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South Asian Studies


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Lajj Gaur Seals and Related Antiquities from Kashmir Smast, Gandhra
M. Nasim Khan Published online: 11 Aug 2010.

To cite this article: M. Nasim Khan (2002) Lajj Gaur Seals and Related Antiquities from Kashmir Smast, Gandhra, South Asian Studies, 18:1, 83-90, DOI: 10.1080/02666030.2002.9628611 To link to this article: http://dx.doi.org/10.1080/02666030.2002.9628611

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Lajja Gauri Seals and Related Antiquities from Kashmir Smast, Gandhara
M. NASIM KHAN

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Kashmir Smast or Kashmir Cave is one of the most impressive and unique creations of nature in Pakistan. 1 Situated in the heartland of Gandhara on the Sakra mountain range, it is located on the Babuzai Valley side of the Sakra mountain range (see map I). 2 Below the cave is a seasonal stream-bed, filled only in the rainy season. At an altitude of 1100 m above sea level, the mouth of the cave opens towards the south with an entrance 20 m wide and of equal height. Inside, the entrance passage maintains a height of 20 m while the central chamber and the inner chambers rise to 33 m. The total length of the cave is 180 m.

Lying about 50 km north east of Mardan (shown by the old name Hoti Mardan on the accompanying map), the cave is accessible either from Pirsai, a small village near Rustam to the north-east, or from Babuzai village to the west. Pirsai is situated about 16 km north of Rustam which itself is 20 km away from Shahbazgarhi. All the places are shown on Map 1. The distance from Pirsai to the cave is a three hour march. The distance to the cave from the Babuzai village, 25 km away from the main Mardan-Swabi road, is about 12 km. 3 Immediately below the cave, on the precipitous cliff, are steep and difficult steps leading to the entrance of the great cave,

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extending for about 100m. The steps have been restored and widened recently by a local society aiming to preserve cultural heritage. The site was mentioned for the first time by A. Court (Court 1839) and then by Cunningham (ASIRII: 92). Later, in 1864, a preliminary report giving details about the cave and neighbouring monuments was published by Bellew (Bellew reprint 1977). In 1881/1882, Garrick visited the site but it was Deane who explored the cave in 1888 and wrote a detailed note with a sketch plan (Deane 1896). After a long interval, a Japanese team, in collaboration with the Federal Department of Archaeology, planned to carry out a general survey of the site in 1960. They did about two weeks of fieldwork, the report of which was published two years later (Mizuno 1962). This important report is provided with a detailed drawing of the cave and the monuments close to the cave. Apart from a few antiquities, especially the wooden sculptures which are in the British Museum (Agrawala 1967), no other important object has been reported from the site until the present author began the process of documentation of the antiquities (see Nasim Khan 2000-2001). This important site has been sadly ignored, except by merciless treasure seekers who are systematically destroying not only the archaeological heritage of this unique site but much of its natural beauty as well. When 1 visited the site for the first time in November 1999,1 was surprised by the presence of some beautifully built walled structures, which are to be seen on both the sides of the small valley near the cave. Unfortunately the site and these structures have been subject to illegal digging by antiquity seekers who are destroying these buildings. As a result of their imprudent excavations thousands of antiquities are available in antique shops in different parts of the world. The antiquities of Kashmir Smast are very important in terms of the history of the region. If properly documented and studied they can help us recover some of the history of Gandhara after the Kusanas, a period that is little understood. Amongst the antiquities from the site are some important seals, presently scattered in different private collections. Some of these, especially those bearing images of Lajja Gauri (Bolon 1994), are the subject of the present paper. So far seven different types of seals showing either Lajja Gauri figures or other related symbols or inscriptions have been recorded from the Kashmir Smast site. They are discussed individually in the following catalogue.

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LAJJA GAURJ SEALS AND RELATED ANTIQUITIES FROM KASHMIR SMAST, GANDI IARA

I. Bronze seal with figure; shown with contemporary impression and drawing,

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No. 1 Lajja Gaurl Seal (Fig. ) Size: Not available Material: Bronze Location: Private collection

Square seal engraved with a nude figure. The two dots placed horizontally might represent the breast or the eves. The torso is triangular in form and topped with a small rectangle marking, probably the neck. The navel and the female organ are shown with small circles. The figure is seated with her legs spread wide and feet pointing outward. The figure seems to be a crude representation of LajjaGaun. There is no sign of any other symbol or inscription. The back of the seal has a long knob.

