Muhammad Hameed

Among innumerable finds and antiquities discovered from Gandhara, the gold girdle from Pattan, Kohistan is exceptional and incomparable. It is not only valuable in term of metal but also equally significant for the sophisticated iconography, never witnessed in Gandhara before. The profusely decorated and carved gold girdle, under discussion, is the perfect example of the animal style, usually associated with Scythians. The main focus on the present paper is to make comprehensive examination of the animal iconography by making comparative analysis with the archaeological evidences from Eurasian Steppes. In the end some aspects related to study of the gold girdle, its proposed function, dating and impact on Gandharan artistic traditions will also be discussed.

The work in hand discusses the usage of diptych type objects in Western world and in Gandhara. The basic purpose of the research is to determine the origin of diptychs in this part of the world that when and why such objects were manufactured in Gandhara? To answer these questions diptychs in the Western World, referred to as the ‘Consular Diptychs’, are examined. The study throws light on their origin, function, shape, technique, material, iconography and significance. Comparative study of similarities and dissimilarities between the Western diptychs and the Gandharan diptychs is also a part of the investigation through which an attempt has also been made to establish a link between these two traditions. Moreover, final statement is formulated regarding origin of diptych type objects in Gandhāra. At the end, the Basket Man Type Buddhist Diptychs are discussed. This section primarily introduces these diptychs along with description of their iconographic details. Examples from Gandhā...

Gazetteer of the Mianwali District, originally published in 1915, mentioned the existence of a prosperous town in the vicinity of present-day Rokhri, near Mianwali. The statement is based upon a significant number of finds in the form of architectural remains, potsherds, sculptures, and coin. Because the archaeological profile of District Mianwali has not been explored and documented completely, a recent visit of the site by the authors became a source of inspiration to write this article to explore, highlight and understand the significance of the site in the overall historical context in tangible and intangible heritage of Mianwali. The research is also being carried out to take a view of the present condition of the archaeological mound of Rokhri in Mianwali District through reexploring the site Primary objective of the present paper is to document, investigate, highlight and extend the scope of the site by putting together information through archaeological, historical and oral records/traditions from the area. The outcome of this research would be useful to understand the cultural profile of the Rokhri Mound. It would also help to determine the Archaeological historical religious, socioeconomic and sociocultural significance of the region with special reference to the Ancient site of Rokhri, Mianwali.

In the history of archaeological research in Pakistan, there is hardly any concept of “Independent Researchers” who opt to devote their lives to explore and document vanishing heritage located in remote areas. Zubair Shafi Ghauri, a bureaucrat by profession, retired from the Pakistan Railways as Additional General Manager (Traffic), will be remembered among the very few unsung heroes who made true justice with his passion for archaeology. His love for the subject can easily be understood and ranked no less than higher by any means from any institutional work, particularly related to Indus Valley Civilization. From the archival record, both published and unpublished, he earned the position of a well-established author in the national and international community. As a result of an extensive survey of Hakra, Kot Dijian, Mature and late Harappan settlements in Punjab, he not only discovered and identified hundreds of sites but also documented these in a proper way for understanding and reconstructing settlements’ patterns of the period ranging from 3700 B.C.E to 1800 B.C.E.

Although the history of Jainism in Pakistan has deep roots as compared to other religions, however, very limited research has been carried out for exploration, documentation and analysis of its historical, textual, archaeological, architectural, artistic and cultural aspects in Pakistan. As a result, basic information retrieved from investigations done in recent years, remnants of habitation, in the form of Temples, Dharasamalas, Bazaars, Mohallas,Thary (sitting platforms), community centers of Jainas have been recorded in Punjab and Sindh. The present research paper is an attempt to comprehend and highlight the artistic depiction of one of the main Tirthankaras of Jainism, known as Lord Parshvanatha. A visit to Multan city in Dec, 2018 organized by the Department of Archaeology, University of Punjab regarding exploration and documentation of Jaina temples became a source of inspiration for the present work. Among three Jaina temples recorded in the city, the one is associated with Sri Parsvanatha in Sri Parsvanatha Jain Svetambara Mandir, as written and carved on the wooden gateway of the building. The building is profusely decorated with a depiction of Parsvanatha and basic information of the Tirthankara is necessary to understand the importance and significance of not only the cult of Parsvanatha but also of Jainism in Multan. The information being presented would be useful for conducting further research and comprehending Jaina mythology and imagery in Pakistan.

