Friday, April 10, 2009
Swat Public Ralley
Friday, April 10, 2009 MINGORA:Protest demonstrations were held in different parts of Swat in favor of calls to sign the Nizam-e-Adl Regulation (NAR). The protesters demanded of President Asif Ali Zardari to sign the draft of proposed regulation in the next 10 days. In case of failure, they warned that a long march would be held toward Islamabad. The participants of the demonstrations held placards and banners criticizing government’s silence over Swat. Photo/Naveed Ali
Thursday, April 9, 2009
Sufi Mohammad announces end of Swat peace camp
SWAT: Maulana Sufi Mohammad announced end of Swat peace in protest.Talking to media, Sufi Mohammad criticized the federal government and said provincial government is sincere regarding peace deal, however, federal government is not in favour of Nifaz-e-Shariat. He said peace is not possible without Shariat. Maulana Sufi Mohammad said he is not withdrawing from peace deal, however, ending camp in protest.He urged President Zardari to implement Shariat as soon as possible and said government will be responsible if law and order situation deteriorate in the area. Photo/Naveed Ali
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Wednesday, April 8, 2009
Wood carving in VALLEY SWAT
Gandahara art flourished and produced some of the best pieces of art and sculpture of all time during Buddhist period in Swat. Stone carving or tracery was the favorite pursuit of the artisans of that age and they carved the life story of Mahatma Buddha in different postures. The artist also took interest in carving the activities of daily life, nature and flowers of various kinds. The carving of beautiful flowers, vines and branches reflect their skills and aesthetic sense and close relationship with nature.
The Pukhtun artisans inherited this passion and artistic pursuit after the occupation of Swat. Natural landscapes and natural beauty replaced the artist pursuits that focused on the statues and figurines in the previous era. These artists were iconoclasts who delegated stone carving in to wood and figurines into flowers and vines. This flow and tradition was passed on to the artisans of today who has devotedly preserved the art of woodcarving and is transferring the beauty of nature to wood with the same zest and passion that existed before.
Woodcarving on wood is not a time consuming and difficult vocation as compared to stone carving, which sometimes took years for an artisan to complete one statue. The huge statues of Buddha in Bamiyan, Afghanistan and the elaborately designed statues of Buddha in Swat are ample proof of the long lasting and devoted labour of the artists of that era. The tradition has lived on forever and still survives in the beautiful valley of Swat with great fervour and enthusiasm.
Due to the abundance of forests and wood in the valley, almost all the rustic people relied on wood as a major source of income and living. Among these users of timber were certain people with creative and innovative bent of mind who transformed a simple log of wood to a monument that was given the status of antiquity and glorious heritage which passed from one generation to the other, kept cautiously and protected immensely. The work of these gifted people became an essential feature of mosques, houses, even cemeteries and a source of pride for its owner. The huge framework and threshold of the main entrance and the door were so delicately and laboriously designed with vines and flowers of diverse sizes and lengths that an admirer, who had little understanding of this art, would stay for a while to have a closer look and admire the taste and labour of the artisan.
The art is still admired and extolled in the valley but the only change that has entered in to this lofty art is the use of modern carpentry machines. In the past, most of the work was done with bare hands and with minute rustic and self created tools made by the local blacksmiths. This ancient art is much relished and celebrated worldwide and most of the antiques of our beautiful valley decorate the museums and houses of well to do people. Foreign admirers of this exquisite art throng the antiquary shops and marts scattered throughout the valley select and export this glorious heritage of our society to their countries and extradite our priceless treasures. The scarcity of wood in the valley may slowly and gradually strangle this art. The Cultural ministry must ponder over the prevailing condition and devise strategies to conserve and preserve these priceless treasures and provide special incentives for the maestro artisans in this rare art.
The buyers have several options to choose from i.e. chairs, sofas, and tables, artistic figurines, carved mirror frames, wooden and carved utensils, divans, and small chairs (Katkay) for seating around the traditional fireplace. But the most sought after item is a huge wooden box (Tawnrai) with four legs and a small opening for storing rice and flour, which are delicately carved and intricately embroidered.
