ANALYSIS OF ARCHITECTURAL FEATURES DEPICTED IN THE

RELIEF PANELS FROM ZAR DHERI MANSEHRA

STUDENT NAME: AHSIN ALI SHAH

STUDENT ROLL NO. 57420
STUDY LEVEL: MPhil
DEPARTMENT: ARCHAEOLOGY

SUPERVISOR: DR. SHAKIRULLAH/ASSOCIATE PROFESSOR

CO-SUPERVISOR: DR. ABDUL HAMEED/ASSISTANT PROFESSOR

DATE OF SUBMISSION: 09.03.2021

 CONTENTS
SUMMARY............................................................................................................................2
1. INTRODUCTION................................................................................................................3
2. BACKGROUND/GAP ANALYSIS.........................................................................................3
2.1 Research Questions....................................................................................................5
3. OBJECTIVES......................................................................................................................5
4. RESEARCH METHODOLOGY.............................................................................................6
4.1 Data Collection...........................................................................................................6
4.2 Data Analysis..............................................................................................................6
5. PROPOSED RESEARCH MODEL.........................................................................................7
6. EXPECTED OUTCOMES.....................................................................................................8
7. REFERENCES.....................................................................................................................9

1
SUMMARY
The proposed research aims to analysze and document the architectural elements
depicted in relief panels reported from Zar Dheri, an Archaeological Buddhist complex
located in District Mansehra. The site was initially documented by the Harold Hargreves
in 1922-23 during archaeological Survey of India. Later on, the said site was scientifically
excavated and documented by Tokyo National Museum archaeological Mission to
Pakistan in collaboration with the Department of Archaeology and Museums
Government of Pakistan. A large numbers of artefacts including stone sculptures with
relief architecture were unearthed during consecutive excavation sessions from 1994-
1999. The archaeological findings from Zar Dheri are now exhibited in the Peshawar
Museum. Scholars have conducted research on the various aspects of these findings.
While the present research focuses on the architectural elements depicted on the relief
panels that has not been previously discussed and published by the researchers.

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1. INTRODUCTION
Hazara is one of the most populated divisions of Khyber Pakhtunkhwa Province of
Pakistan extending from Hassan Abdal on grand trunk road along eastern bank of river
Indus through the districts of Haripur, Abbottabad, and Mansehra. There are numbers of
archaeological sites reported from Hazara division of these the most important sites
includes; The Bhamala Buddhist complex in district Haripur, Asoka rock edicts in
Mansehra, Zar Dheri Buddhist complex in Mansehra and newly discovered Gandhian
Buddhist Stupa. District Mansehra is considered as an important destination in term of
tourism and archaeological heritage for both tourist and pilgrims of different religions
i.e. Sikhisim, Hinduism, Buddhism, & Islam.it is difficult to discuss all these sites,
therefore the present research of focus on zar Dheri Buddhist complex. [ CITATION Kir11 \l
1033 ]
Zar Dheri is located 20 km north from Mansehra city in small village Tambah, Shinkiari
on the left bank of Siran River a tributary of Indus River. The site for the first time
documented by Hargreaves in 1920s during his services for archaeological survey of
India. However, the site of Zar Dheri for the first time investigated by Tokyo National
Museum and Department of Archaeology, Pakistan the excavation of the site took place
from1994 to 1995. During this investigation many new discoveries including the
cruciform stupa, and architectural features depicted on stone panels were reported.
According to report published by Tokyo National Museum the various sculptures of
Buddha, Budhisattvas, and worshipers were depicted on stone panels ornamented with
geometrical floral motifs arranged in curved niches (Yasubiro, 2012).

