15. The Rutbils of Zabulistan and the "Emperor of Rome"

The first Rutbil of Zabulistan had declared his independence from the Kingdom of Jibin (Kabulistan) after 680 CE. According to Arab and Chinese sources, he was an older brother of the king of Kabul "Khorasan Tegin Shah" (showcase 14); after his ascension to the throne, they had a falling out and the first Rutbil founded his own kingdom in Zabul. Initially he must have secured the support of the Arabs. The title Rutbil corresponds to the Turkic iltäbär and is used in Arab sources to refer to the king of Zabulistan from that point on. The personal names of the various rulers are not known from written sources. The end of the Zabul kingdom, which together with Kabul stood at the fore of the long resistance against the Muslim conquerors, finally fell in 870 CE when the Arab general Yaqub bin Laith al-Saffar (r. 861–879 CE) conquered the entire Iranian East from Sistan and definitively defeated Zabul.

The center of the Kingdom of Zabul lay in the city Ghazni, one of the three residences of the king. In the northeast it bordered on Kabulistan and in the northwest it reached into the central Hindu Kush (showcase 12). In the south it included at times the cities of Rakhwad (al-Rukhkhaj) and Bost (near Kandahar, South Afghanistan). In the west the border followed the Helmand River, and the Sulaiman Mountains constituted the eastern border.

The travel diary of the Chinese monk Xuanzang from the first half of the 7th century records that numerous Buddhist stupas supposedly built by the Indian Maurya ruler Asoka (268–232 BCE) existed in Zabul as well as several hundred Buddhist monasteries and several dozen Hindu temples. The temple of the Brahman god Zun was famous far outside the borders of the kingdom and drew thousands of pilgrims annually. When the Arab governor of Sistan, 'Abd al-Rahman bin Samurah, reached Zabul with his troops in 653/54 CE, his path led to the temple of Zun. To demonstrate the impotence of the pagan god against the Muslims, he hacked both arms off the golden statue and tore out its ruby eyes.

Context
  • A. Symbol (tamga) of the Turk Shahis of Kabul and Zabul

A. Symbol (tamga) of the Turk Shahis of Kabul and Zabul

  • B. Head of a goddess from the late period (8th century CE) of the Buddhist sanctuary at Tapa Sardar (near Ghazni, Zabulistan).Painted clay, H: ca, 64 cm. (© Rome, IsIAO)

B. Head of a goddess from the late period (8th century CE) of the Buddhist sanctuary at Tapa Sardar (near Ghazni, Zabulistan).Painted clay, H: ca, 64 cm. (© Rome, IsIAO)

The head belonged to a Buddhist version of the Hindu deity Durga depicted killing the demon Mahisha, who in his human form appears from the rump of a beheaded buffalo.

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  • C. Hypothetical reconstruction of the Durga sculpture from Tapa Sardar. (© Rome, IsIAO)

B1. Hypothetical reconstruction of the Durga sculpture from Tapa Sardar. (© Rome, IsIAO)

The reconstruction is based on photographs of the fragments and the close parallels with a contemporary marble sculpture of the same subject from Gardez, Afghanistan (blue). Further parts have been completed based on the analogy with other sculptures of the period that were found at the same site (green).

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  • D. Small, star-shaped stupa from the late period of Tapa Sardar (8th century CE). Clay; max. height preserved 1 m. (© Rome, IsIAO)

D. Small, star-shaped stupa from the late period of Tapa Sardar (8th century CE). Clay; max. height preserved 1 m. (© Rome, IsIAO)

Small stupas like this one and clay figures on thrones were erected alternately in a circle around the main stupa during the last phase of Tapa Sardar. The characteristic form refers to the so-called "stupa of the descent from the god realm", which recalls the descent of Buddha from Trayastrimsha heaven, where he went shortly after his enlightenment in order to share his teachings with his mother who had been reborn there. This "descent" marks the beginning of Buddha's teaching and symbolizes the spread of his teachings in all directions, which is reinforced here by omnipresent small Buddha figures.

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  • E. A restorer at work in Tapa Sardar. (© Rome, IsIAO)

E. A restorer at work in Tapa Sardar. (© Rome, IsIAO)

Almost everything at Tapa Sardar was made of clay, a smooth and malleable material that gave architects and sculptors nearly unlimited possibilities to embellish their art. At the same time, clay is extremely delicate since it loses its cohesiveness with time, and clay objects are often only a formless mass or in extremely fragile condition when found in archaeological layers. For this reason, much skill and experience is needed for the excavation, conservation and restoration as well as for the documentation of each find.

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  • F. Marble statue of the god Ganesha. The statue was found in Gardez (East Afghanistan) and later erected in the Hindu temple Dargha Pir Rattan Nath in Kabul. (© Shoshin Kuwayama)

F. Marble statue of the god Ganesha. The statue was found in Gardez (East Afghanistan) and later erected in the Hindu temple Dargha Pir Rattan Nath in Kabul. (© Shoshin Kuwayama)

The "King Khingala, King of Uddiyana" named in the dedicatory inscription could be the same person as the Kabul Shah Bo Fuzhun known from Chinese sources, who succeeded his father Fulin jipo (Phrom Kesar) on the throne in 745 CE and was invested by the Chinese emperor as king of Uddiyana (Swat).