2. Bronze seal with symbols and inscription; shown with contemporary impression and drawing.

No. 2.
Sri Sima Seal (Fig. 2) Size: 3.3 x 2.9cm Material: Bronze Location: Private Collection

Rectangular seal without knob. Across the top of the seal are four symbols. On the negative, in the top left corner is a piinw ghttfa (vase of plenty) shown in a triangular form with a pointed base. To the right of the pot is a trident. Beside the trident is a crude figure of LajjaGaun". The upper body is marked with two bold circles or points, placed horizontally and joined to the body by two lines. The dots and the lines might represent the torso with breasts. The legs and the lower body are represented with two curving lines going in opposite directions. Lajja Gauri is shown in a schematic form seated and with splayed legs. The navel and the female organ arc marked with small indistinct

dots. Beside the Lajja Gauri, in the corner, is a dancing figure with raised arms holding an object over his head. The legs are wide apart with a raised left leg, apparently intended to show the figure is stepping towards the right. Below the four symbols is a single line inscription in Gupta Brahmi, which can be read either Sri Simiya or Sri Siiiwi/fl. As discussed below (No. 3) the ending may be a mistake or abbreviation for -ayah. The word Sima- means 'a cutter or preparer (of sacrificial food); more likely the word Sittti- = Simu- signifies 'effort, labour, work'. It might be the name of the owner of the seal or the name of a divinity as suggested by seal No. 3 below. As far as the date is concerned, the tripartite 'ya' belongs to 4th5th century A.D., while the letter 'ma' points to an early date, probably of 2nd-3rd century A.D. On palaeographic grounds, the proposed date for the seal is, therefore, 2lh-5th century A.D.

M. NAS1M KHAN

3. Bronze seal with symbols and inscription; shown with contemporary impression and drawing.

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No. 3. Acima Seal Size: Material: Location:

(Fig. 3) 3.4 x 3.6cm Bronze Private Collection

Square seal without knob or handle. In the upper field, the number and the arrangement is close to seal No. 2, but is in a different order. On the negative, the dancing figure is shown in the left upper corner with more widely outstretched legs than in No. 2. To the right is a piirna glwta with a rounded base. Further to the right is a trident and the figure of LajjaGaurf. LajjaGaurf is here shown in a different form than in the two previous examples. The head is marked with a dot and the breasts with two other dots making a triangle. The female organ is shown in the same manner as the previous case. The seal is flat and has no sign of any knob on the back. Below the symbols there are two lines of inscription in Gupta Brahmi. The inscription reads: Mrnujiparvataga hiveemyodrm&ya "To or of Acima, who dwells in the cave of the mount Sri Miji " The same sentence has already been found in a copper-plate inscription from Kashmir Smast (Nasim Khan 2000b), where we find: "Sri inh'ijd parova malm guhi mvasiny-ddmdydh". In the present seal some ol the words contain OTthographfa mistakes and appear in an abbreviated form, for example gahd instead of mahd gahd, i>asini for vdsini. Also the lower loops of the letters 'va' and 'ci' in the second line are open. The etymology and identification of the name Acirma or Acimi is not certain, but from the contents of the inscription it seems that it is not an ordinary figure but a divinity. The name Acirma (or Acima)

seems to represent Sanskrit Arci-mdtd, i.e. 'Radiant Mother'. The change acir > arci can be explained in terms of metathesis. Sanskrit arci > Prakrit aci is testified and leads to the same conclusion. Arci, the radiant or shining (from Vnrr), suggests a connection with the Aditya and Arcimata or Arcima may thus be an ancient name of LajjaGauri. 5 One remaining problem is the ending -dya which appears to be masculine dative. However the termination I'dsim points to a feminine form, as one finds in Vindhyavasini Devi, a popular goddess in Central India. The ending -dya may thus be a mistake or abbreviation for -dyali (dative/genitive) attested, as just noted, in the copper plate inscription. Perhaps it would not be out of place to try and identify the names in our inscriptions which feature in Kashmir Smast. minjd (or Mi/7) named as a mountain (panwa) might be the mountain presently called Sakra where the cave is located. The name also occurs in an inscription of the same period found at Spina, South Waziristan.5 Although Spina is far from Kashmir Smast, the occurrence of the same name in two different localities might not be a coincidence given the religious significance of the cave. The name of the valley is mentioned as 'Sita Mahakandara' while'Mahaguha' can be identified with the Great Cave. The water tank and the cells at the foot of the stair cases seem to be mentioned as 'Prayadchatyaksayana'. The temple in the monastic area is named as 'Saliyaka Vardhamanesvara'. Vardhamanesa is mentioned as a name of a temple in the Rdjatarangini (11,123) which shows this name of Siva was current in the North West and neighbouring regions. The Kashmir Smast shrine is said to be enlightened with rays of stars (sipi-tara). The monastic area in front of the cave, presently called Bakhai, is termed 'Mathaka' (Nasim Khan 2000b). On stylistic basis, the palaeography of the inscription belongs to 3rd-5th century AD, a date which corresponds with that of the Spina stone inscription.

