Foucher 1905: 469-496).
Some have confined themselves merely to the style in vogue at a
specific period of history (Ackermann 1975). Others made an attempt
to prove this art the offshoot of the Hellenistic Art (Louizen-de-Leeuw
1949: 80-144). Marshall presented his theory by studying the changing
style in the various periods of history keeping in view the material used
by the sculptors (Marshall 1960).
Scientific excavations, at Butkara-I by the Italian
Archaeological Mission and Butkara-III and Shnaisha by the University
of Peshawar provided enough material of prime importance to study the
style of sculptures of the valley in the historic perspectives,
architectural traditions and numismatic evidence (Faccenna 1980;
Faccenna and Taddei 1962; Rehman 1990: 1-60). Tracking all the
research carried out till now, and studying the sculptures of Buner,

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Gandhara and Taxila, we come to the conclusion that the Gandhara art
started in the late first century B.C or the beginning of the first century
A.D. The sculpture on columns, capitals and figured cornices of stupas
14 & 17 at Butkara- I indicates that the art began in the Saka period.
This fact further proved by the excavations of sites in Taxila (Marshall
1960: 17). Many other objects of that period were also found at
Sheikhan Dehri in Charsadda (Dani 1968).
Developmental Stages of Art in the Swat Valley:
The first stage of the Buddhist art in Swat started at the Saka period, in
the last decade of the first century BC. The execution of the figures at
this stage was very crude, stiff, frontal and drawing like (Pls.1,2).The
composition was balanced with simplification of the body volume
bringing focus on certain body parts, e.g., legs, eyes and hands (Pls1,3). The drapery folds were wrought out as incised lines and dense
parallel grooves (Pl-2). Execution of the Buddha figure was in vogue
right from very beginning (Pls-2,3). He is found seated and rarely
standing with the hand gestures of meditation (dhayna) and
reassurance (abhya).
The second stage of the art started in the last decades of the first
century AD probably 80 to 90 AD. The stiffness, frontality (schematic
composition of the front view) and drawing like attentions are changed
into flexibility and mobility (Pl-4,5).The figures became more refined
and the maturity of the art can be observed at this stage (PL- 6).The
drapery folds were billowing and parallel lines (Pls-4,5). Besides
seated, standing figure of the Buddha was also found in the collection.
Dharmakramudra, the pose of returning the wheel of law was
introduced at this stage. The throne of the Buddha was decorated and
the hallo became larger.
The third stage includes Kus an-o-Sassanian period. During
this period, the workshop of the Swati sculpture became well advanced
to produce any style current or past. The figures were executed with
prominent chin on the longer head, narrowing of the eyes under
pronounced upper lids with sharp edges of eyebrow and lips. Various
forms of mudras (poses) were introduced at this stage. The drapery
became thinner with flattened strips and ribs like strings.

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Subject Matter of the Collection

The main theme depicted in the Wali-e-Swat Collection is propagation
of the life and teachings of the Master. i.e; Gotama Buddha. For the
scientific study, the collection is classified into subject matter: religious
and secular scenes. The collection comprised jataka (previous birth
story), life story of the Buddha, individual images of the Buddha and
Boddhisattvas, architectural elements, secular scenes, heads and
garland bearers.
Major part contained all important episodes including jataka
story. Dipankara jataka was one of the favourite previous birth story
favoured by the devotees and by the artist too in the Indus Oxus
School of Buddhist art. The story was depicted by the artist in a way
which was in vogue at that time. Pl-7 is a fragment of a relief, meant
for fixing on a stupa, depicts this story.
The collection has also reliefs depicting some of the episodes
from the life of the Buddha including dream of his mother Queen
Maya, interpretation of the dream by astrologers summoned by his
father king Suddhodhana; scenes showing his birth at the Lumbini
Garden; first bath of the newly born baby; return of Queen Maya to her
husbands town; luxurious life of Siddhartha in the palace, the Great
Departure or renunciation ; taming of mad elephant at Nalagiri; the
Buddha seated in the Indrasala Cave; measuring of the height of the
Buddha by ascetics; miracle of aravasti; the seven Buddhas and
presentation of stra to the chief monk.
Three poses of the Buddha are found in the collection: all seated
in reassuring pose (abhyamudra) meditating pose (dhaymudra) and
turning the wheel of law pose (dharmakramudra).
A good number of panels including cornice pieces depicting
daily life and drinking scenes are found. All the stupa pegs
(nagadantas) with figures not related to the religious repertory with
crude craftsmanship are present in the collection. Architectural
elements like hermika and door jambs are carved with scenes from the
religious philosophy.
Stylistic and Subjective Analysis of the Collection in the Light of
Zonal Workshops
The Chinese pilgrims mentioned a Buddhist sangharama Ta Lo at Ming