2. BACKGROUND/GAP ANALYSIS
The first report on the site Zar Dheri occurs in Annual of Archaeological Survey of India
in 1922-23 written by Harold Hargreaves of Peshawar Regional Office of Archaeological
Survey of India (TMAMP, 2005).
Hargreaves mentions that the site was given protection under Ancient Monuments
preservation Act as this monument must have been one of the largest Buddhist
establishment in this region. Both TMMP (TMAMP 2005, 2009) And Bivar (Bivar 1996)
stated the ruinous serious state of site.
In 1992, The Tokyo National Museum Archaeological Mission to Pakistan started survey
of Zar Dheri Buddhist site that lasted for until 2005. From 1995 to1999 TMAMP started
survey and excavation of Zar Dheri site. The result of the excavation revealed a plan that
is common to 3rd and 5th century Buddhist temples in Pakistan (TMAMP, 2005). The
excavations at Zar Dheri by the TMAMP have unearthed more than 146 archeological
artefacts the research under discussion focuses on analysis of the architectural features
depicted in relief panels. The architectural elements shown in the relief panels carved /

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moulded by the Gandharan artists have been analyzed by various scholars a review of
the published research on the subject matter is given as under:
Benjamin Rowland, Jr (1936) studied a stucco panels of birth scene of Buddha enclosed
in leaf shaped arch fragment which was acquired from Hadda Buddhist site of
Afghanistan excavated by French archaeologist. This piece of relief was attributed to the
phase of Greeco-Buddhist art the acquired fragment of relief is said to have come from
Rawalpindi a neighborhood of Taxila modern Pakistan[ CITATION Ben36 \l 1033 ].
Kurt Berendt (2000) conducted survey of Andheri, Bhilsa topes provide a new evidence
of early Buddhist world of India and nature of early Buddhist architecture. The site of
Andheri is 8miles southeast of the site of Sanchi located on the crest of steep hill four
stupas of different size were reported due to disturbance or illegal digging of the site
only half of the relief were reported from main stupa the pillar stand on stepped base in
upright position on of its pace comprises male devotee in ”Anjali Mudra” along with
flying birds near the bell capital while on the other face of the pillar a narrative of great
interest the queen Maya’s dream was depicted (Behrendt, 2000).
Woodford (2005) stated that the second century CE saw a remarkable change in
antecedent Buddhist art work the previous frame work was marked by discernible
changes in scale, subject, matter , and in ornamentations it can be seen that the noble
devotees were displaced by the large images of Buddha and Bodhisattvas reflecting the
light on the development of mahayana concepts during Mahayana prominent period
the sculptures were sculpted on highly refined relief the aristocratic or noble
buddhisatvas were characterized by new preferences like increase in hairs and addition
of Turban fashion some new styles were also emerged for example jewelry headdress
etc. the second century is witnessed a change in subject matter selected for sequence
base-relief and stale . The narrative imagery, based largely on biographical details and
myths which were associated with the life of Buddha this narrative was refocused and
extended. Carvings of theophanies and the vision of paradisiacal realms associated with
mahayana traditions make their appearance as suitable subject matter for heirtic and
hierarchal steale and relief (Schmidt, 2005).

Dhejia (1991) defined the artistic skills of early Buddhists artesian’s skills during the
emergence phase of Buddhist art the artists used stone and paint as the media of their
narrative and thoughts. Mostly there were two critical and complementary prerequisites
used for interpretation of early Buddhist art the first interpretation is the aniconism
where the artists used symbolic representation of buddha like stupa ,pillar or Buddhi
tree represent the presence of Skayamuni while in the second prerequisite
interpretation of early Buddhist art the idea of relief art was widely used by the artists
as a media of expressing their narrative during this phase the artist mostly used relief to
represent the biography of Buddhha in exact form rather than in symbolic