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LAJJA GAURI SEALS AND RELATED ANTIQUITIES FROM KASHMIR SMAST, GANDHARA

Seal No. 4." Vibhidaya seal (Fig. 4) (photograph of original not available) Size: 5 x 5 cm Material: Bronze Location: Private Collection The seal bears a seated nude figure in a well-developed figural style. The prominent breasts, the navel and the female organ as well as the way in which the figure is represented are characteristic features of Lajja Gauri. The head is marked with a rectangular block, a unique feature, and in both her hands she is holding two rectangular objects.7 It is also possible that, like the head, her hands are simply marked with rectangular blocks. The elbows almost rest on the knees (as in Bolon Fig. 103, where Lajja Gauri holds a Iiriga and the head of a lion, probably representing a Narasirhha). The figure is adorned with anklets and bracelets. In the left field, a trident is shown, perhaps with ribbons attached, although the image might be intended to show double-sided axe. Below, is a Brahmi inscription which can be read: 'VibhideyaOr 'Vibhidaya', a dative (or perhaps genitive, see abovejof 'Vibhida'. The etymology is not clear. Vibheda means "breaking asunder, splitting, piercing, etc.". Vibhida is also the name of a demon but we do not know about Vibhida As Lajja Gaurf is called by different names, it is possible that Vibhida might be one of the names of LajjaGauri." Another possibility is to consider Vibhida as the owner of the seal. As far as the date is concerned, the inscription shows characteristics belonging to the 4th-6th century A.D. The tripartite 'ya', which is in a more developed form, and the triangular head marks are the indications to place the inscription between 4th and 5th or even 6th century A.D. The form of the letter 'va' and the flourish in the medial vowels also suggest a late date for the seal.

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4. Impression and drawring of a bronze seal bears symbol and inscription.

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5. Gold seal with symbols and inscription; shown with contemporary impression and drawing.

No. 5. Sri Sitarama Seal (Fig. 5) Size: not available Material: Gold Location: Private Collection

Rectangular seal with a loop handle on its back. On the negative, in the top left corner is the drawing of a purna-gliata with a round base and in the right upper corner, a four spoked-wheel shaped design. In between the two is a trident. In the lower part is inscribed 'Sri Sitarama'. The word sita has already been observed in the copper plate inscription from Kashmir Smast (Nasim Khan 2000b) where it designates the name of the cave. On the other hand, Sita Ram on the present seal and the mountain ranges called Sakra and Rama (Sakra might be a deformation of Sita) might not be a coincidence. This clearly needs further investigations. On palaeographic ground the inscription can be dated to 4th-6th century A.D.

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6. Bronze seal with inscription and a symbol; shown with contemporary impression and drawing.

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No. 6. Sri Nartila/Nastila Seal" (Fig. 6) Size: 1.9 x 1.63 x 0.37 cm Weight: 583 grainmmes Material: Bronze Location: Private Collection

Square seal with rounded corners bearing the name in Brahmicharacters which reads: Sri Nartilnsya (or less probably Nastilasya or Ntmtilasya). Nartilasya 'of Nartila' is most probably formed on the Sanskrit Nrt- 'to dance' with a suffix -tie. While Nniilri- > Niinlimeans 'bending, bowing, etc'. Below is the drawing of a conch shell. On the reverse, there is a knob, which is broken. The style of writing suggests 4th-6th century date.

7. Bronze seal with inscription; shown with contemporary impression and drawing.

No. 7. Bhattiracamndra Seal (Fig. 7) Size: 2.6 x 1.8 cm Material: Bronze Location: Private collection The seal is rectangular in shape. Although lacking an image of LajjaGauri or any of the related symbols, this piece is included due to its association with Kashmir Smast. The seal is engraved with a single line inscription mentioning the name Bhasairacamndrah in Gupta Brahmi. This is a proper name in nominative case formed from Blmttim and Candra-. The characteristic features of the writing style are the solid triangular head marks, which can be assigned to 4th/5th century AD.

