by Iqbal Ahmad
Excavations in the area have revealed striking stone images of Hindu deities, now preserved in the Srinagar museum. These are considered the earliest such images found in the region and are dated before the sixth century CE.
A centuries-old cache of stone sculptures of varying shapes and sizes was unearthed at the historic Karkut Nag spring in the Vail Nagbal area of the Anantnag district. The discovery did not result from any planned excavation. Instead, it occurred by chance when labourers engaged by the Public Works Department for the restoration of the spring stumbled upon the artefacts. The find included several fragmentary sculptures and memorial stones reflective of Kashmir’s sculptural tradition. These objects were subsequently taken over by the Department of Archaeology for further investigation.
The collection is currently under examination by experts from the Archaeology Department. K. K. Sidha, Director of the Department of Archives, Museums and Archaeology, stated in a press release that preliminary observations indicate the sculptures may depict Hindu deities and could date back to the Karkota period. Further analysis is ongoing to determine their precise origin.
The accidental discovery has not only revealed the archaeological significance of the Vail Nagbal sub-valley but has also added another chapter to Kashmir’s rich sculptural heritage.
Legacy of Kashmiri Sculpture
The Kashmir Valley has long preserved a distinctive tradition of sculpture. Whether carved in stone, cast in bronze, or shaped in terracotta, the region’s sculptors have created remarkable and intricate works. The ancient schools of sculpture located in Bijbehara, Avantipura, Pandrethan, Parihaspora, and Verinag produced numerous such artefacts, now housed in both local and international museums and galleries. In Srinagar, the SPS Museum maintains and displays a significant collection representing this legacy.
The ancient sculptures of Kashmir bear strong influences from Hellenistic traditions, more so than from any indigenous aesthetic. While the themes remain local, the depiction of costume and form reflects Grecian conventions. It often becomes difficult to distinguish between a local deity and a Greek goddess, and it is only through their specific attributes and emblems that their identities become clear. Many of these sculptures display characteristics aligned with Grecian artistic sensibilities.
Although the traditions of stone and bronze sculpture have largely vanished, there was a time when sculptors in the region regularly produced elaborate representations of gods and goddesses for worship. A notable collection of such works, discovered at various archaeological sites, is preserved in several museums. Among them, the archaeology gallery at the SPS Museum in Lal Mandi, Srinagar, contains some of the finest examples.
Bijbehara and Its Sculptural Roots
The earliest stone sculptures in Kashmir are believed to have originated in the Bijbehara area of South Kashmir and are dated to the sixth and seventh centuries CE. The sculptural traditions that began in Bijbehara were later developed in other artistic centres such as Pandrethan, Avantipura, Parihaspora, and Verinag. Though lesser known, the ancient schools of Kashmiri sculpture have been identified and show clear links to the Hellenistic, Mathura, and Gupta traditions. The earliest artefacts display a dominant Greco-Roman influence, while the sculptures of the medieval and later medieval periods reflect the stylistic features of the Gupta school.
Bijbehara holds particular interest for archaeologists. Past excavations have filled significant gaps in the cultural history of Kashmir. Excavations at Semthan in Bijbehara have yielded an abundance of archaeological and numismatic material, allowing historians to reconstruct important cultural sequences. These findings include evidence of the Mauryan, Sunga, Indo-Greek, Indo-Scythian, and Kushan periods, spanning a time frame from the third century BCE to the fourth century CE.
The town of Bijbehara, located approximately forty kilometres from Srinagar in South Kashmir, is believed to be a corrupted form of the name Vijasvihara. It originally referred to a Buddhist monastery thought to have been established by a king named Vijaya. Excavations in the area have revealed striking stone images of Hindu deities, now preserved in the Srinagar museum. These are considered the earliest such images found in the region and are dated before the sixth century CE.
Before the use of stone, Kashmiri sculptors appear to have employed terracotta for the creation of religious images. Terracotta miniature heads and figures have been recovered from sites such as Ushkar in Baramulla and Parihaspora. At Semthan, near Bijbehara, numerous small terracotta figures were discovered. These objects, dated to the first and second centuries CE, suggest that the Bijbehara school may have initially focused on terracotta before transitioning to stone. A close stylistic link can be observed between the terracotta and stone artefacts of the region.
