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owhere else can such a large number of Buddhist rock carvings be found as in Gilgit-Baltistan. These carvings are primarily located along the Indus River and its various tributaries. Historically, it served as a route connecting the lower Indus Valley to the upper Indus Valley, facilitating travel for millennia. Along the route, one can find numerous representations of Buddhas and Bodhisattvas, stupas and many other symbols and signs from various religions. Interestingly, many of the engraved images are accompanied by Kharosthi, Brahmi or other ancient scripts, which help scholars gauge the relevance and significance of these images.
These images attract every traveller and passerby who wants to understand what they represent. I first came across these fascinating Buddhist rock carvings in 2000 when I was doing consultancy with the International Union for the Conservation of Nature on customary laws in Gilgit-Baltistan. During this period and various later trips to the Diamer district, I visited the most famous sites documented both by Pakistani and German scholars. The most foundational work was done by Professor Dr Ahmad Hasan Dani, the pioneer of rock art studies in Pakistan, inspiring many, including me.
Following in his footsteps, I discovered thousands of petroglyphs in Sindh. I revisited almost all the sites first documented by Professor Dani and German scholars, particularly Karl Jettmar and Harald Hauptmann, in Gilgit-Baltistan. Likewise, I visited all the sites in Swat that were documented by Professor Dr Luca Maria Olivieri. Visiting these sites gave me a broad perspective for understanding the rock art traditions in the Indus Valley.
A few sites along the Indus River in the Upper Kohistan district of Khyber Pakhtunkhwa and the Diamer district of Gilgit-Baltistan fascinated me the most. These include the Shatial, Thalpan and Chilas sites. The Shatial rock art site, featuring magnificent Buddhist carvings, is the most impressive. This site is located on the left bank of the Indus and along the ancient route that connected the Darel Valley to the valleys in Indus Kohistan and Gilgit-Baltistan.
One of the boulders at Shatial site is entirely covered with the story of the Sibi Jataka. In Buddhist tradition, the Jataka tales recount episodes from the lives of Lord Buddha in his various incarnations. In the Sibi Jataka tale depicted at the Shatial rock carvings, the Buddha is portrayed seated and flanked by magnificent stupas. This representation may be the most remarkable Buddhist rock carving in the Upper Indus region. While some fine examples are also found in Chilas, the artistic execution of the Sibi Jataka in Shatial reflects a high skill level. A large stupa engraving dominates the face of the boulder. It is accompanied by several smaller votive stupas. Near the large stupa, there is a Kharosthi inscription from the 5th Century AD. Professor Dani has provided the translation of this inscription in his book Human Records on the Karakoram Highway. It records the name of the stupa’s artist as the “religiously devout daughter of Jikhodarkha.”
Professor Dani believed that the Shatial rock art site was frequently visited by travellers, traders and missionaries. The earliest recorded Kharosthi inscription at this site dates back to the First Century AD. It likely served as a stopping point for people coming from the Buddhist monastery of Phuguch in the Darel Valley, which has been identified with “Ta-li lo” by the famous 7th-Century traveller Xuanzang (also known as Hiuen Tsang) and “To-li” by the 5th-Century traveller Faxian (also known as Fahien). According to Faxian, “To-li” (modern-day Darel) was the capital of U-Chang-na or Udyan (modern Swat). Both Chinese pilgrims mentioned a figure of the Maitreya that stood 100 feet tall, which was located at the Phuguch monastery in present-day Darel valley. This reinforces the idea that the Shatial site was a halting place along their route.
Most magnificent Buddhist carvings were made on the rocks along the Indus River between the 1st and 8th Centuries AD.
As one travels from Shatial to Gilgit, there are several rock art sites along the way. The most prominent sites are located around Chilas. The depictions at the Thalpan rock art site include Buddha, Bodhisattvas and stupas, each accompanied by scripts. These carvings are etched on boulders and cliffs. One of the most impressive rock carvings is seen on a boulder at Thalpan. The entire surface of the boulder is a canvas of carvings, each telling a unique story. According to Dr Dani (1983), the author of Chials: The City of Nanga Parvat (Dyamar), this boulder depicts Jataka stories of Buddha, notably Sibi Jataka, the ascetic and the animals. This depiction represents a discussion between two Bodhisattvas, Avalokitesvara and Manju Sri. This boulder also features three large stupas. In between the two stupas is a carving of Sibi Jataka, which shows a standing Bodhisattva holding a balance in his hand. On his left is a seated king with a crown on his head, holding a dove in his left hand. The king receives flesh in his right hand from the Bodhisattva, who is taking his flesh from his left thigh with his left hand and presenting it to the king.
The narrative of The First Sermon of Buddha at Sarnath is etched onto a boulder at the Thalpan rock art site. The artist has illustrated Buddha at the centre, with three disciples positioned on his left and two on his right. Below Buddha’s figure is the Wheel of Law (Dharma Chakra), flanked by two deer. Buddha is shown with a halo. This depiction has unfortunately been vandalised.
In a different location at Thalpan, a carving portrays Buddha in a preaching pose, seated on a lotus with a column supporting a double base. Five stupa images surround him. The upper part of this figure has sustained some damage, likely due to weathering. Additionally, several boulders feature engravings of Buddha in the distinctive Gandhara style. It’s worth noting that Thalpan is home to several stupas, each intricately engraved and displaying remarkable detail. There are various types of stupas. The engravings found in Gilgit-Baltistan can be divided into domed and tower-like structures. As the name implies, the defining feature of a domed stupa is its dome. The engravings of domed stupas in Gilgit-Baltistan typically include all the traditional elements such as the stairway (sopana), platform (vedika), dome (anda or grabha), and harmika (parasol). Some engravings also feature lion pillars, with the best examples found at the Shing Nala and Thalpan rock art sites in the Diamer district.
Rock art sites Chilas I and II also feature the most magnificent Buddhist carvings. Both sites are on the left bank of the Indus River. The rock art site Chilas I is located above the Karakoram Highway and directly opposite the Thalpan Bridge. Here, a group of Buddhist petroglyphs can be found on the hillside. The most prominent is a panel that depicts two figures of Bodhisattvas. On the left is the figure of Bodhisattva Avalokiteshvara and on the right the image of Bodhisattva Maitreya. Next to this is a large stupa with a Brahmi inscription. There are several other images of Buddhas, Bodhisattvas and stupas at Chilas I. Some of the impressive Buddhist engravings are also found at Chilas II and Shing Nala rock art sites. The Shing Nala is located on the right side of the Indus River.
Rock art site Chilas II is located about two kilometres from Chilas Gate on the Karakoram Highway, overlooking the left bank of the Indus River. The depictions of stupa adoration, each with unique features, are found at Chilas II. A few are engraved along with monks. One of the best specimens is located very close to the River Indus. On the southern face of the rock is depicted a Buddhist monk before a stupa.
Most magnificent Buddhist carvings were made on the rocks along the Indus River between the 1st and 8th Centuries AD.
The writer is ananthropologist at thePakistan Institute ofDevelopment Economics, Islamabad. He hasauthored 17 books onPakistan’s culturalheritage andanthropology. He tweets kalhorozulfiqar. He may be contacted at zulfi04hotmail.com