Plethora of literature has been produced on the Sikh history of the Punjab and more importantly analyzing the era of Ranjit Singh. However, not a single academic and research study is done on the successors of the Ranjit Singh. Even those who have written on the successors of the Ranjit Singh have not properly addressed the Sikh-Muslim relations during the post-Ranjit Singh period and this article attempts to fill the research gap in the historical literature of the post-Ranjit period from1839 to1849. There are allegations against the Sikh rulers for the mistreatment of the Muslims during the post-Ranjit Singh. Therefore, it is of immense importance to explore, investigate and analyze the Sikh-Muslim relation in the post-Ranjit Singh period. This study will try to find answer to the following queries: What was religious policy of the Sikh rulers and what was response of the Muslims to these. The study argues that though there were few incidents which went against the Muslim population but the Sikh-Muslim relations did not deteriorate in the post Ranjit Singh period as well. Though there were opportunities for the rulers and the ruled to go against each other but neither the rulers' lunched anti-Muslim policies nor the Muslims reacted and revolted against them.

Jaina historical sources are quite rich in presenting evidence of flourishing Jaina communities and their secular or religious built heritage in Punjab and Sindh before the arrival of Muslims in Valley of the river Sindh. These Jaina accounts confirm Jaina presence in Sindhusagara, Bhera, Taxila, parts of Chakwal and other areas of Punjab as early as in the life of Mahavira and generations of his early followers. These historical notices are supported by Chinese travel accounts and some archaeological evidence produced through excavation or exploration work conducted by Sir Aurel Stein, Sir John Marshall and the present authors. In this research paper, the authors will compare the textual evidence's footprint with the material evidence of Jaina presence in Pakistan produced so far. This paper will examine the authenticity and quality of this archaeological work related to Jainism in Pakistan. It will also discuss the current bias in Jainism scholarship to reject these archaeological discoveries as insufficient and unconvincing and its impact on preventing research, exploration, preservation and taking ownership of pre-Muslim Jaina archaeological heritage of Pakistan.

The land of the Pakistan has witnessed as the cradle of an ancient society of the ancient world, called Indus Valley Civilization or Harappan Civilization. This prodigious civilization is contemporary to the other ancient societies like Egyptian, Persian, Mesopotamian, and Chinese. The Harappa, Mohenjo-Daro, Ganweriwal, Kot Diji, and Mehargarh are its renowned archaeological sites, which illustrate the ancient agriculture and social lives of the Indus people. This civilization is also significantly known with its urbanization, town planning, bronze technology, seals, and trade networks. In Pakistan, earliest farming was started in the Neolithic at Mehargarh site (7000 B.C. to 2500 B.C.). In later stages, it progressed towards the Harappan culture. This paper will focus on collected archaeobotanical data from some important prehistoric sites that recommend the evidence of origins and dispersals of important ancient crops and agropastoralism of ancient Pakistan. In addition, the ancient cereals from these sites during the Neolithic will also be examined with the context of agricultural strategies, socioeconomic structure, farming system, domestication of animals, and ecology of ancient Pakistan. Moreover, the history of archaeological research and archaeobotanical evolution in Pakistan are pivotal theme of this research.

This paper attempts to understand the history, art and architecture of Jains in Pakistan with the new perspective. Among ancient religions of Indian Subcontinent, Jainism is the only one that remained a practicing religion in Pakistan till the country gained independence in 1947. Historical records clearly mention presence of jain community in major cities of Pakistan. Archaeological data consisting of jain temples, community halls and other shrines also throws light on the contribution of jains in the socio-religious, cultural, architectural and artistic activities of the country. Researches related to Indus Valley, Gandhara, Islamic and Hindu art and architecture have overshadowed the study of jain archaeology. Purpose of the present paper is to share what we intend to do regarding the study of Jainism in Pakistan. No major work has been done for the systematic exploration, identification and documentation of the jain built heritage of Pakistan. The Department of Archaeology, University of the Punjab is taking this initiative for the first time to make detailed study of history of Jainism, its rise and decline. The study would highlight glory of the religion and contributions of its followers in social, cultural, economic, artistic and architectural fields. Comparative and analytical study of the jain archaeology would also be made keeping in view variety of the jain building traditions. Awareness among research scholars and local community would also be given to play their role for the preservation of Jain heritage scattered in different parts of Punjab as well as of Sindh province. Moreover, suggestions and expertise would also be offered to preserve and conserve what we have of Jainism in Pakistan.

