Effervescence of Lahul and Spiti Rock Art
- Dr. Vijay Kumar Bodh
- 27 minutes ago
- 6 min read
Dr. Vijay Kumar Bodh
Assistant Archaeologist
Archaeological Survey of India
Shimla Circle, Himachal Pradesh
Human imagination from the advent of civilization has found myriad ways of expressing its creativity. Images crafted on stonewall in ancient caves that must have served as homestead/shelter for the early humans are repositories of human ability to create. Rationalizing its existence is an enigma that connoisseurs of art have debated for decades. Some rock-art historians regard them as symbols etched down by ancient hunter-gatherers, who relied upon them as crucial signage. Others believe that they are mere remnants of archaic leisure and expression of human creative instinct. Some associate the drawings of human, animals and geometric figures to magic, belief and shamans. Scientific dating methods can ascertain antiquity and age. However, cognitive psyche and social stimulation behind these symbols remains somewhat mysterious.
The sheer vibrancy of it through time and space suggests, the discipline of rock art shall remain ever evolving and dynamic. My recent book ‘Rock Art in Lahul- an Ethno-archaeological Enquiry’ (2025) discuses a recent discovery of rock art site in Lahul region in Himachal Pradesh. I share a brief here to elucidate significance of this new rock art site. Lahaul & Spiti although a single administrative unit is formed of two different spatio-cultural landscapes; Lahaul and Spiti. Spiti, shares international borders with Tibet. Buddhism is practised across the region. The region boasts of abundant rock art sites, ancient monasteries, burial sites, murals, cave shelters. The depictions on rock surface are rich figurines of animals, humans and natural symbols, engraved on them.
Lahul, is situated at the cross-roads of Kullu, Laddakh, Zanskar and Spiti regions. Rituals practised in the region are a homogenous blend of Buddhism and Hinduism. Lahaul also has ancient monasteries, temples, rock engravings and few rock art sites. The region has been home to spiritual yogis and gurus since time immemorial.
The Site: Guntsling
Guntsling, the current site in Lahul, is rich in depictions of animals, humans, equestrian images and geometric figures. Earlier, rock art sites have been discovered in sTodd region in Lahul by C. Dorje and Tobdan (2017-18). These sites depict chortens (stupa), human images, animal, depictions, bhoti texts and rider images. The first rock art site in the region was documented in the Antiquities of Indian Tibet by AH Francke (1902). Some depictions, especially the ‘Sword of Gesar’ (1932) and ‘Lahaul Rocks’ (1936) could be seen in the painted works of famous Russian painter Nicholas Roerich. The discovery of a new rock art site in Lahul points at the immense academic potential in the region. With its unique cultural practices and untouched landscapes Lahul offers a fertile landscape for anthropological and archaeological fieldwork.
Cultural Conservation Challenge
There is an endless scope for academic enquiry in the region. There is brisk transformation in the cultural landscape due to multi-factoral changes. One of the critical factors hastening the pace of cultural transformation is the opening of Atal Rohtang Tunnel. It has opened floodgates for tourism and intermingling of people from diverse cultural and linguistic backgrounds. Some of the transformations and challenges being experienced by people are often construed in social science literature within the construct of development studies. There is sufficient evidence to show that the festivals, spirituality and belief of the people in the region are on the verge of a major shift. The centuries old village ecosystem and economy have been threatened by the expansion of the Border roads. The livelihood and source of economy could be endangered during and after the completion of proposed hydroelectric projects in the region. International river water treaties are being re-negotiated disturbing existing livelihood and socio-economic practices in the region. It is worrying to notice that remanets of shaman practices visible during tribal festivals, the songs and rituals performed during annual celebrations are gradually receding.
One must pay attention to the fact that the historically important sites of the region are increasingly susceptible to damage because of rise in infrastructural expansion. Anthropological epistemologies insist on the documentation, conservations and cultural interpretations of existing rituals and practises. We have to give a clarion call to young scholars to come forward and document traditions and processes of cultural transformation that are being brought about by massive technological interventions and contribute to the preservation of the existing rare forms of art.