These masterpieces of artwork are created in a very small number now because of the unavailability of the required wood and timber and the modern tin boxes, which has replaced them. The art of wood carving is so firmly rooted in the valley that even the utensils used daily in the household i.e. spoons, plates and bowels etc have been carved impeccably and dexterously manifesting the expertise and zest of the artists.
The Pukhtun artisans inherited this passion and artistic pursuit after the occupation of Swat. Natural landscapes and natural beauty replaced the artist pursuits that focused on the statues and figurines in the previous era. These artists were iconoclasts who delegated stone carving in to wood and figurines into flowers and vines. This flow and tradition was passed on to the artisans of today who has devotedly preserved the art of woodcarving and is transferring the beauty of nature to wood with the same zest and passion that existed before.
Woodcarving on wood is not a time consuming and difficult vocation as compared to stone carving, which sometimes took years for an artisan to complete one statue. The huge statues of Buddha in Bamiyan, Afghanistan and the elaborately designed statues of Buddha in Swat are ample proof of the long lasting and devoted labour of the artists of that era. The tradition has lived on forever and still survives in the beautiful valley of Swat with great fervour and enthusiasm.
Due to the abundance of forests and wood in the valley, almost all the rustic people relied on wood as a major source of income and living. Among these users of timber were certain people with creative and innovative bent of mind who transformed a simple log of wood to a monument that was given the status of antiquity and glorious heritage which passed from one generation to the other, kept cautiously and protected immensely. The work of these gifted people became an essential feature of mosques, houses, even cemeteries and a source of pride for its owner. The huge framework and threshold of the main entrance and the door were so delicately and laboriously designed with vines and flowers of diverse sizes and lengths that an admirer, who had little understanding of this art, would stay for a while to have a closer look and admire the taste and labour of the artisan.Woodcarving is the creative work of chiseling out intricate and elaborate designs in the wood through a sharp cutting metal tool for ornamentation and decoration. The carvings varied from place to place and were shape according to the artisan's inspirations, imaginations and the natural environment surrounding his impressionistic personality. Flowers, vines, statues, animals and natural landscapes dominated the art for a long time. For religious and sacred places like mosques and cemeteries, verses from the Holy Book were carved out with great perfection and dedication. The exquisitely carved wooden pillars in the mosques are the perfect examples of the genuine dedication of the artist with the place of worship and religion surviving till today.
The most celebrated wood for this art in Swat is the dark black, hard, durable and naturally hued wood of walnut trees. Its hard texture, pleasant appearance and strong fragrance reinforce the beauty of the designs and labour of the artist. Cedar and pinewood are used for woodcarving especially the naturally hued, shaded, designed and fragranced wood of Deodar tree.
The most celebrated wood for this art in Swat is the dark black, hard, durable and naturally hued wood of walnut trees. Its hard texture, pleasant appearance and strong fragrance reinforce the beauty of the designs and labour of the artist. Cedar and pinewood are used for woodcarving especially the naturally hued, shaded, designed and fragranced wood of Deodar tree.
The art is still admired and extolled in the valley but the only change that has entered in to this lofty art is the use of modern carpentry machines. In the past, most of the work was done with bare hands and with minute rustic and self created tools made by the local blacksmiths. This ancient art is much relished and celebrated worldwide and most of the antiques of our beautiful valley decorate the museums and houses of well to do people. Foreign admirers of this exquisite art throng the antiquary shops and marts scattered throughout the valley select and export this glorious heritage of our society to their countries and extradite our priceless treasures. The scarcity of wood in the valley may slowly and gradually strangle this art. The Cultural ministry must ponder over the prevailing condition and devise strategies to conserve and preserve these priceless treasures and provide special incentives for the maestro artisans in this rare art. The buyers have several options to choose from i.e. chairs, sofas, and tables, artistic figurines, carved mirror frames, wooden and carved utensils, divans, and small chairs (Katkay) for seating around the traditional fireplace. But the most sought after item is a huge wooden box (Tawnrai) with four legs and a small opening for storing rice and flour, which are delicately carved and intricately embroidered.These masterpieces of artwork are created in a very small number now because of the unavailability of the required wood and timber and the modern tin boxes, which has replaced them. The art of wood carving is so firmly rooted in the valley that even the utensils used daily in the household i.e. spoons, plates and bowels etc have been carved impeccably and dexterously manifesting the expertise and zest of the artists.