Stupa is the India's oldest object of veneration in the architectural form. Stupa and Buddhism are synonyms of each other. Oldest Known stupas are of Buddhist religion. The construction of its shape is inspired from nature itself e.g bulbulakaar, uplakaar and dhanyakaar. This is a solid structured platform in which the body relics of Buddha and his disciples were kept. Initially the stupas of mud were constructed over the bodily remains of Buddha after his Mahaparinirvana. Thereafter, the Mauryan Emperor Asoka constructed numerous stupas made of bricks all over India. During the Sungas and period that followed after the stupas were beautifully adorned by stones that covered the stupas. The remains of this stupa have been obtained from different parts of India namely Uttar Pradesh, Bihar, Madhya Pradesh, Rajasthan, Gujarat, Punjab, etc., and also from Pakistan and Afghanistan.

The Indus Valley or Harappan Civilization is contemporary to the other ancient societies. Fortunately, some of its renowned sites have been excavated, and comprehensive writings have been progressed by the local and foreign archaeologists, anthropologists, and historians. Its renowned ancient cities like Harappa, Mohenjo-Daro, Rakhigarhi, Dholavira, etc. have also been treated with great archaeological expeditions through which inclusive results were organized scientifically about this civilization. However, unfortunately, some of its precious regions, like the Cholistan Desert and its important cities like Ganweriwala, Qasaiwala Ther, Kaliyan Para have been paid no attention to trace out the ancient facts about the Indus Valley Civilization. Some of the surveys have been executed by a few archaeologists and historians. On the other side, the ancient agriculture of this region has also not been traced out by archaeobotanists due to insufficient expertise and technicalities. Whether some of the famous ancient cities and famous sites have been given much attention and resultantly, the ancient objects examined and new thoughts have been created about this civilization. In this manuscript, the scope of desert archaeology is examined, and some proposals for future work regarding archaeobotany are presented with the wide-ranges of arguments too.

The research paper deals with the art of building which was introduced and developed in Lahore during the period of British Raj. We have variety of buildings which were built during the British period. These can broadly be divided into two groups, namely, Religious and Utilitarian. These principally include Churches, Cathedrals, Lawrence and Montgomery halls, the Government College University, National College of Arts, Aitchison college, Punjab University, Lahore Museum, General Post Office, the Senate hall, Memorials, Railway Station and Bridges. The built heritage can also be termed as "Colonial Architecture". Unlike previous architectural traditions of the city, the British style has a distinctive character. When study deeply it provides us with matrix of eastern and western elements. Architecturally all these buildings are dominated by brick structures and represent separate school of architecture which is easily identifiable due to their particular architectural characteristic. The present work, however, provides an introductory information about two types of buildings, namely, Religious and Educational. Rest of the structure will be discussed at later stage in a separate article. Keeping in view present state of condition of the British built heritage, some suggestions are also given in order to preserve and conserve these buildings.

During his journey in ancient Gandhara and Punjab (Pakistan) during 629-645 ACE, the Chinese pilgrim Hiuen Tsang visited the city of Singhapura which was the capital of a kingdom of the same name-and then a dependency of Kashmir. Reportedly, this city was larger than the more famous city of Taxila. In the vicinity of this city, the Chinese pilgrim visited and describes two great stone stupas, each 200 feet high, and carved balustrades. By their sides he also describes ten sacred pools full of fish and dragoons and protected with carved balustrades, a memorial pillar, an inscription, deva-temples, deserted monasteries and white-clad and sky-clad monks. During last 170 years or so, scholars have been trying to locate the exact site of the Salt Range but without much success. During 'our' recent extensive survey of the Salt Range, the author has reinvestigated this problem from a different angle and has found some solution. This issue will be discussed in this paper.

This research paper is attempted to adjudge the effectiveness of all measures taken in the wake of Orange Line Train with special reference to Shalamar Gardens. Shalamar Garden, recognized as World Heritage Site, has historic association which represents a rare example of garden traditions of the past times. In the introduction and background, we have discussed the evolution of circumstances which paved the ways towards genesis of the issue. Then in legal framework section, light is put forth on all national and international legal formalities dealing with the development around the historic site. The next portion is about all the reservations and apprehensions voiced by UNESCO and SC. The second last portion is about all the practical steps taken by Govt. as an effort to mitigate the concerns. Then there comes findings and recommendations section which provides an insight analysis of the problem and highlights the loopholes. This portion gives us suggestions and vulnerabilities which might affect the site in near future. The renowned firms were consulted in order to investigate the issues. We have the official stance but don't have the stance of common people who has been living and have business affiliation with the site. How the development of OLMT and creation of buffer zone affect them and their livelihood? Are they satisfied with the measures adopted by Government for the safety of the historic site called Shalamar Gardens? The common people view point has been missing till now. No one bother to look the issue through the lenses of those people who themselves and their ancestors have been living there since ages. What will be the socioeconomic repercussions of this development on the people living in the vicinity of Shalamar Garden? We tried to cover these research gaps in this paper and attempted to collect data by applying various qualitative and quantitative techniques. But most of the people selected for sampling were from poor educational background. So the interviews, surveys and discussions were considered to be the best means to collect data. This research paper will reassess the taken measures and

