Wednesday, September 30, 2009

Taxila: The Cradle of Gandhara Art - - Old Civilization in Pakistan (Part-4)




Its ruins, including temples and a fortress, lie just northwest of Rawalpindi. It was the capital of the Buddhist kingdom of Gandhara and a centre of learning. Founded by Bharata, the younger brother of Rama, it came under Persian rule and in 326 bc was surrendered to Alexander the Great. Ruled by a succession of conquerors, including Bactrians and Scythians, the city became an important Buddhist centre under King Ashoka (c. 261 bc). The apostle Thomas reputedly visited it in the 1st century ad. Taxila’s prosperity in ancient times resulted from its position at the junction of three great trade routes. When they declined, the city sank into insignificance; it was finally destroyed by the Huns in the 5th century. Taxila was designated a UNESCO World Heritage site in 1980.

History

Taxila is known from references in Indian and Greco-Roman literary sources and from the accounts of two Chinese Buddhist pilgrims, Faxian and Xuanzang. Literally meaning “City of Cut Stone” or “Rock of Taksha,” Takshashila (rendered by Greek writers as Taxila) was founded, according to the Indian epic Ramayana, by Bharata, younger brother of Rama, an incarnation of the Hindu god Vishnu. The city was named for Bharata’s son Taksha, its first ruler. The great Indian epic Mahabharata was, according to tradition, first recited at Taxila at the great snake sacrifice of King Janamejaya, one of the heroes of the story. Buddhist literature, especially the Jatakas, mentions it as the capital of the kingdom of Gandhara and as a great centre of learning. Gandhara is also mentioned as a satrapy, or province, in the inscriptions of the Achaemenian (Persian) king Darius I in the 5th century bce. Taxila, as the capital of Gandhara, was evidently under Achaemenian rule for more than a century. When Alexander the Great invaded India in 326 bce, Ambhi (Omphis), the ruler of Taxila, surrendered the city and placed his resources at Alexander’s disposal. Greek historians accompanying the Macedonian conqueror described Taxila as “wealthy, prosperous, and well governed.”



Within a decade after Alexander’s death, Taxila was absorbed into the Mauryan empire founded by Chandragupta, under whom it became a provincial capital. However, this was only an interlude in the history of Taxila’s subjection to conquerors from the west. After three generations of Mauryan rule, the city was annexed by the Indo-Greek kingdom of Bactria. It remained under the Indo-Greeks until the early 1st century bce. They were followed by the Shakas, or Scythians, from Central Asia, and by the Parthians, whose rule lasted until the latter half of the 1st century ce.

According to early Christian legend, Taxila was visited by the apostle Thomas during the Parthian period. Another distinguished visitor was the neo-Pythagorean sage Apollonius of Tyana (1st century ce), whose biographer Philostratus described Taxila as a fortified city that was laid out on a symmetrical plan and compared it in size to Nineveh (ancient city of the Assyrian empire).

Taxila was taken from the Parthians by the Kushans under Kujula Kadphises. The great Kushan ruler Kanishka founded Sirsukh, the third city on the site. (The second, Sirkap, dates from the Indo-Greek period.) In the 4th century ce the Sāsānian king Shāpūr II (309–379) seems to have conquered Taxila, as evidenced by the numerous Sāsānian copper coins found there. There is little information about the Sāsānian occupation, but, when Faxian visited the city at about the beginning of the 5th century ce, he found it a flourishing centre of Buddhist sanctuaries and monasteries. Shortly thereafter it was sacked by the Huns; Taxila never recovered from this calamity. Xuanzang, visiting the site in the 7th century ce, found the city ruined and desolate, and subsequent records do not mention it. Excavations begun by Sir Alexander Cunningham, the father of Indian archaeology, in 1863–64 and 1872–73 identified the local site known as Saraikhala with ancient Taxila. This work was continued by Sir John Hubert Marshall, who over a 20-year period completely exposed the ancient site and its monuments.

Mohenjo-Daro Ruins: A Challenge For Archaeologists - - Old Civilization in Pakistan (Part-3)


A well-planned street grid and an elaborate drainage system hint that the occupants of the ancient Indus civilization city of Mohenjo Daro were skilled urban planners with a reverence for the control of water. But just who occupied the ancient city in modern-day Pakistan during the third millennium B.C. remains a puzzle.