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Chi Li (modern Mingora), reportedly enriched with 6000 gold images,
has been identified with the Buddhist monastic ruins of Butkara-I
(modern Gulkada) by G. Tucci, leader of the Italian Archaeological
Mission to Swat (Tucci 1958). Recent research on sculptures of
Butkarta-I and III both situated close by in the Jambil sub-valley
indicates that the first sculptural workshop in the Swat Valley was
established over here. The Buddhist art started in the last decade of the
first century BC here gradually extended to the other sub-valleys
forming different 'zonal workshops'. The work of this first stage
continued for sometime as it is reflected on the drum frieze of the Main
Stupa at Saidu Sharif, which is dated to the middle of the first century
AD (Zwalf 1996: 69). The sculptors of artisans of other artistic
workshops although followed the fundamental rules of carving of the
first workshop, their creative input in the art of carving made their
specific 'zonal workshop' look distinct in artistic features from others.
The artistic activities initiated in the Jambil sub-valley prepared
comparatively small reliefs, which continued throughout this formative
stage. The execution of figures was very crude and no attention was
paid to minor details. The upper fillet of panels was decorated with
overlapping acanthus leaves ( Pl-1)and (Pl-8) for lanceolate leaves.
Two different scenes on single panel were separated by vine leaves or
Corinthian pilasters. Emphasis was made on specific body parts, e.g.,
hands, eyes (Pls-1). All the reliefs of the collection that could be
associated on stylistic basis to the 'Zonal Workshop of the Jambil subvalley' exclusively depict daily life and bacchanalian scenes.
Besides secular scenes, we have found the Buddha figure in the
collection. His face is round and fleshy with robust eyes and incised
irises and indent pupils. Hallo behind his head is very small and
without any decoration. Pipal (Banyan tree) leaves canopy, curving
downward in the later period, is carved turning upward at this
formative stage (Pl-9). The dense drapery folds are indicated by incised
lines. The neckline of the drapery is round and close to the neck (Pl.
10). Hand gesture of the Buddha at this stage is abhaymudra, while
that of the devotees is anjalimudra. Symbolic representation at this
early stage is also found (Pl.11). Stupa pegs or nagadanta with figures
are prepared crude (Pl.12). Corinthian pilasters at this stage are over
sized and un-proportionate. Figures are slightly turned back. Reliefs of
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Buddhist Collection of Wali-e-Swat: Its History, Classification and Analysis

the collection can be assigned to the second stage of art of the Jambil
sub-valley, we observe advancement in the degree of carving. The artist
could show at this point flexibility and mobility of figure. Figure of the
Buddha is depicted without any hesitation. Hand gestures depicted at
this stage are abhaymudra and anjalimudra.
The reliefs of the collection classified to the third stage of the
'Zonal Workshop of the Jambil sub-valley' achieve more refinement in
execution of the figures. Frontality of the first stage is now developed
into three dimensional view and side poses are easily accomplished
(Pl.13). The carving of round fleshy faces still continues. Enlarged flat
us nis a of the Buddha became smart and higher. At this stage
terracotta figure of the Buddha with strong Indian influence, i.e., round
fleshy face, voluptuous lips and hair with snail-shell curls are found
(Pls.14). The Buddha seated in padmsana bare footed on an inverted
lotus throne is found in the collection (Pl-15). The size of hallo became
larger. Moustaches worn by figures still continue at this stage of the
'Zonal Workshop'. A variety of headdresses carved by sculptor depicts
his ability to portray things from his environment. The artist got
mastery over how to carve complex scenes. The same gestures of
hands, that is, dhaynamudra, abhyamudra and anjalimudra are found.
The drapery folds became paired parallel grooves (Pl-13).
At the first stage of the 'Zonal Workshop' of the Illum Khwar
sub-valley, caitya arches of the Indian fashion with Persepolitan
pilasters and flying amorino is depicted (Pl. 16). The drawing-like
attention of the figures is more visible in this zonal workshop (Pl-2).
Hand gestures of the Buddha are dhaynamudra and abhyamudra.
Stupa pegs or nagadanta with crude workmanship and western
influence are still visible (Pl-17). At this stage of the zonal workshop,
we see depiction of western scenes (Pl.18). The depiction of various
episodes from the life story of the Buddha is also a prominent feature
of this stage.
At the second stage of the 'Zonal Workshop of the Illum
Khawar sub-valley episodes from the life of the Buddha increase in
number. Carving of the figures became more refined (Pl-19). The
stiffness of the early stage disappears and mobility and flexibility in
figures are observed. Besides seated figures, standing figure of the
Buddha is also found in this workshop. Cult of Bodhisattva started in