The present research paper investigates two different aspects relating diptych type objects. First section of the research discusses the use of diptychs in Western World.  These are referred to as “Western Diptychs”. Different aspects related to origin, function, shape, technique, material, iconography and significance of these Western diptychs are being highlighted.  Moreover an attempt has been made to establish a link with diptychs in Gandhara. Comparison of similarities and differences between Western and Gandharan diptychs is also part of the present research. Based on this comparison final statement would be formulated regarding origin of diptych type objects in Gandhara.
Second portion of the article is about introduction of diptych type objects and their usage in Gandhara. In this regard one of the four types of miniature portable shrines, namely, Basket Man Type Buddhist Diptychs are being discussed. The remaining three types include “Elephant and Rider Type”, Brahmana Type” and “Plain Exterior type”. These diptych type portable shrines were used as another medium of narrating life story of the Buddha This section primarily introduces these diptychs along with description of their iconographical treatment. Examples from Gandharan reliefs are also included to analyse pictorial representation.

After death of the Buddha, his body was cremated and the relics were distributed among
existing eight tribes. Numerous Gandharan reliefs depict transpiration of the relics. Most
often the event is represented in the form of a well guarded procession. The narrative was
also repeatedly depicted on diptych type miniature portable shrines of the “Elephant and
Rider Type” diptychs. This paper is about an ivory diptych of the similar type. It has
carving on both sides. Its exteriors portray transportation of the relics while on the
interior complete life story of the Buddha is depicted. Main purpose of the present
research is to reinterpret a couple of scenes depicted inside the ivory diptych. These
narratives have not been correctly interpreted by the previous scholarship. Attempt has
also been made to understand narrative scheme applied inside the ivory diptych. The
present author also intends to investigate aspects related to significance, manufacturing
date and function of the object.

The elephant and rider type diptychs are among four main types of the Miniature Portable Shrines from Gandhara and Kashmir. The remaining three types include "Basket Man Type", Brahmana Type" and "Plain Exterior Type". These diptych type portable shrines were used as another medium of narrating life story of the Buddha. The main objective of this paper is to introduce these diptychs along with description of their exterior and interior iconographical treatment. A slight comparative analysis of the depiction of few episodes from life of the Buddha with the general Buddhist narrative art in Gandhara, is also a part of the investigation.

This paper will discuss the history and future of preservation of cultural regionalism in Pakistan. It will take into focus the facts and fears in order to get a more concrete understanding of the issues involved. Pakistan is a country which came into being on basis of an ideology. We have a long history of promoting ideological nationalism vs. regionalism. The apparent failure in imposing this on the majority population with diverse and deep rooted regional cultural affiliations over a prolonged period of time gave rise to a gradual change in thinking pattern of the Academia and decision makers. This change in attitude reflected in the slogan of "Unity in Diversity" which is slowly but firmly gaining roots in current thinking pattern of masses and elite. "Unity in Diversity" means Pakistan would not be a melting pot of different ethno-linguistic cultures and sub cultures into a single entity. Rather Pakistan would be house to a national culture alongside diverse regional cultures. "Diversity maintains Unity" will be the guiding principle and it could be the best tool to produce national integrity. HISTORY OF DEBATE OVER PRESERVING REGIONAL CULTURES VS. PROMOTING A NATIONAL CULTURE In a recent research done at COMSATS institute of Information technology, Abbottabad researchers conclude that: "…Research findings show an existence of a cultural diversity among different provinces of Pakistan…The distinctive provincial culture of Pakistan, despite its similarities and differences across other provinces makes a unique national culture."