"It's pretty faceless," says Indus expert Gregory Possehl of the University of Pennsylvania in Philadelphia.

The city lacks ostentatious palaces, temples, or monuments. There's no obvious central seat of government or evidence of a king or queen. Modesty, order, and cleanliness were apparently preferred. Pottery and tools of copper and stone were standardized. Seals and weights suggest a system of tightly controlled trade.

The city's wealth and stature is evident in artifacts such as ivory, lapis, carnelian, and gold beads, as well as the baked-brick city structures themselves.

A watertight pool called the Great Bath, perched on top of a mound of dirt and held in place with walls of baked brick, is the closest structure Mohenjo Daro has to a temple. Possehl, a National Geographic grantee, says it suggests an ideology based on cleanliness

Wells were found throughout the city, and nearly every house contained a bathing area and drainage system.

City of Mounds

Archaeologists first visited Mohenjo Daro in 1911. Several excavations occurred in the 1920s through 1931. Small probes took place in the 1930s, and subsequent digs occurred in 1950 and 1964.

The ancient city sits on elevated ground in the modern-day Larkana district of Sindh province in Pakistan.

During its heyday from about 2500 to 1900 B.C. the city was among the most important to the Indus civilization, Possehl says. It spread out over about 250 acres (100 hectares) on a series of mounds, and the Great Bath and an associated large building occupied the tallest mound.


According to University of Wisconsin, Madison, archaeologist Jonathan Mark Kenoyer, also a National Geographic grantee, the mounds grew organically over the centuries as people kept building platforms and walls for their houses.

"Gradually you have a high promontory on which people are living," he says.

With no evidence of kings or queens, Mohenjo Daro was likely governed as a city-state, perhaps by elected officials or elites from each of the mounds.

Prized Artifacts

A miniature bronze statuette of a nude female, known as the dancing girl, was celebrated by archaeologists when it was discovered in 1926, Kenoyer notes.

Of greater interest to him, though, are a few stone sculptures of seated male figures, such as the intricately carved and colored Priest King, so called even though there is no evidence he was a priest or king.

The sculptures were all found broken, Kenoyer says. "Whoever came in at the very end of the Indus period clearly didn't like the people who were representing themselves or their elders," he says.

Just what ended the Indus civilization—and Mohenjo Daro—is also a mystery.

Kenoyer suggests that the Indus River changed course, which would have hampered the local agricultural economy and the city's importance as a center of trade.

But no evidence exists that flooding destroyed the city, and the city wasn't totally abandoned, Kenoyer says. And, Possehl says, a changing river course doesn't explain the collapse of the entire Indus civilization. Throughout the valley, the culture changed, he says.

"It reaches some kind of obvious archaeological fruition about 1900 B.C.," he said. "What drives that, nobody knows."

Lost City Of Mohenjo-Daro - - Old Civilization in Pakistan (Part-2)


The name of Mohenjo-daro is widely recognized as one of the most important early cities of South Asia and the Indus Civilization and yet most publications rarely provide more than a cursory overview of this important site.

There are several different spellings of the site name and in this article we have chosen to use the most common form, Mohenjo-daro (the Mound of Mohen or Mohan), though other spellings are equally valid: Mohanjo-daro (Mound of Mohan =Krishna), Moenjo-daro (Mound of the Dead), Mohenjo-daro, Mohenjodaro or even Mohen-jo-daro. Many publications still state that Mohenjo-daro is located in India (presumably referring to ancient India), but since the creation of Pakistan in 1947, the site has been under the protection of the Department of Archaeology and Museums, Government of Pakistan.

Discovery and Major Excavations

Mohenjo-daro was discovered in 1922 by R. D. Banerji, an officer of the Archaeological Survey of India, two years after major excavations had begun at Harappa, some 590 km to the north. Large-scale excavations were carried out at the site under the direction of John Marshall, K. N. Dikshit, Ernest Mackay, and numerous other directors through the 1930s.

Although the earlier excavations were not conducted using stratigraphic approaches or with the types of recording techniques employed by modern archaeologists they did produce a remarkable amount of information that is still being studied by scholars today.

The last major excavation project at the site was carried out by the late Dr. G. F. Dales in 1964-65, after which excavations were banned due to the problems of conserving the exposed structures from weathering.