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representation the life event of Buddha, holy events and the place where holy events
were performed was depicted accurately on stone panels (Dehejia, 1991).
Badshah Sardar (2017) accommodated some narrative relief reported from Nimogram
Buddhist complex the site is located 45 km west of Mangora. During the excavation of
the site in 1967 along with other artifacts, narrative relief were largely reported the
Nimogram collection mostly provide various life happenings of Buddha depicted on
stone relief this relief consist of architectural fragments of bulk of sculptures decorated
with floral motifs. Along with narrative relief the Nimogram collection provide various
fragmentary pieces of Buddha , Bodhisattvas , Amorini , Wreath Bearers , Atlas figures ,
Vinscrolls , riding dragons or lion , musical performances , worshippers , the doorway
motif with Caitya arches , frieze jambs and Lintels .The noteworthy aspect of the
Nimogram collection is the scarcity of Jatakas stories. The entire collection contains a
single fragmentary frieze, which may be associated with DipankaraJataka (Sardar, 2017).
Farooq Swati (2008) distinguishes the reported relief panels from Butkara III into four
different varieties on the basis of their schematic and stylistic variations, on all varieties
of this relief different event of Budhha life were depicted on refined surface in precise
manner[ CITATION Muh08 \l 1033 ].
2.1 Research Questions
The research aims to address the following questions;
1. What are the major architectural features depicted in the panels reported from
Zar Dheri?
2. What are the historical and religious significance of these architectural features?
3. What are the unique architectural features depicted in the relief panels from Zar
Dheri?

3. OBJECTIVES
The main aims & objectives of the present research are to:
i. Document the architectural feature depicted on stone panels reported during
the archaeological excavation from 1995 to 1999 by Tokyo national Museum
Archeological Mission for Pakistan and Department of Archaeology and
Museums, Pakistan.
ii. Make comparison of architectural feature depicted on stone panels from Zar
Dehri with other panels and standing monuments reported in and outside
Gandharan region.
iii. Establish a possible chronology of architectural features which are depicted on
stone panels on the basis of comparison with other Gandharan sites.

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4. RESEARCH METHODOLOGY
The present research is qualitative in nature. The stone panels displayed in Peshawar
Museum recovered from Zar Dheri during Archaeological excavation (1991-1999) will be
the major focus of this research.
4.1 Data Collection
The photographs of stone panels showing relief architecture in Peshawar museum and
others will be taken primarily and secondary the excavations report, relevant articles,
and ancient architectural books will be considered for completion of present research.
4.2 Data Analysis
To establish relative chronology of relief architecture in Hazara region during late
Kushan period, a comparative study will be designed and all the sculptures reported
during archaeological explorations and excavations will be studied comprehensively.

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5. PROPOSED RESEARCH MODEL

Problem Statement

Research Questions

Relief Architecture

Research Objectives

Research Methodology

Data Analysis

Results and Discussion

Conclusion

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6. EXPECTED OUTCOMES
The present research would help to:
i. Understand the relief architecture specimens reported from Zar Dheri.
ii. Highlight the unique features depicted by the artists at Zar Dheri site.
iii. Established the possible chronology of the architectural fragments reported from
the site.

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7. REFERENCES

Behrendt, K. (2000). An unnoticed relief from the Bhilsa topes and its relationship to the
sculptures of Sanchi. South Asian Studies, 16, 8-9.
Benjamin Rowland, J. (1936). A Graeco-Buddhist Relief. Bulletin of the Fogg Art Museum, Vol. 5,,
25.
Dehejia, V. (1991). Aniconism and the Multivalence of Emblems. Ars Orientalis, Vol. 21 , 46-47.
Sardar, B. (2017). Narrative Stone Reliefs from Nimogram Buddhist Complex Swat, Pakistan:.
FWU Journal of Social Sciences, 115-116.
Schmidt, C. W. (2005). Aristocratic Devotees in Early Buddhist Art from Greater
Gandhara:Charcteristics ,Chronology and Symbolism. South Asian Studies, 21, 24-26.
Siddiqui, K. S. (2011). Nomenclature and Geography of Ancient Gandhara . The International
Journal of History and Social Sciences vol.2, 53.
Swāti, M. F. (2008). GARLAND BEARER RELIEFS FROM BUTKARA III, SWĀT. Ancient Pakistan, 117.
Yasubiro, N. (2012). The Archaeological survey of the Zar Dheri site in Shinkiari. Tokyo: Japan
National Museum.