Exploring the Ancient Rock Art
Rock Carvings in the Valleys of Sindh’s Khirthar Mountain
These engravings help us understand the complex relationship between humans and nature, revealing the spiritual beliefs of local communities
Zulfiqar Ali Kalhoro
During my various excursions into the valleys of Khirthar, I discovered several rock art sites. In Loondo Dhoro, a tributary of the Taki Valley in Sindh’s Dadu district, I discovered four major rock art sites during three visits to the valley in 2010 and 2013.
During my first visit in 2010, I was accompanied by my friends, Ghulam Abbas Dahri from Drigh Bala village and Nihal Khan Alkhani from Gorakh, as we explored various rock art locations in Loondo Dhoro. For my second visit that same year and my third visit in 2013, Nihal Khan Alkhani and his nephew joined me. I started by visiting Trigh Dhoro and then Mahrani, both tributaries of the Gaj Valley. From there, I travelled to Loondo Dhoro and discovered a few additional rock art sites.
My research on rock art in Loondo Dhoro examines the cultural, ecological, and social aspects of Sindh, providing detailed descriptions of the engravings to highlight their significance. These engravings help us understand the complex relationship between humans and nature, revealing the spiritual beliefs of local communities. I have discovered several significant rock art sites in Sindh, a few of which I discuss below. The following excerpts have been taken from my forthcoming book, Beyond the Gorges of Gorakh: The Rock Carvings of Taki Valley.
Both camels and ibexes are engraved on rock walls and boulders around the narrow passage of Loondo Dhoro. While a few of these images are old, most of them are more recent
There are a few rock art sites in Loondo Dhoro. I only discuss one rock art site in this article. This rock art site is located at the tail end of the Dhoro. As one ascends, one will first notice animal representations on the boulders and rock walls in this narrow gorge. In some areas, one may find oneself caught in the tight gully of a hill stream. In certain spots, the streams become so narrow that one cannot easily cross over the chasm where the water collects. Therefore, it is important to avoid navigating through the gully of the hill stream to prevent getting stuck in its chasm.
My friend Ghulam Abbas Dahri was intrigued by the narrow passage of Loondo Dhoro and asked me to take his photo inside the chasm, which I happily did. He descended into the chasm for a photograph, but found it difficult to climb out, as the rocks were slippery. After three attempts, he finally managed to emerge from the chasm. This particular landscape may have played a significant role in the cosmology of ancient communities, potentially serving as a site for rituals or gatherings. The unique geological formations could have been a sacred site for them!
Images of animals and anthropomorphic figures can be found at this site. Both camels and ibexes are engraved on rock walls and boulders around the narrow passage of Loondo Dhoro. While a few of these images are old, most of them are more recent. One of the boulders features ibex engravings that have significantly faded over time, reflecting their antiquity. The soft texture of the sandstone boulder has caused the images to nearly disappear, although traces of them are still visible on the surface.
To understand the significance of these representations, one can employ semiotic theory, which examines how meaning is constructed through the use of signs and symbols. The engravings serve as a visual language, communicating cultural narratives about wildlife, human interaction with nature, and the spiritual beliefs prevalent in the region. For instance, the recurring motifs of ibexes highlight their importance in the local ecosystem and the communities that once relied on them for sustenance and cultural identity.
Furthermore, there are two more images of ibexes engraved on a rock wall, which are also very old. The contours of these images clearly indicate that they depict ibexes. Ibexes are a recurring theme throughout the Taki Valley and beyond. But in Loondo Dhoro, one can also find a few images of ibexes. Occasionally, herders also engrave images of goats alongside ibexes. This connection between ibexes and goats can be understood using ecological ideas. It illustrates how humans and animals coexist in pastoral societies.
As one climbs up, a row of three camel images comes into view. Camels are not only essential for transportation and resource provision in mountainous areas, but they also hold cultural, economic, and environmental significance, making them integral to the lives of herders and local communities in Khirthar. These engravings were recently created by the herders who graze their animals in the area. One of the camels is depicted with a rider. The artist has also attempted to portray an anthropomorphic figure, likely a demon, shaman, or fugitive, positioned before the first camel that leads the caravan. The engraving suggests that the first camel driver appears shocked by the sudden appearance of this bandit. Banditry was common in the hilly areas, with looting of passengers, as well as camel and cattle rustling, being prevalent activities that captured the attention of artists, prompting them to engrave such scenes on rocks. When discussing this particular scene, we must consider the narrative of local herders, which provides insight into how these engravings reflect historical socio-political dynamics. My ethnographic research consistently prioritizes local epistemologies and ontologies, ensuring that I never overlook the voice of the local community in my interpretation of rock art motifs.
This scene may also depict a different scenario: a journey commencing with a blessing from a shaman or spiritual figure, as seen in the engraving before the camel. The grand scale of the figures indicates that the artist intended to depict an important figure receiving blessings before embarking on a journey into the rugged mountains of Khirthar. Moreover, certain rituals were commonly performed by travellers before embarking on their journeys, and this engraving represents such a scene.
Two additional boulders at this site feature engravings of camels without drivers or riders. Both appear to have been carved relatively recently. Moving a little further up, one comes across another boulder that depicts an ibex and a camel. The ibex is shown with long horns. Again, these engravings are of modern origin and are made on soft sandstone.
A short distance away from this boulder, there are two depictions of a camel alongside a shoe print. I have previously mentioned in my books, The Rock Art of Karachi (2020) and Symbols in Stone: The Rock Art of Sindh (2018), that shoe prints or shoe soles are a recurring theme in the rock art of Sindh. These shoe prints are particularly abundant in the rock art found in the Mol Valley in Karachi’s Malir District. This idea can be explained using social function theory, which suggests that art showcases human activities and movements in a specific landscape.
In addition to the shoe print found on this boulder, there is another engraving of a shoe print at this petroglyph site. I have also seen drawings of shoe prints along the routes connecting Trigh Dhoro and Mahrani Dhoro to Shakloi Dhoro. This route features petroglyphs depicting shoe prints or shoe soles, as well as animals. Both side valleys, Trigh and Mahrani, tributaries of the Gaj valley, are home to both modern and ancient petroglyphs, which I have visited often and discovered several rock art sites.
Moreover, one can also find a depiction of a hunter with a gun in Loondo Dhoro. The hunter is shown shooting an ibex. Before the ibex is a depiction of a goat. The depictions of hunters are also found at several other rock art sites in Taki Valley, reflecting a continuity of cultural expression and the changing dynamics of human-animal interactions over time. One can further explore how these images reflect the evolving relationship between humans and their environment, particularly in terms of hunting practices and their implications for sustainability.
The imagery in the Loondo Valley offers a valuable perspective on the artistic expressions found at this rock art site. Furthermore, it elucidates the cultural, ecological, and historical contexts that influence these representations.
Read: Legacy of Love and Pluralism
__________________
The writer is an anthropologist at the Pakistan Institute of Development Economics, Islamabad. He has authored 17 books on Pakistan’s cultural heritage and anthropology. He tweets @kalhorozulfiqar. He may be contacted at zulfi04@hotmail.com
Courtesy: The Friday Times Lahore (Posted on June 10, 2025)