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LAJJA GAURI SEALS AND RELATED ANTIQUITIES FROM KASHMIR SMAST, GANDHARA

Concluding Remarks The figure of Lajja Gauri has been well documented by Bolon (1994) and the Kashmir Smast seals add to our knowledge of this goddess. In this preliminary report I would like to underline at least some of the essential features of the Kashmir Smast seals in the light of illustrations in Bolon's work. Apart from two examples, the Lajja Gauri images from Kashmir Smast are accompanied by different symbols, such as purtia-ghata, trisula and a dancing figure. What do these symbols represent? On the basis of some of the examples produced by Bolon, it can be suggested that these are symbolic representations of Brahma and Siva and that the dancing figure illustrates either Narasimha or Durga Mahisasurimardinl. In Bolon's examples, Lajja Gauri is accompanied by Brahma and Siva to her right and a lion figure, probably Narasimha, or MahisasurimardinT to her left. In one of the Bolon examples (no. 104), Lajja Gauri is shown with Brahma to her right, followed by a Linga, Karttikeya and a lion, probably Narasimha, to her left. In our Seal no. 2, the puma-gliata, possibly a symbolic representation of Brahma, who often holds a water pot, is shown with a trident, representing Siva, and a standing figure, which probably represents Mahisasurimardinl (cf. Bolon, Fig. 109). The last figure is of course problematic and could be a dancing Siva. The order is the same as the examples illustrated by Bolon. On the basis of the above examples, it can be suggested that the figures accompanying Lajja Gauri shown on the Kashmir Smast seals are probably the symbolic representations of Brahma, Siva and Durga Mahisasurimardinl or dancing Siva. Bolon (1994, p. 62) dates of the emergence of Lajja Gauri in a fully anthropomorphized and haloed form to AD 500. As far as our seals are concerned, they can be placed between 2nd-6th century AD on a palaeographic basis, which suggests that the earliest representations of Lajja Gauri in anthropomorphized form are in fact the examples from Kashmir Smast. The present examples further confirms that the cult of Lajja Gauri, either as an independent deity or incorporated to the Hindu pantheon, was not limited to southern or central India, as suggested by Bolon, and that the Lajja Gauri cult was also practised in Gandhara between 2th-6th century AD. Other antiquities so far recovered from the same site show a close link with the Hindu faith.10 The antiquities so far recovered from the site Kashmir Smast are of great historical value. Not only because most of them are unique in character but also because they seems belong to a cultural and religious context which is distinct from Buddhism, the most popular religion of the period. A detailed study of these antiquities can, therefore, throw light on the political,

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cultural and religious aspects of the local people, especially after the demise of Kusana rule. In a number of handbooks the idea has been put forward that the cult of the Hindu pantheon was absent in the region in the time before the Hindu Shahi invasion of the northern part of Pakistan. But the newly discovered Kashmir Smast antiquities, particularly the Lajja Gauri seals discussed here, indicate that at least some of the Hindu pantheon existed in the region from perhaps as early as the 2nd century AD Like other antiquities from the site, the Lajja Gauri seals are of utmost importance for a better understanding of the iconography, chronology and the cult of Lajja Gauri in ancient Gandhara in between 2nd and 6th century AD. As shown by the present examples and some previously published materials (Nasim Khan 2000 and 2001), the site of Kashmir Smast and its antiquities are important for many reasons. A proper and comprehensive study of these antiquities is much needed. Although they come from the Kashmir Smast site, all the antiquities published here came through illegal digging and are without any proper archaeological context. In many respects this is a cultural and historical catastrophy. Proper study will only be possible when a systematic survey and excavation have been done, helping to put all the antiquities in their archaeological setting in an effort to reconstruct and understand the history of Gandhara after the 3rd century AD.

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NOTES Although the term Kashmir Smast is generally used for the great cave called 'Sita Mahakanda' in one inscription, I used the term for the whole of the Valley starting from Barai Uba to Sakra Pass, which separates Babuzai valley from that of Suddham. For inscription see Nasim Khan 2000b. In the preparation of this article I received help from different quarters. I would particularly thank Joe Cribb, M. Willis and E. Errington. 2 Possibly derived in some way from Sita in the copper plate inscription (Nasim Khan 2000b). The mountain Rama is situated to the south-east of Sakra. Some of the local people, interrogated by the author, associate these mountains with Rama and Sita of the famous Indian epic R&mdyana. 3 This seems to be the ancient cross route between ancient Gandhara (Peshawar Valley) and Udyana through Ambela and Mora Passes. The short-cut between Babuzai area and the Suddham valley was probably through the Kashmir Smast valley and then through Sakra Pass, where Kashmir Smast is situated. 4 For connection of Lajja GaurC to Aditya, see Bolon 1994: 6366. 5 Nasim Khan 2001. The Spina stone inscription is dated in the year 78, probably corresponds to AD 308 or 311 of the Kushana era of 227 (Falk 2001) or the Kushano-Sasanian or Bactrian (Sims-Williams 1999. 233) of AD 233. The inscription can also be dated in Gupta era of 329 which comes to 329+78=409 AD. 6 Previously mentioned in Nasim Khan 2001b. 7 The gesture of the hands is the same in the Lajja Gauri from Kisaraguta (Sarma 2000: 306; plate 39a). 8 According to Bolon's list, if it is complete, Vibhida is not recorded as name of Lajja Gauri (Bolon 1994: 63). 9 Published in Nasim Khan 2001b. 10 See for example Nasim Khan 2000b. 1

