Many of you would be wondering what Mingora is! I have put forward a brief description of the City below which will help our customers undertand about the beauty of the area as well as explains how historical the city as well the whole Swat velley is.
Mingora (Swat Valley)
The lush green and historic Swat Valley lies between 34°-40′ to 35° N latitude and 72′ to 74°-6′ E longitude and is part of the Provincially Administrated Tribal Area (PATA) of the North-West Frontier Province of Pakistan. The valley is an integral part of the strategic and significant region where three parts of the Asian continent–South Asia, Central Asia and China, meet.
Mingora (also spelled Mangora or Mingaora) (Pashto: مینګورہ) is the largest city in Swat District, Pakhtunkhwa (formerly known as North West Frontier Province) of Pakistan. It is located at an altitude of 984 metres (3,228 ft) and lies on the banks of River Swat about 2 kilometres (1.2 mi) from Saidu Sharif, the present capital of Swat. As of 1998, the population of Mingora was about 175,000. The city was once a major tourist destination and was described by Queen Elizabeth as the "Switzerland" of the former Empire.
History
Many Buddhist remains and carvings have been discovered near Mingora in the Jambill River Valley. At Panr, a stupa and monastery dated to the 1st century CE has been excavated. At Loe Banr and Matalai, Italian archaeologists unearthed 475 Aryan graves dated circa 1700 BCE.
The names found in ancient sources for Swat are Udyana and Suvastu because of the scenic beauty of the valley and the name of the river respectively.The historical and cultural remains of the area provide evidence about human activities covering a large span of time.
Alexander the Great came here in 327 BC en route India and conquered Bazira and Ora. At his departure the inhabitants of the area threw off Greek yoke, and enjoyed either independent or semi-independent status subsequently. In the meantime Buddhism penetrated here and Swat became center of Buddhist/Gandhara civilization. The Turki Shahis incorporated Swat in their kingdom but at the decline of their power it remained exposed to Hindu Shahis’ influence.
In early tenth century CE/AD, the Muslims occupied Swat. Consequently, Afghans from different tribes, commonly called Swati Pukhtun, came and settled here. They remained independent of the neighboring powers.
On the opposite side of River Swat at Aligrama, near the Saidu Sharif airport, a site of Gandhara grave culture was discovered by Italian archaeologists which has been dated to circa 10,000 BCE.[citation needed] The city of Mingora is considered as one of the most fascinating town of the frontier province with an Airport, situated about 4 km from the city centre. The city is also having excursive shopping malls, a post graduate historical college which has been recently upgraded as university, two teaching hospitals, a digital centralized library and a sports complex.
As most of our products are local to Mingora Swat, therefore, the name Mingora Classics is the best match for our business.
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, 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.
Ornamented VALLEY SWAT:
The history of ornaments is last in time. Female have occupied the central stage since the inception of human beings in to this world and due to the excessive attention and interest she has aroused and received from men, she has always strived to be more attractive, more beautiful and more eye catching in order to keep the males involved and engrossed eternally. As some females have remained in power in ancient times and even have been given the status of goddesses for their extraordinary appearance, beauty, wit and wisdom, they created and innovated new means and ways to retain and reinforce their exalted grandeur and elevate their sublime status. Greek (Hellen), Egyptian (Cleopatra), Hindu (Seta) and medieval mythology is replete with the examples of such goddesses who were revered and adored for their astounding attraction and were declared as paragon of beauty. Being in position of aesthetic sense and hypersensitive observation faculty, these remarkable creatures innovated and discovered new horizons to strengthen their status and maintain their position as an object of worship. They unearthed the sparkling gems, glittering gold and shimmering silver to achieve their objective. Later through their gifted innovative faculties, they learnt the art of making ornament and jewels that reinforced the beauty of the metal and quadrupled the beauty of the exhibitionist.
The ambitious and ostentatious fair ones of Swat have always been in the front line to defend their status and retain their empire of beauty. The talented artisans of the valley extended their helping hand and created such outstanding ornaments and jewels for their lady lovers that their artwork has been regarded as the emblems of beauty and treasures of antiquity.
Ornaments and Jewels of Swat
Swat is a region that has its own unique and peculiar culture of its own and the skilful gold smiths of the enchanting valley have created jewelry and ornaments, which are typical, indigenous and territorial. These artistic forms of jewelry art have remained in vogue for the last several centuries and have adored the delicate and symmetrical physiques of the beautiful daughters of Swat.
Ornaments for head and tresses/ locks
Jhoomer is an ornament with intricate designs fixed in the tresses and hung over the forehead. An ancient tale is associated with the creation of Jhoomer by the goldsmiths of Swat. It is said that during the Buddhist era, the queen (Monja Devi) of Swat was arrested by a severe headache. She called for her sage to cure the malady and he contrived golden Jhoomer that she was to hang over her forehead for some time to get rid of her headache. When her courtiers saw this, they considered it as an embellishment to her beauty and became a fashion and tradition in the empire. Teek and Zanzerona are the different virgins of Jhoomer with more beautiful designs and embellishments.
