Carved in Time: The Rock Art of Pakistan and Afghanistan

Rock carvings are the whispers of the ancients, a testament to lives long past etched in stone.

In the hidden caves and along the winding rivers of Pakistan and Afghanistan ancient rock faces stand mute. These mysterious carvings by our forefathers give us a rare and beautiful glimpse into early human life and beliefs. Over millennia these stone etchings unfold the fabric of a long-lost world where every line and symbol tells a story of survival, spirituality, and social evolution.

Swat Valley, Pakistan

Picture the Swat Valley in Khyber Pakhtunkhwa where the rugged mountains have rock carvings. These carvings are from the first millennium BCE and show daily life, animals, and sacred symbols. In 2014, archaeologists from the Department of Archaeology, University of Peshawar, found amazing carvings in the Gumbatuna area and a Buddhist stupa and inscriptions. Gumbatuna or Gumbat is a Pashto word for a dome that is a Buddhist embellishment. It lies on the bank of River SWAT 6 KM from Barikot village. These tell the story of a time when Buddhism flourished in the region till the tenth century CE.

As you walk in the valley you can almost hear the whispers of the past. The carvings show humans and animals in intricate detail, the spiritual and cultural life of the ancient people. Each carving is a testament to the valley’s history and how Buddhism left its mark on the region’s art and culture.

Upper Indus Valley, Pakistan

There are many rock art sites on both sides of the Indus River. From Shatial in the upper Kohistan district of Khyber-Pakhtunkhwa province (KP) to Sost in Upper Hunza, the talking rocks tell many stories about the religion and economy of old times. On both sides of the Indus River are many rock art sites. Some of the prominent ones are Manro Das, Kino Kor, Bazeri Das, Minar Gah, Thor North, Helor Das, Oshibat, Hodur, Dadam Das, Chilas, Thalpan, Thak, Gichi, Shing, Partab Bridge and Alam Bridge. In Gilgit town, there are two main rock art sites Danyor, Kuno Das, and the famous Karga Buddha rock relief. Most of these sites have been studied by German and Pakistani scholars.

Heading north to the Upper Indus Valley in Gilgit-Baltistan, the sheer volume of petroglyphs is mind-boggling. Over 50,000 petroglyphs and 5,000 inscriptions from the Epipaleolithic period (10,000 BCE) to the medieval era cover the rocks along the Indus River.

In 1985 the Thalpan-Thak-Domal Bridge petroglyphs “Petroglyphs of Northern Pakistan: Documentation and Interpretation” by Muhammad Zahir and Inayat Ali, in the Journal of Asian Civilizations, were discovered, and with them a timeline of the region’s history through artistic evolution. Here the rocks tell of hunting scenes, human figures, and symbolic motifs, of life thousands of years ago. These carvings show a society deeply connected to its environment and involved in long-distance trade and cultural exchange.

Bamiyan, Afghanistan

Across the border in Afghanistan is the Bamiyan province where the cliffs once had the magnificent Bamiyan Buddhas carved in the sixth century CE. Those statues surrounded by cave art told the story of Buddhist iconography and narratives of the region’s history.

In 2001, the world watched in horror as the Bamiyan Buddhas were destroyed, a sad reminder of how cultural heritage is vulnerable in conflict areas. The Destruction of the Bamiyan Buddhas had international responses and consequences and the heritage is at Risk, International Council on Monuments and Sites (ICOMOS) World reported. Despite that loss the caves, over 700 of them, still have murals and carvings that tell the story of a thriving Buddhist community.

The Stories Behind the Art

Each rock carving and petroglyph is more than an art; it’s a record of ancient beliefs and social norms. The transition from animism and shamanism to Buddhism and later Islam is etched in these stones, showing the syncretic nature of religious practices over time.

The social dynamics of these ancient communities are also reflected in the hunting scenes, communal gatherings, and symbolic representations. These artworks show that these societies were not isolated but part of a larger network of trade and cultural exchange.

Preservation Challenges

Conserving the ancient rock art and petroglyphs in Pakistan and Afghanistan has been a tough job and  United Nations Educational, Scientific and Cultural Organization (UNESCO) has played a big role in protecting these pieces of history. UNESCO’s work has been multi-faceted, starting with documentation and research reports such as  “Protecting the Cultural Heritage of Afghanistan: A Summary of UNESCO’s Actions” and “Conservation and Management of Rock Art in Pakistan”, to record and photograph the Rock Art, creating databases so that even if the physical sites are damaged the information is preserved. For example in the Upper Indus Valley, over 50,000 petroglyphs and 5,000 inscriptions have been surveyed. Another big contribution is designating key sites as World Heritage Sites which raises awareness and provides legal protection under international treaties. Bamiyan Valley with its Buddhist cave art and the remains of the destroyed Buddha statues was designated a UNESCO World Heritage Site in 2003 and that got international support for the conservation and restoration work. UNESCO has also run capacity-building programs to train local archaeologists, historians, and conservators on best practices in conservation, documentation, and site management in both Pakistan and Afghanistan. In response to immediate threats like conflict or natural disasters, UNESCO has coordinated emergency interventions and provided technical support and resources to protect these cultural treasures.

Also See: Chaman-Spin Boldak Crossing: Back To Life!

Conclusion

As we explore the ancient rock art and petroglyphs of Pakistan and Afghanistan, we step back into a world long gone yet vividly alive in these stone canvases. These silent storytellers offer a rare and precious window into our past, revealing the artistic expression and cultural evolution of early human societies. By preserving these artworks, we ensure that the voices of our ancestors continue to be heard, whispering their stories through the ages.

This article reflects the author’s perspective and not the official views of the Pak-Afghan Youth Forum (PAYF).