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Nasim Khan, M. 2000a, Buddhist Paintings in Gandhara, Peshawar. Nasim Khan, M. 2000b, "A Gupta Copper Plate Inscription from Sita Maha Kandara (Kashmir Smast)", Indo-Koko-Kenkyu - Indian Archaeological. Studies, No. 21, Tokyo. Nasim Khan, M. 2001, Brahmi Inscription from 5pina - South Waziristan. Indo-Koko-Kenkyu - Indian Archaeological Studies, No. 22, pp. 111-115, Tokyo. Nasim Khan, M. 2002, "Re-Interpretation of the Copper Plate Inscription and the Discovery of More Epigraphic Specimens from Kashmir Smast", Ancient Pakistan XIV, pp. 1-8. Nasim Khan, M. 2002, "Exploration and Excavation at Kashmir Smast: A Shivaite site in Gandhara" (A Preliminary Report), Ancient Pakistan XIV, pp. 217-308. Samy, P.L. 1992, "Lajja Gowri - Korravai", Journal of Tamil Studies, December 1992, pp. 41-54. Sarma, I.K. 2000, "Fresh Evidences on the Cult of Narasimha", Narasimhapriya. Professor A.V.N. Murthy Felicitation Volume: Essays on Indian Archaeology, Epigraphy, Numismatics, Art, Architecture, Iconography and Cultural History (2 volumes), Vol. II, pp. 301-308, New Delhi. Sims-Williams, N. 1999/2000, "From the Kushan-Shahs to the Arabs, New Bactrian Documents dated in the era of the Tochi Inscriptions", in Alarm and Deborah E. KlimbergSalter (eds) Corns, Arf, and Chronology: Essays on the Preislamic History of the Indo-Iraman Borderlands, pp. 245-258, Wien. Srinivisam, D.M. & Lore Sander 1997, "Visharupa Vyuha Avatara. Reappraisals Based on an Inscribed Bronze from the Northwest. Dated to the Early 5th Century AD", East & West, Vol. 42, Nos. 1-4 (December 1997), pp. 105-170. Stein, M.A. 1900, Kahana's Rajatarahgini, A Chronicle of the Kings of Kashmir, 2 vols., London. Troyer, M.A. 1840, "Radjatarangini , Histoire des Rois du Kashmir, 3 vols., Paris.

BIBLIOGRAPHIC REFERENCES Agrawala, R.C. 1967, "Unpublished Katarmal Wooden Reliefs in the National Museum, New Delhi and Connected Problems", East West, New Series, Vol. 17, Nos. 1-2 (March-June 1967), pp. 83-95, Rome. Bellew, H. 1864 (1977 reprint), The Yusufzais, A General Report, pp. 118-123. Court, A. 1839, "Alexander's exploits on the Western Banks of the Indus", JASB VIII, p. 312. Cunningham, A. 1972 (Reprint), Archaeological Survey of India 11, Delhi. Deane, H.A. 1896, "Note on Udyana and Gandhara", JRAS, N.S. Vol. 18, London. Errington, E. 1987, The Western Discovery of the Art of Gandhara and the Finds of jamalgarhi, Ph.D. thesis submitted to the School of Oriental and African Studies, University of London. Falk, Harry 2001, "The Yuga of Sphujiddhvaja and the era of the Kusana", Silk Road Art and Archaeology, Vol. 7, Kamakura. Garrick, H.B. 1885, "Report of a Tour Through Behar, Central India, Peshawar and Yusufzai", AS! XIX, Culcutta. Mizuno, S. 1962, Haibak and Kashmir-Smast Buddhist Cave-Temples in Afghanistan and Pakistan surveyed in 1960, Koyoto University.

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