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the Kuaa period is proved by the presence of two figures in this
workshop. Frontality of the early stage is turned into three dimensional
view and figures in true profile are also depicted. Hand gestures of the
Buddha are abhyamudra and dhaynamudra.
At the third stage of the 'Zonal Workshop' of the Illum Khawar
sub-valley, individual images of the Buddha are prepared (Pls-20).
Hand gestures of the Buddha found here at this stage are abhyamudra,
dhaynamudra and dharmakramudra.
More complex scenes like the Buddha seated in the Indrasala
Cave (Pl-21), miracle of ravasti (Pl.22) and Maitreya in the Tus ita
Heaven (Pl-23) are carved. Varieties of headdress of different ethnic
groups are depicted. Inverted lotus throne is also introduced at this
stage (Pl-20). The pose of crossing legs under the knees is introduced.
A variety of garland bearer reliefs are introduced for decorating
different parts of a stupa.
In the Adinzai and Shamozai sub-valleys 'Zonal Workshop' at
the second stage shows figures attenuated. The figures are carved with
natural flexibility (Pls-24). Dresses are Indian and Central Asian.
At the third stage in the Adinzai and Shamozai sub-valley
'Zonal Workshop', the execution of figures becomes more delicate.
Deep carving of relief panels is observed at this stage of the zonal
workshop. The clinging diaphanous drapery of this stage exposes
volume of the body (Pls-25, 26). Subject matter is still Buddha but with
some innovation in the pantheon like depiction of Garuda and naginis
and presentation of sutra to the chief monk. Dresses are Indian and
Central Asian. Sculptor gave more attention to the subject matter rather
than filling up the gaps.
Provenance of the Collection
The main problem with the artifacts of the Buddhist art is that most of
the objects were found scattered in the debris of mixed layers (Rehman
1991: 153; Rehman 1993: 21; Khan :13; Faccenna: 322). Therefore, the
researcher and art historian are compelled to confine their study mainly
to style and establish chronology. This becomes even more difficult
when artifacts are collected as lose finds, as in case of the Wali's
collection. We have studied the style of relief panels of the collection in
the changing perspectives of different periods of history and compared
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it with those found during scientific excavations of Buddhist sites in the

Valley.
After establishing its chronology, the whole collection has been
classified stylistically in three major stages of art. The artifacts of each
of art are grouped in three 'Zonal Workshops' on the basis of
characteristic feature of local artistic tradition of workshop to
reconstruct the most probable provenance of every individual piece of
the collection.
Out of 266 reliefs panels of the collection 52 are placed in the
first stage of art 82 are found belonging to the second stage and 112
pieces are found falling in the third stage of art in the Valley. Among 52
objects of the first stage, 35 are probably from the Jambil sub-valley, 17
from the Illum Khwar sub-valley, while no object with distinct features
of the Adinzai and Shamozai sub-valley was found.
At the second stage among 82 objects, 11 fall in the Jambil subvalley, 59 in the Illum Khawar sub-valley and 12 in the Adinizai and
Shamozai sub-valley 'Zonal Workshop".
At third stage, among 112 objects, 37 fall in the Jambil subvalley, 47 in the Illum Khawar sub-valley and 28 in the Adinzai and
Shamozai sub-valley 'Zonal Workshop'.
The statistics of the whole collection shows hat major part of
the Wali-e-Swat Collection came from the Illum Khawar sub-valley
where 123 objects fall at this zone, 83 pieces came from the Jambil
sub-valley and 40 from the Adinzai and Shamozai sub-valley. The
remaining 20 pieces are too fragmentary to be concluded in favour of
any zone.
Material of the Collection
It is observed that in the Jambil sub-valley at the first stage green schist
was used for the reliefs panels, but in the Illum Khawar sub-valley
black schist was also used in addition to the green. In the later stages,
both the varieties of black and green objects are also found which make
it clear that the artist of the Swat Valley was in contact with the
developments taking place in the neighbouring workshops of Gandhara
and Taxila. He experienced the new media using all his innovative and
creative abilities. The material more suitable for making sculptures was
brought form quarries situated at Amankot and Swegalai in the Valley