Both forms share the Hellenistic style, comparable to figures produced by the Gandhara school. The drapery clings to the figures, with dense pleats and string-like folds between the legs, features commonly seen in early Kashmiri and Gandharan art.
Shifting Influences in Kashmiri Sculpture
Notably, the early sculptural images discovered at Bijbehara display stronger Hellenistic influences than Gupta. In the medieval period, this pattern began to shift. Sculptures from this era increasingly exhibit Gupta characteristics, while in later examples from sites such as Avantipura and Verinag, local influence becomes prominent. This is evident not only in the treatment of form and costume but also in the retention of personified attributes.
These features, which had disappeared across much of India in the post-Gupta period, continued to be represented in Kashmiri sculpture until its decline. Robert E. Fisher, in his article Later Stone Sculptures published in Marg, notes that these stylistic tendencies left an impression on Ladakhi stone sculptors. It is for this reason that many Kashmiri images, particularly in bronze, have appeared in the Ladakh art market.
Sculptural traditions that emerged from sites such as Semthan in Bijbehara and Ushkar in Baramulla before the sixth century CE were shaped by Hellenistic styles. These traditions later evolved through other schools of sculpture. These observations are also documented in the author’s book Ancient Sculptures of Kashmir. In later periods, the sculptures display less Hellenistic and more Gupta influence, with figures heavily ornamented and stylistically distinct.
Describing the Early Images from Bijbehara
Among the early finds from Bijbehara preserved at the Srinagar Museum are two notable stone images. The first is a six-armed figure of Kartikeya, identified by his mount, the peacock. Several of its features bear a resemblance to images from the Gandhara tradition. The arrangement of hair in wavy locks falling over the shoulders and the folds of the drapery evokes Gandharan parallels. The muscular body and broad shoulders resemble sculptures previously found at Pandrethan near Srinagar.
The deity wears a pearl necklace with a diamond pendant and a floral garland that loops in front of the torso, reaching the knees. The borders of the armlets and the belt are set with pearls, and a short dagger is fastened at the waist. This particular feature is unique to the Kashmiri form and rarely appears in earlier sculptures. Although the sculpture is damaged and only two of its six arms remain intact, its positioning is still expressive. The right hand rests on the peacock’s neck, while the left holds the edge of the drapery. The dhoti falls to the ankles, and its folds gather between the legs.
The second image is a female deity, also from Bijbehara, whose head, arms, and attributes have been damaged. The visible prongs of a trident near her foot suggest that this figure may represent a form of Durga. Her attire follows a distinctly Hellenistic style and closely resembles female figures from the Gandhara school. She is shown wearing a high-waisted chiton and a long scarf. A cord passes over her left shoulder, forming a loop in front, and the scarf gathers in folds at her feet. This treatment can be seen in early terracotta figures of standing female deities from the region.
Terracotta Fragments from Adjacent Sites
Adjacent to Semthan is Tengun Zablipora, where fragments of terracotta tiles have also been discovered. These tiles feature detailed human figures, some standing and others mounted on horseback. The site appears to form an extension of the Semthan archaeological complex. Most of the artefacts excavated at Semthan are currently held by the Archaeological Survey of India. However, a significant number of terracotta miniatures have also reached the museums in Srinagar.
The SPS Museum in Srinagar and the Central Asian Museum at the University of Kashmir house important collections from the Semthan site. These collections offer valuable insight into the artistic and cultural history of ancient Kashmir.
Preserving the Recent Discoveries
The recently uncovered sculptures at the Karkut spring in Vail Nagbal are now housed and displayed at the SPS Museum in Srinagar. These objects remain under examination by archaeologists, who continue to study their stylistic and cultural features. It is anticipated that further analysis will reveal more about their origins and significance.
The Department of Archives, Archaeology and Museums has also proposed a special workshop and exhibition for students, aimed at introducing schoolchildren to Kashmir’s sculptural heritage. The artefacts recently added to the collection require detailed study, particularly concerning costume and stylistic features. These findings hold potential to contribute meaningfully to the understanding of ancient art history in Kashmir.
(The writer is a senior archaeologist and author. Ideas are personal.)