This paper will discuss the history and future of preservation of cultural regionalism in Pakistan. It will take into focus the facts and fears in order to get a more concrete understanding of the issues involved. Pakistan is a country which came into being on basis of an ideology. We have a long history of promoting ideological nationalism vs. regionalism. The apparent failure in imposing this on the majority population with diverse and deep rooted regional cultural affiliations over a prolonged period of time gave rise to a gradual change in thinking pattern of the Academia and decision makers. This change in attitude reflected in the slogan of "Unity in Diversity" which is slowly but firmly gaining roots in current thinking pattern of masses and elite. "Unity in Diversity" means Pakistan would not be a melting pot of different ethno-linguistic cultures and sub cultures into a single entity. Rather Pakistan would be house to a national culture alongside diverse regional cultures. "Diversity maintains Unity" will be the guiding principle and it could be the best tool to produce national integrity. HISTORY OF DEBATE OVER PRESERVING REGIONAL CULTURES VS. PROMOTING A NATIONAL CULTURE In a recent research done at COMSATS institute of Information technology, Abbottabad researchers conclude that: "…Research findings show an existence of a cultural diversity among different provinces of Pakistan…The distinctive provincial culture of Pakistan, despite its similarities and differences across other provinces makes a unique national culture."

The province of Punjab occupies the central part of Pakistan. It has
a rich cultural profile starting from Pre-Historic times to the colonial
period. Owing to its friendly environmental conditions and plains,
urban headquarters like Harappa, Taxila and Lahore established at this
particular region. Southern part of the Punjab is also equally important and
offers a rich built heritage. Preset research paper is about one of the sites
related to one of the Buddhist settlements in Southern part of the province.
To begin this investigation, we have the remains of a tall standing monument.
This monument was referred to as the Tower at Sui Vihāra near Bahavalpur

The so-called Cruciform Relic Casket from Shaikhan Dheri or Shaikhan Dheri reliquary can be categorised among the least discussed antiquities from Gandhara. Its utility and iconographical significance has not been thoroughly understood yet. The reliquary on its four facades represents different episodes of life of the Buddha. The primary objective of the present research paper is to make a comprehensive study of the narrative depiction and to make comparative analysis of the each depiction with the general Gandharan reliefs. In earlier research iconography of some of the scenes was misunderstood. In this regard, reinterpretation of those episodes is also part of the investigation. This effort has direct impact on the narrative scheme of the reliquary. It also reflects iconographical significance of this unique object. Additionally the author also attempts to discuss briefly some other aspects related to structure, contents, function and date of the reliquary. The study establishes a hypothesis according to which the so-called reliquary is in fact a part of a miniature building shrine and its interior was quite possibly built to accommodate stūpa-shaped object.

The Metropolitan Museum of Art, New York houses a splendid collection of Buddhist art from Gandhara. The collection also includes a three sided miniature relief to which the museum records refer to as "Three-Sided Section of a Portable Shrine with Scenes from the life of the Buddha". This object is very interesting not only for its tiny size but equally important for the method of depicting life story of the Buddha. The present research is a study of the narrative depiction of this interesting piece of art. Scope of the investigation has been extended by making comparative analysis of the pictorial representation with general sculptures and reliefs from Gandhara. At the end, a hypothesis has been presented about the date and probable function of the miniature portable object among followers of the Buddhism.

Harappan or Indus Valley Civilization is one of the remarkable ancient societies of the ancient world. Significantly, the cultural heritage of this civilization portrays it as indigenous civilization. Its artifacts endorse its aboriginality and attract the scholars to ponder over its cultural heritage. For the assessment of its cultural heritage, anthropology, archaeology, and ethnology are the best tools to distinguish it appropriately. Being a renowned civilization in the world, much of the archaeological work has been done, but less in the field of anthropology and ethnography. The urban life of the people of this civilization refers the zenith of advance the metropolitan approach that presents social, administrative, and political understanding about its people. The focusing aims of this manuscript denominate the cultural heritage, anthropology, ethnography and to assess the social, political, religious, agricultural, art, architecture, rites and rituals, traditions, and norms of the ancient people of Harappan Civilization. Most prominently, the application of scientific methods of anthropology and their role for the assessment of cultural heritage, specifically Tangible and Intangible is also a chief aim of the manuscript.

Among innumerable finds and antiquities discovered from Gandhara, the gold girdle from Pattan, Kohistan is exceptional and incomparable. It is not only valuable in term of metal but also equally significant for the sophisticated iconography, never witnessed in Gandhara before. The profusely decorated and carved gold girdle, under discussion, is the perfect example of the animal style, usually associated with Scythians. The main focus on the present paper is to make comprehensive examination of the animal iconography by making comparative analysis with the archaeological evidences from Eurasian Steppes. In the end some aspects related to study of the gold girdle, its proposed function, dating and impact on Gandharan artistic traditions will also be discussed.