Since 1964-65 only salvage excavation, surface surveys and conservation projects have been allowed at the site. Most of these salvage operations and conservation projects have been conducted by Pakistani archaeologists and conservators.


In the 1980s extensive architectural documentation, combined with detailed surface surveys, surface scraping and probing was done by German and Italian survey teams led by Dr. Michael Jansen (RWTH) and Dr. Maurizio Tosi (IsMEO).

Details of the most recent salvage excavations and conservation are found in obscure journals or reports that are not readily available to the public, but are listed in the Bibliography for those interested in searching them out.

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Harappa: Capital of the Indus Civilization - - Old Civilization in Pakistan (Part-1)


Harappa is a large city of the Indus Civilization, and one of the best known sites in Pakistan, located on the bank of the Ravi River in Punjab Province.

This early urban archaeological site was occupied between about 3300 and 1500 BC. Harappa includes an area of about 250 acres, and may be about twice that, given that much of the site has been covered by the flooding of the Ravi. Intact structural remains include those of a citadel, a granary, and two cemeteries. The mud adobe bricks of significant architectural remains were robbed in antiquity.

Harappa Industries

The earliest Indus phase occupation at Harappa is called the Ravi phase (ca 3300-2800 BC, and at that time the site included a small occupation, with the first agate bead-making activities on the site. In a part of the site dated to the Kot Diji phase (2800-2500 BC) was found a piece of pottery with a possible early Indus script marking, and a cubical limestone weight that conforms to the Harappan weight system.

During the Harappa phase (2600-1900 BC), a faience and steatite bead production workshop was identified, by several layers of 'faience slag', chert blades, lumps of sawn steatite, bone tools, terracotta cakes and large masses of vitrified faience slag. Also discovered were abundant broken and complete tablets and beads, many with incised scripts.

Archaeology at Harappa

Harappa was discovered in 1826 and first excavated in 1920 and 1921 by the Archaeological Survey of India, led by Rai Bahadur Daya Ram Sahni, as described later by M.S. Vats. Other archaeologists associated with Harappa include Mortimer Wheeler, George Dales, Richard Meadow, and J. Mark Kenoyer.

Sadqain: A Legendary Artist And Calligrapher - - Untraditional, Self-made And Self-taught Artist


SADQAIN (1930-1986) Sadeqain was an untraditional and self-made, self-taught painter and calligrapher. His forte is his creation of mysterious - almost mystic - environment, which he achieves with his bold, uninhibited use of media, colors and lines.



Sadqain was a prolific artist; he experimented with portraits, sketches, caricatures, book titles and did a lot of Koranic calligraphy, but he seems to be at his best while depicting Ghalib. Whether it is due to his extreme devotion to Ghalib, or his profound interest in Urdu poetry (Sadeqain himself was a fine Urdu poet and published two poetry collections), he seems to be at his artistic best while painting Ghalib.




According to Aslam Kamal, "They say that Deewan e Ghalib is a Revelation. Don't know whether it's true but Sadeqain's work on Ghalib is sort of a stamp of approval to this belief".



A rare visionary, Sadqain was able to bridge the gulf between the disparate groups in society. At the age of 31 his work won recognition at the 1961 Paris Biennial. Sadqain had a prolific career and much of his work is displayed in public places. Like Diego Rivera, he celebrated the role of the proletariat. His early mural, based on the dignity of labour is housed in the Mangla dam, near Islamabad. Later he painted a mammoth ceiling for The Lahore Museum based on poet Iqbal’s verses evoking the spirit of man to triumph over odds. While working on his second ceiling at the Freer Hall in Karachi, the painter took ill and died leaving the work incomplete. During his life Sadequain became a cult figure with a large following from all walks of life.



Elongated human forms with bleeding pen-like fingers and nest-shaped head were central to his imagery. In the 70s he got nation-wide fame for his rendering of Quranic verses. Sadequain was one of the few artists who continuously received State support and was equally admired by the people. The very work that gave him a large following did not get critical acclaim. Despite the divided opinion, his influential position in art history cannot be denied. He came from a long line of master calligraphers and was perhaps ideally suited to bridge the gap between modernity and tradition. The content of his work has wider appeal, the early works addressed social evils and in the later decades Sadequain used the unifying spirit of calligraphy to appeal to the masses, who came in large numbers to see his exhibitions.


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