There are several distinguished artisans of woodcarving and sculpturing in the serene valley of Swat who are well known for their gifted skill and mastery in this creative discipline. The vale of beauties, Swat, and its talented dwellers has never been lagging behind others in the race of practical as well as philosophical pursuits and vocations. The history of this sublime art will continue repeating itself in this valley and the admirers will continue to throng, appreciate, venerate and acquire these rare and extraordinary artifacts of our meticulous and sublime artisans, the exalted and glorious wood carvers of the glamorous Swat valley.
Stone Carving in Valley Swat
The land of swat, ancient Udyana, remarkably shared the artistic and cultural progress manifested over the centuries in Gandahara proper, but geographically and ethnically it effectively kept its separate identity.
The Buddhist art of Gandahara did not remain confined to its geographical boundary but spread rapidly with the passage of time to the areas in the north of Swat and even beyond Indus to the Taxila valley. This fact is elaborately supported by the discovery of many Buddhist sites in these regions where a large number of sculpture scenes of Buddhist mythology have been discovered during excavations.
The Buddhist art of Gandahara did not remain confined to its geographical boundary but spread rapidly with the passage of time to the areas in the north of Swat and even beyond Indus to the Taxila valley. This fact is elaborately supported by the discovery of many Buddhist sites in these regions where a large number of sculpture scenes of Buddhist mythology have been discovered during excavations.
The Buddhist art of Gandahara, which flourished here from 1st to the 8th century A.D, is so called because it originated in this area and was first recognized in the remains of shrines and monasteries. It is also called Greco-Buddhist or Romano-Buddhist art because it contains some elements, which are certainly of western origin. The art of Gandahara is called Hellinestic as it was apparently inherited from the Greek and Indo-Greek Kingdom which then flourished in Bactria, Afghanistan and part of northern Pakistan during the 3rd –2nd century B.C. The term Romano-Buddhist refers to the western influence as depicted in the architectural composition of the sculptures showing the artistic tradition of the Mediterranean Empire dating to the 1st century A.D. However, it may be remarked that the western artistic influence in the sculptures of Swat and Gandahara promoted the concept of the Buddhist religion, as is predominantly manifested by them. This strongly supports the theory of continuity, as in the sculpture there is a visible blending of western and eastern ideas. The Buddhist art widely spread to foreign countries and is found in Afghanistan in the areas bordering the former Soviet Union and beyond the Indus in the Taxila valley.
The sculptures uncovered from the various sites in Swat valley are worked in stone, stucco and terra-cotta. Many of these are black, soft blue and green schist stone quarried from the hills of Swat, Dir and Buner. These sculptures made in different types, depict various jataka stories and scenes from Buddhist mythology such as the birth of Buddha, his childhood, the renunciation, the departure from his place, the enlightenment, attainment of Buddhahood under the Bodhi Tree, the first sermon in the Deer Park, and the various events of his life leading to his death (Parinirava), the division of his ashes and their burial in stupas at various places.
Besides the reliefs depicting various episodes from the life of Buddha, there are also found several non-Buddhist deities Hindu gods like Indra, Brahma, Panchika and Hariti, the Naga, the Garuda, the yakshas and Yakshis along with Greek and Roman deities such as Athena, Harpocrates, satyrs and architectural elements of undoubted western origin. Single statues of the Buddha, either standing or seated, are seen in many different poses including Abhayamudra (Reassurance) and Dyana mudra, (Meditation), Dharma chakra mudra (preaching) and Bhumisparsa mudra (the earth touching).
The Buddha hair is usually carved in undulating lines drawn back from the forehead with ushnisha often circled by a band and the robe draped from the shoulders.
Another important feature of the Buddha is the urna, a tuft of hair between the eyebrows, shown on the sculptured figures as a small raised circle or a depression, which is gracefully marked by a gemstone. Sometime the head is haloed with a plain or decorated disc.
