In the mountainous regions of Sindh, shepherds and travelers are still carving images onto rocks, continuing a tradition that spans millennia
Zulfiqar Ali Kalhoro
During my documentation of rock art in Pakistan, I came across a fascinating theme of hunters and hunting scenes. My attention was particularly drawn to ethnographic petroglyphs that depict these themes. In Sindh, I discovered numerous rock art sites where such ethnographic engravings are still found. The rock art tradition in Sindh is very much alive. People still engrave on rocks as they travel from one place to another in the mountainous regions of Sindh. When they halt at a rock shelter or rest beside a boulder, they often spend time carving on the stone. Shepherds also create images on the rocks. While their herds graze and they take a break, they create engravings. They often make simple yet meaningful subjects such as water bottles, axes (which they always carry), handprints, footprints, shoeprints, birds, plants, and animals.
I met and interviewed many shepherds who had carved different animals, anthropomorphic figures, weapons, and other material objects into the rocks. Interestingly, the axe, which is a symbol of the shepherds in the hilly regions of Sindh, is frequently depicted near handprints, footprints, animal motifs, and hunter images. They engrave both their weapon, the axe, which they usually carry, and guns when they want to depict hunting scenes. Typically, they portray guns aimed at ibex and deer. In very rare cases, they also engrave scenes of leopard hunting. Additionally, other wildlife is depicted in the hunting scenes of these Sindh ethnographic petroglyphs.
Sindh’s rock art prominently features hunting scenes that span both prehistoric and historic periods. Notably, ethnographic petroglyphs also illustrate various hunting scenes. A distinctive feature of Sindh’s rock art is the depiction of hunters with a variety of weapons, ranging from bows and arrows, swords, to modern firearms. These petroglyphs are found in different valleys of Khirthar, Bado, and Lakhi Hills. This reflects the continuity of hunting traditions in Sindh, preserved through rock art. These artworks reveal the region’s hunting history and also highlight the community’s passion for the activity. Moreover, some scenes depict birds and the practice of falconry.
The axe, which is a symbol of the shepherds in the hilly regions of Sindh, is frequently depicted near handprints, footprints, animal motifs and hunter images
Although only a few representations of bird-hunting appear in Sindh’s rock art, they nevertheless reveal that hunting was and continues to be an integral aspect of Sindhi society. Falconry scenes are particularly prominent in the painted tombs of the Kacho area in Dadu district, and many ethnographic petroglyphs seem to draw inspiration from these nearby monuments. Local artisans appear to have interacted with and adopted some motifs from these painted tombs. Some of the most striking hunting scenes are found in the different valleys of the Khirthar Range. Among them, depictions of group, collective, or trapped hunting illustrate an ancient technique that dates back to the prehistoric period. From the Upper Indus Valley to the Lower Indus Valley, this form of communal hunting once played a vital role when local communities depended primarily on animals for their sustenance. I have documented several such community-based hunting scenes across Sindh’s valleys, with particularly remarkable examples in the Nali and Gaj valleys.
Ancient communal hunting scenes depict hunters using spears encircling their prey, while more recent and ethnographic scenes showcase swords and various firearms. This shows the continuity of the theme alongside changes in the weapons utilised. Hunting scenes can be found from the Nali Valley to Khashani. At some rock art sites, archers are shown hunting ibex and other animals. Numerous archery scenes appear in the Gaj, Makhi, and Mazarani valleys, with a few also present in the Sallari, Buri, and Chhanhar valleys. One notable archer is depicted at the Sado Mazo rock art site in the Nali Valley, while another prehistoric depiction of an archer is on a boulder at Chiti Dhoro in the Khashani Valley.
The Chiti Dhoro rock art site in Khashani valley features several petroglyphs depicting hunters and hunting scenes. Among the earliest drawings are images of archers with bows and arrows. The ancient petroglyph shows an archer alongside an ibex, but it is notable that the bowman does not appear to be aiming an arrow at the ibex, which is positioned below him. Another intriguing image portrays a hunter holding a bow in one hand and a long arrow in the other. This long arrow is depicted as being nearly as tall as the hunter, which is somewhat unusual in the rock art of Sindh. He is likely either holding a long arrow or a spear in his left hand.
Ancient communal hunting scenes depict hunters using spears encircling their prey, while more recent and ethnographic scenes showcase swords and various firearms
The most recent petroglyphs depict hunters with guns pursuing ibexes and leopards. Some hunters are shown along with warriors and animals. These hunters are shown at various rock art sites in the Taki, Gaj, and Sallari valleys.
In addition to the representations of hunters and hunting scenes found in the rock art of Khirthar, similar engravings can also be seen in Karachi’s Malir district. I have also seen ancient hunting engravings along the Mula River in Balochistan. Furthermore, some petroglyphs of hunters are present in Khuzdar and other districts of Balochistan.
Hunting scenes can also be found in the rock art of the Swat Valley, as documented by my friend Prof. Dr. Luca Maria Olivieri, Director of the Italian Archaeological Mission in Pakistan. Additionally, similar hunting scenes are present in the rock art of Gilgit-Baltistan.
In the heart of Sindh’s rock art lies a fascinating glimpse into ancient times, where hunting was not merely an act of survival but a vibrant community celebration. After a successful hunt, the community gathers to honor their triumph. In striking petroglyphs found in the Gaj Valley, one can see figures dancing joyfully, while animals are depicted nearby being trapped and hunted. These intricate carvings tell a story of togetherness, showcasing the rituals and festivities that followed a hunt.
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
First published by The Friday Times Lahore