Ornaments for neck
Ogai, which has now become a part of antiquity, was a u-shaped heavy silver ornament wore around the neck. Ameel is the more modern virgin of Ogai lighter and decorated with intricate hanging floral arrangements. Taweez (Amulet) was a rectangular small golden box, studded with gems, sometimes with holy verses inside for blessing wore around the neck. Zanzeer (Chain) is the simple and most commonly used golden chain wore around the neck even today.
Ornaments for Ears
Piercing ears and decorating it with golden jewelry has been a long lasting tradition in Swat. Junkai, walai and Deeday are purely Swat oriented with hollow bell like shape and small golden hanging tassels, which are sometimes very huge and can even produce tinkling sound like a bell. They always made with gold but in the bygone era when gold was rare and beyond purchasing power, people usually made these ornaments from silver that were cheaper and easily available.
Ornaments for Nose
Natkai and Peezwan are the larger versions of Mikhakay, which is a tiny golden flower with a gem in the center and a small hook for fixing in the pierced nose. Natkai and Peezwan are a little bit larger and elaborately designed with golden hanging leaves and intricate designs. Dandar is the simplest golden ornament in a shape of a ring fixed in the nose, which reinforces the beauty of the red, succulent lips, white teeth and antimony lined eyes.
Ornaments for Hands and Wrists
Bangary or bangles are the new versions of Bao and Karai, which are heavy, laden with gold and delicately designed. Bao and Karay were usually made of silver, as it needed formidable amount of gold but still the opulent ladies made golden Baogan and Karay to show off their influence and riches. Rings have not been transformed considerably with the age and are still greatly relished with beautiful and pretty designs and shapes. These beautifully designed ornaments exaggerate the beauty of the delicate, lean and hennaed hands. Shash is the most elaborately designed golden ornament for hands. A huge golden bangle with floral designs is chained with four finger rings studded with gems and stones forms a Shash. It is not in the proximity of everyone to acquire it and only wealthy families adore their brides with this ornament.
Ornaments for Ankles and Feet
Pekaray was huge and carefully designed golden or silver chains with hanging golden leaves and flowers and wore around ankles. They produced wind chimes like sound when the lady walked and drew the attention of everyone around. They have lost their significance now and have become a part of antiquity. Panzib or Payal is the modern and more advanced form of Pekara, which is lighter and exquisitely designed. Pashto literature is full of poetry that extols and exaggerates the beauty of the beloved wearing Panzib and walking like a gazelle.
Valley Swat has undergone several tests of history and has seen numerous dynasties and hierarchies rule over its pristine frontiers. These different rulers have left indelible footprints in the culture and civilization of Swat, which have been happily inherited and accepted by the beauty worshipping citizens of Swat. The ornaments and jewelry of Swat has passed through the blazing furnace of goldsmiths and have evolved to new forms and symmetries.
Swat in Beads, Lace and Yarn (Exclusive Handicrafts of Swat)
The origin of embroidery has a long and time-tested history and is recorded in the annals of history from time immemorial. The art was perfected in ancient Egypt, Northern Europe and China. Intricately designed and embroidered clothing, religious objects, and household items has been hallmarks of social status and signs of affluence and wealth of the family in many ancient cultures and civilizations in Persia, India, China, Byzantium, and medieval England. Hand Embroidery is a traditional art form passed from generation to generation in diverse cultures and the art-oriented dwellers of Swat has inherited this profound tradition from the artisans of Ghanhdara.
Embroidery:
Embroidery is the needle artwork on a piece of satin, cotton, canvass or dresses etc with a silk, cotton thread, yarn or golden lace. Embroidery or hand sewing is the movement of embroidery needle from the backside of the fabric to the front side and back to the backside of the fabric. The thread stroke produced this way is called a stitch. In the context of embroidery, an embroidery stitch means one or more stitches that are executed in the same way, forming a recognizable and definite shape or figure. Embroidery patterns are formed by many embroidery stitches, either all the same or different, either following a printed chart, following a design on the fabric or even working freehand with colourful or dyed thread or lace.
Swati Embroidery:
Swati embroidery has a great significance and has won a unique status due to its innovative and creative underpinning all over the country. In the past when modern embroidery accessories were not easily available, pure silver yarn was used in embroidery and the dresses decorated this way were very heavy and ostentatious. As most of the females remain in the boundaries of their home in the values driven society of Swat, they have adopted this art as their past time especially the young girls who have not yet been married. These talented girls of the artistic valley of Swat decorate and adore all the dresses, shawls, blankets, bed sheets, pillow covers, table cloths, veils, head scarves, handkerchiefs, caps etc which were to become a part of their dowry after their marriage. The verses, mosaics, natural landscapes, animals, flowers, fruits, vines and artistic symmetries created through crochet by these aesthetic girls are the most sought after works of embroidery in Swat. The golden lace embroidery of Swat has acquired a distinct recognition in the valley as well as in the country.