In Gandahara art another important cult object is the Bodhisattva figure, often depicted in the panels, for instance, Siddhartha with an elaborate headdress, moustaches, plain halo and the forehead ornament with urna like the Buddha himself. He usually wears two necklaces, with various other ornaments including ear-pedants and sandals. Padmapani, the lotus holder, a form of Bodhisattva and Avaloketisvara the god of mercy, in later Buddhism during the 4th –8th century A.D, was also popular in the Swat region and who is believed to help needy people and protect them from all sorts of misshaps, and dangers.
The future Bodhisattva Maitreya is another important and famous creation of Gandahara art. He holds a flask, and also makes gestures of reassurance, meditation and preaching. He had an elaborate headdress, a top knot with looped or pendant stands and ushnisha. He is believed to have descended from the Tushita Heaven and to have landed at the site of Bauty Pind near Taxila where, according to mythology, a big treasure may be revealed, presently lying hidden.
Apart from single statues of Bodhisattvas, the Buddha, other minor divinities and characters, a large number of architectural elements used for adorning the panels such as the Corinthian and persepolitan columns are found at various sites in the Swat valley.
Other important decorative motifs depicted in the panels, are saw-tooth and rope pattern, acanthus leaves, lotus, vine scrolls, the pipal tree and geometric patterns.
Beside the above ornaments the sculptured pieces also show ornate jambs, carved with a series of panels depicting the dancing Amorini, the cornices, brackets and figures of some animals and birds
The sculptures uncovered from the various sites in Swat valley are worked in stone, stucco and terra-cotta. Many of these are black, soft blue and green schist stone quarried from the hills of Swat, Dir and Buner. These sculptures made in different types, depict various jataka stories and scenes from Buddhist mythology such as the birth of Buddha, his childhood, the renunciation, the departure from his place, the enlightenment, attainment of Buddhahood under the Bodhi Tree, the first sermon in the Deer Park, and the various events of his life leading to his death (Parinirava), the division of his ashes and their burial in stupas at various places.
Besides the reliefs depicting various episodes from the life of Buddha, there are also found several non-Buddhist deities Hindu gods like Indra, Brahma, Panchika and Hariti, the Naga, the Garuda, the yakshas and Yakshis along with Greek and Roman deities such as Athena, Harpocrates, satyrs and architectural elements of undoubted western origin. Single statues of the Buddha, either standing or seated, are seen in many different poses including Abhayamudra (Reassurance) and Dyana mudra, (Meditation), Dharma chakra mudra (preaching) and Bhumisparsa mudra (the earth touching).The Buddha hair is usually carved in undulating lines drawn back from the forehead with ushnisha often circled by a band and the robe draped from the shoulders.
Another important feature of the Buddha is the urna, a tuft of hair between the eyebrows, shown on the sculptured figures as a small raised circle or a depression, which is gracefully marked by a gemstone. Sometime the head is haloed with a plain or decorated disc.
In Gandahara art another important cult object is the Bodhisattva figure, often depicted in the panels, for instance, Siddhartha with an elaborate headdress, moustaches, plain halo and the forehead ornament with urna like the Buddha himself. He usually wears two necklaces, with various other ornaments including ear-pedants and sandals. Padmapani, the lotus holder, a form of Bodhisattva and Avaloketisvara the god of mercy, in later Buddhism during the 4th –8th century A.D, was also popular in the Swat region and who is believed to help needy people and protect them from all sorts of misshaps, and dangers.
The future Bodhisattva Maitreya is another important and famous creation of Gandahara art. He holds a flask, and also makes gestures of reassurance, meditation and preaching. He had an elaborate headdress, a top knot with looped or pendant stands and ushnisha. He is believed to have descended from the Tushita Heaven and to have landed at the site of Bauty Pind near Taxila where, according to mythology, a big treasure may be revealed, presently lying hidden.
Apart from single statues of Bodhisattvas, the Buddha, other minor divinities and characters, a large number of architectural elements used for adorning the panels such as the Corinthian and persepolitan columns are found at various sites in the Swat valley.
Other important decorative motifs depicted in the panels, are saw-tooth and rope pattern, acanthus leaves, lotus, vine scrolls, the pipal tree and geometric patterns.
Beside the above ornaments the sculptured pieces also show ornate jambs, carved with a series of panels depicting the dancing Amorini, the cornices, brackets and figures of some animals and birds
Saturday, April 4, 2009
Friday, April 3, 2009
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