
Rag-i Bibi (The Vein of Lady Fatima).
Background:
In the winter of 2003 SPACH funded an expedition led by Dr.
Jonathan Lee, specialist in Afghan history, to a village on
the outskirts of Pul-i-Khumri in order to determine the exact
location of a relief sculpture reportedly in the area. Dr
Lee had seen photos of the relief prior to this. They were
delivered to him by a BBC reporter in London who had been
directed to it by Ministry of Information and Culture officials
in Baghlan Province earlier that year. Dr. Lee immediately
recognized that if the reports of the location of the relief
were accurate, it would certainly be of great significance
for the history and archaeology of Afghanistan.
Dr. Lee traveled to the village of Shamarq, approximately
45 minutes drive from Pul-i-Khumri (capital of Baghlan Province)
along a potholed dirt road. Pul-i-Khumri lies approximately
equidistant between this site and the great Kushan temple
founded by Kanishka at Surkh Kotal. The site is located a
few minutes walk from the village on the first tier of three
natural terraces that form the structure of the cliff. Dr.
Lee was guided by the local villagers several hundred feet
up the snow covered mountain side and along a precarious icy
path at times barely one foot wide.
The villagers led Dr. Lee along the path to the relief and
there he saw a magnificent six by four metres high rock-relief
particularly unique in the context of the history and archaeology
of Afghanistan. It is known to the villagers as Rag-i Bibi
(The Vein of Lady Fatima) and had been part of a local cult
in the history of the village. Since the destruction of the
Bamiyan Buddhas, it is the only sculpture of its kind known
to be still standing in Afghanistan. Indeed, it is no less
amazing that the sculpture has remained unknown to the world
outside Shamarq for so many centuries.
The Composition:
The rock-relief depicts a hunting scene similar to others
known from Persia in the time of the Sassanids (AD 224-633)
depicting victorious military campaigns. The composition contains
a proportionately large central figure on horseback with at
least three attendants in the hunting party and possibly one
other indicated by an arm protruding into the composition
from the now destroyed left segment of the sculpture. The
sculpture seems to have been damaged in antiquity either by
earthquakes, human intervention or a combination of both.
Unfortunately, the principal horse’s head, right front
leg, and the torso of its rider are missing. The head of a
second horse is visible behind the first. However, clear traces
of the outline of the main figure’s torso and head remain
where the figure emerges from the rock. The legs of this rider,
attached to the horse in side-saddle fashion, are still visible
though the feet have broken off. The outline of the hair in
of the rider in typical Persian royal style lends weight to
his identification as a Sassanian King.
Under the hooves of the horse is an animal which has been
killed by the hunting party. At first sight it appears to
be a dragon or other mythical beast, accentuated by a grimace
on the right side of the mouth as you view it and a mouthful
of menacing teeth. However, a flattened section on the snout
of the beast and an associated peg-hole suggest that a horn
was once attached. Indeed, there are numerous similar holes
in different parts of the relief suggesting that such applied
decoration was employed in the final product to overcome deficiencies
or limitations in the material they had to work with. The
ears of this animal would also have been applied in a similar
fashion. The whole composition was plastered and painted meaning
that such appliqué would have been indistinguishable
from the stone in the final product. With the inclusion of
a horn the animal can clearly be identified as a rhinoceros.
Rhinoceroses, of course, do not have such large sharpened
teeth, but these may have been added by the sculptors for
dramatic effect, as in a similar fashion, a tongue protruding
from the right side of the mouth of the animal indicates its
death. Above this animal in the upper-right portion of the
composition as you face it, the same type of animal is fleeing
the hunt, covered in scales or scaled armour. This figure
is in similar proportions to the other rhinoceros figure,
although its head and right front leg are missing.
The top of the composition was originally bordered by a banded
architectural motif. There are small segments of this motif
still intact in the top-left and right corners but the middle
section has been completely destroyed. Traces of the original
paint and plaster can also be seen in the top left-corner
underneath a turban or crown motif associated with the architectural
band.
The sculpture contains a curious combination of local and
Persian elements, and it will be interesting to see how the
story unfolds, as more research is undertaken around the world,
concerning the relationship of this relief to the aspirations
and claims of the Sassanid Kings Shapur I & II to expand
their influence in Afghanistan during the 3rd and fourth centuries
AD.
The Survey:
In May 2004, SPACH, in conjunction with DAFA, facilitated
a team of French archaeologists headed by Professor Frantz
Grenet in visiting, documenting and photographing the site
using a specialized camera able to capture images in 3-D.
The Ministry of Foreign Affairs of France funded Frantz Grenet
and his team and SPACH provided funds for Dr. Lee and equipment
for the survey. DAFA provided vehicles for the French team
and acquired the appropriate government permission. Special
mention must also be made of Mr. Najibullah Ahrar, the Director
of the Ministry of Information and Culture of Baghaln Province,
and his colleague Mr. Tokhi, who assisted the team greatly
and under whose auspices the survey took place. Much praise
too, must go to the local villagers who were employed in various
roles and worked extremely hard to assist the expedition.
The Ministry supervised all the work and posted several guards
on the site to ensure the security of equipment that had to
be left on site during the process. ACTED provided the team
with accommodation and the guards with the use of a tent for
the duration of the procedure. SPACH donated equipment to
the Ministry in order to equip the guards properly for protecting
this and other such sites in the future.
The survey involved building a two to three metre high platform
several hundred metres up a steep slope on the mountain side,
enabling Philippe Martinez, the photographer, to work with
his equipment. The team had only approximately 1 metre in
which to work and erect the platform. It took several days
to erect the structure and clean the relief for photographing
and the work was also delayed by heavy rain for several days.
Carpenters from Pul-i-Khumri were hired to build the platform
and labourers from the village were hired to make the area
on which the platform would be built and the track in the
immediate vicinity wider and more safe to work on. The men
from the village and the carpenters worked in difficult conditions
hundreds of feet up the steep mountain side with little room
and did so very successfully. This enabled the 3-D photography
to proceed without problems and under safe conditions.
The 3-D image captured of the relief means that it can be
studied in some detail by scholars without actually visiting
the site, and the data contained in the image could also be
used to produce a scale model for the Kabul Museum, other
museums or future research.
The Future of the Rock-Relief:
Professor Frantz Grenet reports that the sculpture is the
only Sassanian rock-relief yet discovered east of Tehran and
certainly anywhere in Afghanistan (personal communication).
Indeed, since the destruction of the Bamiyan Buddhas it is
the largest and only sculpture of its kind existing in Afghanistan
and thus of central importance to the cultural heritage of
the country.
Therefore, some thought and planning for the future of the
site needs to be undertaken now. The site has already created
much interest within Afghanistan and abroad and will attract
increasing numbers of people to view it. These people must
be managed in way that serves the interests of both raising
awareness and celebrating and protecting the material heritage
of Afghanistan, and also the interests of the local people
in whose village the bas-relief is situated. No program should
be developed that does not provide some benefits to the local
community who have kept the relief largely intact over so
many centuries.
Firstly, some minor restoration work should be undertaken
to sure up some large cracks in the cliff face that may open
up with further earth tremours and put the relief in jeopardy.
Secondly, some type of protective frame should be installed
to ensure that people cannot climb on the sculpture and further
damage some of its more delicate details. Thirdly, a guard/guide
station or interpretation centre could be set up to provide
security to the site and information on its significance to
would-be visitors. Such a service would provide a minimal
income to ensure the longevity of the site for future research
and generations of Afghans. Local people from the village
could play a significant role in this.
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