The beaded and mirrored embroidery around the necks of the dresses and endings of Kamees (Shirt) and Sadar (Shawl) with golden and silver ribbons studded with artificial gemstones and Laloona (coloured glass beads) specially created for the brides, are the exquisite, unique and typical creations and products of the artistic embroiders of Swat. These aesthetic and artistic handicrafts of Swat have a very high demand in the local and international market.
According to the centuries old tradition of vale of beauties Swat, the virgin bride is attired in rosy satin embroidered with golden lace and studded with sparkling beads and stones, adorned with golden ornaments, necklaces, bangles, rings, earrings, and typical Jhoomer (ornament for tresses) and Natkai (ornament for nose), anxiously and nervously waiting for her bridegroom in her decorated bed with drooping and covered head like full moon surrounded by tiny stars. Some of these adorable handicrafts especially the mirrors, beads, gems and seashells embroidered and embellished dresses and shawls show similarity with Kalash culture in the secluded valley of Chitral.
The markets of Swat are flooded with these exclusive Swati handicrafts and the visitors, national and international search out every nook and corner of the valley to procure these precious and invaluable artifacts of the serene and aesthetic valley of the glamorous Swat.
Novelty in Handicrafts:
Apart from the influences from other tradition, the artisans of Swat have established their own footprints in the art of embroidery and garments. The peculiar and typical Sharai (woolen shawl for men) is specially weaved and made from local livestock fleece, which is considered, must for the freezing winter in the valley and revered for its immemorial tradition. Sharai has its own established cottage industries in Swat at Salampur in Marghazar valley where seasoned artisans remain engrossed in making these traditional outfits throughout the year in different colours and shapes. These artisans are called Jollagan (weavers) and are respected through out the valley for their skill and mastery in the field of weaving. They also weave woolen cloths, which have attained a special status in the region. Theses woolen clothes and shawls are in great demand during winter and the cloth merchants collect huge revenues and profits in the season. The other very famous winter outfit created by these hardworking artisans is the woolen cap/hat called Pakool in the local vernacular. It is an indigenous product, which is considered, must for men in winter especially for senior citizens. It is available in several hues, shapes and shades depending on the age and taste of the wearer.
Another unique and indigenous creation of Swati artisans is a woolen rug or carpet called Lamsay in Pashto. The method and contents for constituting a Lamsay are itself unusual and interesting. First freshly fleeced wool is taken from livestock, is spun with a local tool made of wood and a cord with a huge wooden hammer called Daindut. After the wool is spun then it is spread on a straw mate, sprinkled with water designed with different dyes especially pink, black and dark red without using any geometrical instruments with bare hand. The straw mate is then rolled up and tread on for a specific period of time and at last the labour of the artisan is rewarded in the form of Lamsay. These rugs or Lamsay are very famous especially among the nomad and people living in mountains.
Swat is undoubtedly a place on earth where traditions and customs rule high and its talented people have been brought up in the lap of pure Mother Nature. They have been brought up by Nature and taught how to tackle the severities of Nature by Nature itself. The traditional handicrafts and seasoned artisans are the assets of Swat that is a source of pride and popularity for all the citizens of this exotic valley.
Braids for decorating Locks/Tresses (Bachookay):
Braids or Bachookay is the exquisite and unique creation of the beautiful damsels of Swat. Bachookay is contrived from long black threads of silk, cotton woven together in a narrow strip and embellished in the end with golden or silver lace, beads and sometimes-small tinkling bell gongs (Gongrey). The rustic community of ladies first smears mustard oil on their long and combed tresses and locks and bind the plaits in the ostentatious Bachookay which usually dangles over the hips in a seductive manner. It is an essential decoration accessory for the ladies of Swat especially the aged ladies of the household. Bachookay is the exclusive creation of Swat and is in vogue from time immemorial. It is the part and parcel of ladies life in great in the uniquely beautiful valley of Swat.
Zondi (Silver Tassels for Bolster):
Bolsters play a very important role in the traditional society of Swat where Hujras (center of meetings of local folk) attract diverse community members after dinner to discuss local, political and international issues and progress. Usually Hujra is a huge hall spread with local rugs and carpets and bulky bolsters (Boojona) upon which the people rest their tired and exhausted backs sipping Green tea or Black tea. These bolsters are an important feature of a Hujra decorated with colourful cotton or silk threads, tassels, golden lace, beads and hollow silver made bells and an indispensable commodity in the Hujra in Pukhtun culture. The ingenious and beautiful damsels of Swat create these embellishments which has rendered the Swat a place on earth ruled by traditions and cultural values.
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.
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 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.