Hindu themes are not unknown within the context of sculptural art of Gandhara and Kashmir. There are representations of Hindu deities such as Indra, Brahma, Skanda, Sakkra, Sasthi, Kumara, Surya, Yakshas, Yakshis, Gandharavas, Mother goddess, Nagas and Naginis, etc. In Gandhara and Kashmir, more often than not, these Hindu gods and goddesses are there not only to glorify Hinduism but also to appear as subordinate beings to serve the cause of Buddhism. They are depicted on a small number of fragments of diptych type portable shrines. They were made of stone and carved from both sides and some from one side. Most of the diptychs are broke and preserved in the form of fragments as either single wing or fraction of a wing of the diptychs. These fragments are referred to as "Hindu Diptychs" and preliminary information will be given in the present paper.

Generally Buddhist portable shrines illustrate scenes
from the life of Buddha Sakyamuni. Most commonly
illustrated scenes include, birth of the Buddha,
enlightenment, first sermon, and death. However,
occasionally some unusual compositions can also be
noted. Most frequent in this regard is the depiction of
Buddha sitting cross-legged and looking at Bodhi-tree
or a branch of tree to his left. In one exception there is
change in direction and the Buddha is depicted looking
at the Bodhi tree to his left. Most often a figure
can be observed, appearing from the tree. Keeping in
view the miniature size of the figures, the tree is also
symbolized by three petals.
In some cases, Buddha is flanked by other figures and
their number varies from object to object. These figures
seem to be gods and royal figures rather than monks.
They are properly clothed and jewelled. The Buddha is
paying no attention to the audience.

Buddha took his last breath at the age of eighty in Kusinagara, the place he himself selected. Visual narration of the death of Buddha has reached to us in the form of sculptures, panels and narrative reliefs. These have been discovered throughout Gandharan territory. Representation of death of the Buddha was among popular themes in Gandharan artistic traditions. Gandharan artists reproduced the theme by using another medium in the form of tiny stone pieces. These are referred to as "Diptych Type Portable Shrines" and show imagety on both sides. Diptychs are vay small in size and can easily be carried and moved from one place to another As compared to other objects, these are least known. In term of iconography, these illustrate dilferent important life episode from the life of the Buddha including parinirvana. This depiction is most often visible on interior section of diptychs. Exterior of diptychs illustrates different themes, Buddhist as well as non Buddhist. The present research paper lists five examples of the diptychs type shrines. Only fragments of these shrines have survived in which only one has been found in complete shape. This research paper makes comprehensive study of the depiction of parinirvana in diptych type of shrines. Focal point of this investigation is to interpret iconographical treatment and characteristic of the episode. At the same time comparative analysis of this depiction between major Gandharan reliefs and fragments of diptychs is also inevitable. This can help us in understanding iconographical development of parinirvana tradition in these two variants.

The Baloch community in Pakistan comprises a major part of the population in the country living in some areas of Sindh, Punjab and mainly in Balochistan. It is a highly profiled tribe right from the beginning of their history. Among their tribal chiefs, perhaps the most prominent one has been Mir Chakar Khan Rind. But still very little is known about him beyond the fact that his turbulent career forced him to leave his motherland ignominiously and found a home in the Punjab along with his tribe. His mausoleum at Satgarha,District Okara, is one of the few monuments of the Baloch tribe that have survived the ravages of time. Hence, there is a need to study the history of this great hero and the architectural merits of his tomb. At present the tomb is in a very poor condition unworthy of a great Baloch hero. It has suffered a lot through centuries both at the human hands and natural agencies, as a result of which, it has lost almost all of its structural beauty, decoration and even the dome. Despite the official claim of several schemes prepared for its uplift, very little improvement ;an be seen on the site itself.

The present research papers deals with one fragment of a miniature relief in The Peshawar Museum, Pakistan. The fragment has three sides or faces showing different episodes from life of the Buddha. Study of iconography of this miniature relief is the main focus of the paper. Scope of the investigation is further extended by making comparative study of the pictorial representation with the usual depiction on  Gandharan sculptures and reliefs. Further more references of the textual versions are also quoted. Some new thoughts about identity and utility of the fragments have also been given.