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(Florio et al 1993: 68-69).
Concluding remarks
Buddhist collection of Wali-e-Swat lying in the Archaeological
Museum Saidu Sharif, Swat, and with private collectors was properly
documented and studied thoroughly. The collection as classified on
subject matter related to religious and secular scenes. Its style was
studied in the light of 'Zonal Workshop', existing in different subvalleys. Through the study of style and material not only the
provenance of Wali-e-Swat collection was re-constructed but it also
helped in establishing its chronology. Because of confinement to the
huge Wali-e-Swat Collection, we cannot extend our canvas of research
to other sub-valleys that was beyond the scope of the present work.
Although it looked a cumbersome and a difficult task in the
beginning to process this huge material coming from unknown context
and provenance, and to sort it out in a meaningful scientific
interpretation, yet with the progress of research it turned out to be very
interesting and academically productive.
All the goals set in the beginning of the research are achieved.
Now on completion of this research we clearly know the history,
subject-matter, stylistic and statistical information, provenance through
the 'Zonal Workshops' and chronology of the whole collection in the
most probable, almost certain, way.
We hope that it has opened new ways for scholars who intended
to undertake similar study in future. This should be extended to other
neighboring regions of the Swat Valley as well.
Acknowledgment
I am thankful to Anna Filigenzi who checked this research and gave her
valuable suggestions. My thanks also go to Dr. Mohammad Ashraf
Khan for encouraging me from time to time for research.
But I dedicate my research to Prof. Dr. Muhammad Farooq Swati, Dean
Faculty of Arts, University of Peshawar who supervised my research
patiently and helped me to accomplish my task. Without his guidance I
was unable to do the work at this level.

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Siberia, Vol-IX, Liden, Boston, p.322 .
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Tracts MASI, Calcutta
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Peshawar, pp-1-60
Tucci, G. 1958. Preliminary Report on Archaeological Survey of Swat,
Pakistan, East & West, Vol-9, IsMEO, Rome

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Van Louizen-de-Leeuw, J.E. 1949. The Scythian Period, Leiden
Zwalf, W. 1996. A Catalogue of Gandhara Sculpture in the British
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Rehman, A. 1991 Butkara III: A Preliminary Report Ancient
Pakistan, Vol-VII, Department of Archaeology, University of
Peshawar, Peshawar

Pl-1

Pl-2
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Pl-3

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Pl-4

Pl-5

Pl-6
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Pl-7

Pl-9

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Pl-8

Pl-10

Pl-11

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Pl-12

Pl-13

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Pl-15

Pl-14

Pl-16

Pl-1-17

Pl-18
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Pl-19

Pl-20

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Pl-21

Pl-22

Pl-23

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Pl-24

Pl-25

Pl-26

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LIST OF CONTRIBUTORS*
Muhammad Farooq
Swati

Professor of Archaeology/Dean Faculty of

Humanities and Arts, Univertsity of Peshawar

Ghani-ur-Rahman

Assistant Professor, Taxila Institute of Asian

Civilizations, Quaid-i-Azam University
Islamabad

Muhammad Ashraf
Khan

Professor/Director, Taxila Institute of Asian

Civilizations, Quaid-i-Azam University
Islamabad

Tahira Tanweer

Deputy Director, National Archives of Pakistan,

Islamabad

Imtiyaz Shah

Centre of Central Asian Studies, University of

Kashmir, Srinagar

Mukhtar Ali Durrani

Associate Professor, Institute of Arcaheology

and Anthrolpology, University of Peshawar

Waheed I. Chaudhry

Assistant Professor, Department of

Anthropology, Quaid-i-Azam University,
Islamabad

Tooba Rafi

Master, Department of Anthropology, Quaid-iAzam University, Islamabad

M. Naeem Qazi

Assistant Professor, Institute of Arcaheology and

Anthrolpology, University of Peshawar

Sadeed Arif

Lecturer/ Fieldwork Supervisor, Taxila Institute

of Asian Civilizations, Quaid-i-Azam University
Islamabad

The order follows the contents.

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