By Shakil Ahmed
Hidden among the mountains, river valleys, and ancient trade routes of Gilgit-Baltistan lies one of Pakistan’s most remarkable yet endangered archaeological treasures. Thousands of prehistoric rock carvings and inscriptions, etched into boulders and cliffs over several millennia, preserve the story of civilizations that lived, travelled, traded, hunted, and worshipped in the Upper Indus region long before written history emerged. These petroglyphs are not merely artistic expressions they are historical archives that document the cultural evolution of one of Asia’s oldest crossroads.
Rock art refers to engravings and inscriptions carved into natural rock surfaces. Across Gilgit-Baltistan, particularly in Diamer, Chilas, Hunza, Nagar, Skardu, Ghanche and along the Indus and Shyok rivers, these carvings portray hunting scenes, ibex, wolves, horses, human figures, Buddhist stupas, religious symbols, geometric patterns and inscriptions in numerous ancient languages. Together, they provide invaluable evidence about prehistoric hunter-gatherers, nomadic pastoralists, early traders and Buddhist pilgrims who once travelled the Silk Route through the Karakoram mountains.
Archaeologists, including the late Dr. Ahmad Hasan Dani and international researchers, have identified several chronological phases of these engravings. The earliest carvings, believed to date back as far as the fifth or sixth millennium BCE, depict hunters armed with bows and arrows pursuing wild animals. Later periods introduce domesticated animals, religious symbols, Buddhist monuments, inscriptions in Kharosthi and Brahmi scripts, and depictions reflecting the arrival of new cultures and political powers. These carvings collectively illustrate the transformation of the region from prehistoric communities to an important cultural corridor linking South Asia, Central Asia and China.
Unfortunately, this extraordinary heritage is disappearing at an alarming pace. Natural weathering has damaged many carvings, but human activity has become the greatest threat. Across several valleys, ancient engraved rocks have been blasted for construction material, cut during road expansion projects, painted with advertisements and political slogans, or reused for everyday purposes such as drying apricots. In several locations, prehistoric carvings have been permanently defaced by graffiti or religious inscriptions, while others have disappeared beneath new infrastructure.
The challenge has grown even more serious with rapid development projects. Experts warn that the Diamer-Bhasha Dam reservoir will eventually submerge thousands of petroglyphs and inscriptions unless they are documented and preserved beforehand. Some estimates indicate that more than 50,000 rock carvings and around 5,000 inscriptions lie within areas directly affected by the project, representing one of the largest concentrations of ancient rock art anywhere in the world.
Yet infrastructure development is only one part of the crisis. Limited public awareness, inadequate archaeological protection, weak enforcement of heritage laws, illegal stone extraction, tourism pressure and insufficient funding continue to place these irreplaceable monuments at risk. In many communities, people remain unaware of the historical significance of the carvings, resulting in accidental destruction or neglect. Preserving these sites therefore requires not only government action but also strong community participation.
Encouragingly, several Pakistani and international institutions have begun adopting modern digital preservation techniques. Archaeologists are using high-resolution photography, photogrammetry, terrestrial laser scanning and three-dimensional modelling to create permanent digital records of endangered rock art. These technologies allow researchers to preserve detailed virtual copies even when physical sites are damaged or lost. International collaborations involving Pakistani universities and foreign research institutions have demonstrated that digital documentation can play a critical role in safeguarding this heritage for future generations.
However, documentation alone cannot replace the original monuments. A comprehensive conservation strategy is urgently needed. Provincial and federal governments should strengthen legal protection for archaeological sites, establish buffer zones around significant rock art locations, integrate heritage assessments into infrastructure planning, and expand archaeological surveys before new development projects begin. Educational campaigns in schools and local communities can help transform residents into custodians of their own cultural heritage rather than unintentional contributors to its destruction.
Responsible cultural tourism also offers an opportunity. Properly managed archaeological trails, visitor centres and local museums could generate sustainable income for surrounding communities while encouraging preservation instead of exploitation. Countries around the world have successfully used prehistoric rock art as a foundation for heritage tourism, and Gilgit-Baltistan possesses comparable potential if conservation is prioritised.
The rock carvings of Gilgit-Baltistan are far more than ancient images on stone. They represent thousands of years of human memory, artistic creativity and cultural exchange across the mountains of northern Pakistan. Once destroyed, these records cannot be recreated. Every lost carving erases another page of humanity’s shared history. Protecting this priceless heritage is therefore not only a regional responsibility but also a national and global obligation. The choices made today will determine whether future generations inherit these extraordinary voices from the past or only photographs of what once existed.
Shakeel Ahmed is a strategic affairs analyst from Gilgit-Baltistan. He holds a Master’s degree in Strategic Studies from the National Defence University, Islamabad, and works as an Associate Producer at Pakistan Television (PTV).
