xploring the rugged mountains of Sindh has long held my interest, particularly in the context of rock art research. My excursions to the gorges of the Kirthar, Bado and Lakhi Hills, as well as the Mol and Maher valleys – especially around Gorakh Hill – have led to the discovery of numerous rock art sites. Each such finding contributes to a deeper understanding of Sindh’s history and cultural heritage.

The rock art landscapes extend from the Mazaranivalley to Makhi in the Kirthar range, as well as across the Mol and Maher valleys. These sites are diverse, featuring both prehistoric and historic rock art. Though these mountains and hills are less travelled, they have been the focus of my documentation efforts since 1998. Over the years, I have identified hundreds of rock art sites.

The landscape surrounding Gorakh Hill represents a significant aspect of Sindh’s ancient cultural heritage. Some of the carvings date back thousands of years.

Among the many recurring themes, depictions of bulls and Buddhist stupas are especially prominent, appearing in nearly every valley across the Kirtharmountain range. From Makhi and the Nari/Nali Valley to the Gaj valleys in Dadudistrict, I have encountered engravings of bulls and stupas rendered in different styles, using a variety of tools and techniques.

Rock art sites are commonly found along the ancient routes of the Kirthar range, connecting the Seeta, Mazarani, Chhanhar, Buri and Makhi valleys to Gaj, Taki, Khashani, Nali, Haleli, Kukranivalleys and others. Notably, several of these routes lead to Gorakh – Sindh’s well-known hill station, which rises 5,688 feet above sea level and is surrounded by significant rock art sites.

Through over two decades of research, I have discovered numerous rock art sites along these ancient pathways in the Kirthar valleys. One of the most prominent is the Shakloi route, historically used to access Gorakh. This route, which passes through ShakloiDhoro – a southern tributary of the Gaj valley – was once frequented by pilgrims, traders, travellers and shepherds. Even today, many shepherds follow this path, making their seasonal journey to the Gorkah Hill, the highest peak in the Gaj valley region.

Along this route, I have discovered some of the most striking petroglyphs and cup marks. While the western and eastern valleys adjacent to Shakloi also contain numerous carvings, ShakloiDhoro is especially notable for the sheer volume and richness of its rock art.

I have visited ShakloiDhoroseveral times. Each of these visits has yielded new discoveries. Among the recurring subjects in the petroglyphs, bulls hold particular significance. Their images appear consistently in both prehistoric and historic rock art – a testament to their importance in the cultural and social life of the communities that created these enduring works.

In the tranquil landscape of ShakloiDhoro, one can find remarkable representations of bulls, mostly dating to the prehistoric era. These images are located at the rock art site of Chiti, where visitors can admire a striking array of intricately etched bull depictions. These artworks not only demonstrate the artistic skill of prehistoric communities but also reflect their deep reverence for these powerful animals, which played a central role in their daily lives and belief systems.

The Chiti rock art site in Shakloi also features 12 images of stupas carved into a cliff and a nearby rock outcrop. Ten of these stupas appear on the cliff face. The first, located on the southern panel, is a three-storey structure with a dome surmounted by a harmika (a square railing atop the dome), and a single decorated streamer to its left. The streamer features six circular motifs and a rhombus-shaped design. Nearby, a smaller two-storey stupa is topped with a dome and finial.

Another stupa on the site resembles a seven-storey tower – a structure locally known as a thul. It includes an anda (dome), topped with a harmika, a finial and a streamer. The four lower storeys are equal in size, while the three upper ones taper gradually.

These rock art landscapes were sacred to their creators – many of the sites likely served as places of worship or spiritual sanctuaries.

An additional stupa, located close by, has an irregular design apparently due to space constraint caused by a natural crack in the cliff face. Despite its uneven form, it stands as a simple seven-storey structure crowned with a finial.

Stupas depicted in other rock art sites across Kirthar and other mountain ranges in Sindh often feature detailed architectural elements. These include a single or double plinth, medhi (terrace), anda (dome), harmika, chattra (umbrella), yashti (mast), streamers or banners and ghanta (bells). In some examples, artists have also included the sopana (staircase) and stambha (pillar), offering an even richer representation of Buddhist architectural symbolism.

Another significant rock art site is located in Loi Dan – a small dhori (tributary of ShakloiDhoro) situated about 2 kilometreswest of the Chiti rock art site. Loi Dan is noted for its prehistoric petroglyphs of bison, alongside historic engravings of felines, camels, mounted riders, structures and cut-marks.

SakeyDand is another prominent site, located in Upper ShakloiDhoro – also known as GurbanDhoro. This site is easily accessible from both Lower Shakloi and TrighDhoro, another tributary of the Gajvalley. One can also descend into Shakloi via the ChukriWat route, which originates from LoondoDhoro in the Taki Valley.

I have systematically documented rock carvings across a wide range of locations, including TrighDhoro in the Gajvalley and the Loondo, Heenghan and Mamani sub-valleys in the Takivalley.

I have also conducted several visits to the Khashanivalley, another tributary of the Takivalley. Like other valleys in the Kirthar range, the tributaries (Dhoras and Dhoris) of NaiTaki or the Takivalley – including Khashani, Mamani, Loondo and Heengan – contain both historic and prehistoric petroglyphs.

Among these, HeenganDhoro stands out for having more stupa images than any other dhoro (side valley) in the Takivalley. At one rock art site in HeenganDhoro alone, there are four stupa images carved into a rock wall, each with a distinct tower-like design. While three of the stupas remain clearly visible, the lower section of the fourth has been lost due to the partial collapse of the rock surface.

Tower-like stupas are found in abundance across various rock art sites in the Kirthar range. Many of these are located in the Gajvalley. Others can be seen in theNali and Mol valleys.

In addition to stupa imagery, HeenganDhoro features a significant number of modern or ethnographic petroglyphs. Ethnographic carvings are also present at KhavalLak – a rock art site located on the left side of the road at KhavalLak Pass, en route to Gorakh Hill Station. While a few ancient engravings too exist at this site, a majority of the rock carvings are modern. Among the most intriguing are depictions of aircraft and firearms, including drawings of aeroplanes and helicopters.

A notable feature of ethnographic rock art in Sindh is the frequent depiction of planes and automobiles. I explore this theme in greater detail in my forthcoming book, Beyond the Gorges of Gorakh: Rock Carvings of Taki Valley. I have previously addressed the subject in my earlier publications – Symbols in Stone: The Rock Art of Sindh (2018) and The Rock Art of Karachi (2020). I have also presented papers at international conferences, focusing particularly on ethnographic rock carvings in Sindh.

From the vantage point at KhavalLak, one can enjoy sweeping views of the various tributaries within the Takivalley. Among these, Khashani – a tributary of NaiTaki – is home to some of the most ancient petroglyphs. Notable among those are depictions of bulls, ibexes, archers, hunters and ritual scenes. One especially striking panel in Khashani shows a pair of bulls being domesticated by two human figures – a vivid representation of early agricultural practices, reflecting the beginnings of settled life in the Indus Valley. Two separate panels depict this domestication scene – a rare visual narrative in the Takivalley context.

Equally impressive rock carvings can be found in the Gajvalley, Nalivalley and other parts of Sindh. My research into rock art has helped open new discussions around the ancient economy, culture, society and environment of the region. These rock art landscapes were sacred to their creators.Many of the sites likely served as places of worship or spiritual sanctuaries.

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