The Swat Valley Style

A) BASES

The Swat Valley area offers a particularly rich variety of bases to support standing or seated figures made of dark bronze or copper alloy (rarely brass).

I. LOTUS BASE

As with other Himalayan regions, the lotus base may be single or double (two lotuses facing each other, the top one usually smaller), but it is the only place where the lotus base does not necessarily have a rim or rest on a plinth.

11) Double lotus without plinth or rim

Typically, the petals are large and pointed, like the leaves of an artichoke. They appear to be tied in the middle by some invisible string (it is usually described as a ‘strangled’ or ‘constricted’ lotus base).

The two lotuses are normally fully open but the top one on this image is only half open and therefore much smaller than the other.

12) Double lotus with rim

The lower row of petals may be strengthened by a small rim without beading

13) Double lotus with plinth

Sometimes the lotus rests on a low plinth. The above has a female devotee kneeling in one corner, possibly the donor.

14) Single lotus with petals downards

Single lotus bases normally have the petals going downwards, often quite flat as above (the stamens are represented with beading and striations).

They usually support an almost semi-spherical seat or pedestal specific to that area, which may be plain or striated and usually has a small row of beading at the top.

15) Single lotus with petals upwards

On rare occasions the petals of the single lotus go upwards.

II. ROCKY FORMATION

This type of base is common to the Swat Valley area and Kashmir but the variety of designs appears to be larger in the Swat Valley.

It consists of 2 or 3 rows of stones, often shaped like an L or an inverted T, fitted together to form smooth blocks; there may be snow lions at the front.

Alternatively the blocks are irregular. The above includes various attendants on each side.

When there are more than two rows, they usually rest on a small plinth. On this image the lower row is larger than the other two.

On this pyramidal one, there is a small platform with lion heads and other figures before the last row. At the bottom, there is a lotus for the bodhisattva to rest his foot.

This is a singular and intriguing design.

III. HASSOCK

The oval wicker hassock seems to be specific to the Swat Valley area (or Swat Valley style sculptures). It may be closed or open. When it is completely closed the wicker work follows a geometrical pattern.

such as triangles or lozenges.

open wickerwork often reproduces a chain link pattern.

The links may be round (relatively) …

… or follow a more intricate design.

Another popular motif is a four-petal lotus, inside a link or alone.

IV. THRONE

The Swat Valley throne is always covered with a tasselled cloth, with or without decoration.

Often trapezoidal, the cloth may also be square.

or round

or rectangular

The throne is often supported by two snow lions, in which case the cloth includes large tassels hanging at each corner.

Three elephants

It may also be supported by different animals, usually in groups of 3 or 5, in which case the cloth only covers the seat, without hanging at the front. The head of the animals is always ABOVE the level of the cushion.

Three horses

Five peacocks, identified by the three feathers standing on their heads.

A rare example of a throne with seven lions.

From these illustrations we have seen that the throne may be on a single or a double lotus or on a rocky formation, all of them on a low plinth.

This one is on a tall plinth, with kneeling figures at the corners (devotees or donors).

B) BACKPLATES

Backplates are missing from the majority of Himalayan Buddhist sculptures so it is difficult to get a clear idea of regional differences. Among the Swat Valley works which still have their backplate (ranging mainly from the 7th to the 10th century) we can observe features unique to the area.

I. SOLID BACKPLATES

A group of backplates consists in a solid-metal round halo with serrated flames on the edge, with or without a finial at the top, complemented by two figures standing on each side of the main deity and themselves with a halo.

The attendants are cast separately and fastened to the halo and other parts of the sculpture.

This Avalokiteshvara has a star-haped (solar) halo with serrated flames. His attendants stand on the back of his throne

This rare Manjushri has an ovoid halo with the outer edge incised with flames and a solar ornament/hairstyle as well as fan-shaped hair.

II. OPEN MANDORLAS

Three-piece flaming mandorlas are quite common in the Himalayas, especially in the Kashmir area, but a solar design at the centre of the nimbus is proper to the Swat Valley area.

III. OPEN HALOS

This flaming halo has a cut-out sun at the centre and a stupa finial with ribbons. Two separately cast attendants (with a large halo) stand by the deity.

A variant, with a solid star/sun at the centre.

And another, without flames around the halo. The goddess has a large ornament with a floral design at the back of her head.

C) OTHER DISTINCTIVE FEATURES

I. EYES

Swat Valley characters display large almond-shape silver-inlaid eyes with well-marked heavy eyelids. The eyes often have a large black pupil, either well centred or close to the upper lid.

II. HEADDRESS AND ACCESSORIES

For characters with a bodhisattva appearance, part of the hair is gathered in a fan-shaped bunch that shows above crown level, forming a distinctive outline. As in other Himalayan regions, long strands of plaited or twisted hair are left to fall over the shoulders.

Some of the hair may be worn loose or plaited at the back.

Crowns are made of three triangular panels with a foliate and/or floral design, fastened with ribbons and decorated with side bows (no rosettes).

They may have same-size panels or have a taller central panel.

The standard jewellery consists in large floral earrings, matching armbands, one short necklace either plain, beaded or with a floral pendant, plain or beaded bracelets or bangles, no rings, no anklets.

Of course, there are exceptions: a Swat Valley Vairochana at the Met wears a ring on each of his small fingers, a Vajradharma Lokeshvara has floral anklets, a Vairochana in a private collection has rosettes instead of bows on his crown, Tara and other deities sometimes wear two necklaces, earrings may consist in a large hoop on one side and a pendant on the other.

Short beaded necklace.

Same with a large bead at the centre.

Other accessories may be a sacred thread, a discrete celestial scarf, more rarely a belt with a floral buckle.

In many cases, the long finely pleated lower garment on seated figures is tucked in at the front and forms a loop on one side, a feature unique to that area.

III. ATTRIBUTES

Avalokiteshvara and Tara are usually depicted with a long-stemmed lotus in their left hand. Typically, the flower is held so that it faces the viewer. It has a raised button-like centre, six petals and six sepals. Alternatively, the lotus is a tulip-shaped bud. On rare occasions the deity holds a blue lotus, or an open lotus and a bud.

Maitreya normally holds a water pot in his left hand placed over the knee. The pot is always held by its neck. It may be fusiform, or have round shoulders and a pointed bottom like an amphora…

… or bell-shaped (round shoulders and a flat bottom).

IV. HAND GESTURE

In the Swat Valley and Gilgit areas, buddhas may hold their left arm at a right angle with the hand cupped. This may be Shakyamuni holding a piece of his robe, or a dhyani buddha who would normally do the meditation gesture with his left hand.