Rock art -Transcripts of Ritual practises
Discovery of a rock art site is crucial in many ways. The depiction of animals and human figures symbolize that it could have been an important site for spiritual practice. Secondly, the site is an existing sacred grove conserved by a local Janajati for centuries. Every three years local deities of the region gather at Guntsling to bless the locals assembled in huge numbers. Shamans predict future, communicate with the divine and deities from different villages arrive on decorated wooden palanquins. There are many short stories and legends associated to the festival and its history; there are various tribal/Janjati practices that are linked to hunting, trade and spirituality. The co-existence of rock art site and an active sacred grove presents an innovative insight into the enquiry of rock art in Western Himalayan region. Although there is not much to be shared but I can assure rock art and shamanism can be associated. They blend well with each other.
There is a symbolic co-existence of figures and patterns in rock art and tribal customs. Wild animals such as ibex, blue sheep, white horse, and geometric patterns depicted in rock art have also appeared in local folklores. Ibex is viewed as symbol of fertility and light. Gepang, the local deity is known to have arrived on a mysterious white horse.Depictions of dancing human figures and geometric patterns (chess board game) could be associated to the deities and shamans.
Recently I came across an interesting series ‘Untamed’- 2025 associated with the symbolic Miwok carvings drawn by the Red Indians. The symbols signify indigenous faith in ‘magic’ as ‘protective’ and ‘healing’. ‘If they drew something, it means it is important for them’. This is the simplest explanation, drawing lines between indigenous ecology, ‘belief’ and ‘faith’. Similarly, in India, Janjati / tribal art and to an extent medieval schools of paintings are recognized as important and effective medium of storytelling. Madhubani, Warli, Gond, Pattachitra or even the Kangra School of painting are inspired by mythological themes, spiritual symbols and sagas. Rock art of Bhimbetka, Panchmarhi and several other sites in India are associated with local Janajati. These paintings and carvings have in them endless stories and legends waiting to be deciphered and documented.
Red Indians and other tribal groups are known to draw symbols interpreted signs of prosperity. These symbols are used by shamans and Onpos (Buddhist/ Bon Shamans), believed to have supernatural power to predict future, cure illness, and control the elements of nature such as weather and celestial bodies. There is a possibility that the symbols could be a work of outsiders who visited the region as pilgrims, or could have been created by local shepherds for leisure, being a sacred grove the rock art somehow remained undisturbed.
However, there is no denying to the fact that, even during the early days, division of labour must have occurred. And only specialized individuals would perform assigned tasks. Especially, if it comes to art or spirituality, few individuals would have had the capability and skills to carry out the designated tasks. For instance, the Janjati/ tribal paintings in India are associated with gendered roles. Similarly, very few artisan communities are trained in painting intricate Kangra or Bhil art. One may thus infer that these ancient art forms could not be stray marks on rock surfaces. Creation of these patterns and etchings involved a planned intervention by sections of the community as its connoisseurs.
Animal figures are quintessential during Janjati/ tribal worship and ritual practises. An image of ibex is drawn on cloth or over ice during traditional archery competitions. Miniature images of Ibex are hand sculpted out of ghee; kept at the place of worship as symbolic offerings and are offered inplace of animal sacrifice to divine powers. Images and patterns similar to those found in rock art are hand drawn near the places of worship. An Image of Tshiskar Apa (local deity)–a five-armed circular figure associated to ancient deities is also placed at the place of worship. Scholars suggest that the early deities/ gods/ dev have been worshiped in form of geometric shapes such as pindis. Idol worship is a later adaptation during the evolutionary phases of religious practices.
Similarly, the existing practices in Lahul represent elements of nature worship. Sacred trees, water bodies and mountain peaks have been worshiped and revered as totems of the deities. Gyepang of Shashin village, Langhkharbal (Nag Raja) of Jaagla, Devi Bhoti of Ropsang-Khangsar, Drab La of Ralling, Shalbar of Phuktal, and Milang Tete of Gundla are revered deities in the region. Inherent elements of nature worship can be found in day to day practices among Janjati / tribal Diaspora.
Geographic co-occurrence of rock art sites and shamanism could be strengthened with further research and fieldwork in the adjoining cultural landscape. Tangible and intangible remnants of shamanism are prevalent in the day-to-day practice, belief and festivals in Lahaul, Spiti and significant portions of hill areas of Himachal Pradesh. I have shared some images from the festival and rock art site. I hope they shall be able to ignite academic curiosity in exploring this ancient art form and accompanying ritual and spiritual practises.
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