At several of these sites, humans are portrayed standing next to bulls, likely participating in a ritual

Zulfiqar Ali Kalhoro

Images of bulls are the prevailing motif in the rock art of Sindh. In almost every valley in Khirthar, such images are to be found. The most impressive drawings of bulls or zebu are found in Seeta, Mazarani, Makhi, Gaj, and Nali valleys. Some magnificent bull images are found at the Sado Mazo rock art site in Nali Valley. There are about eleven drawings of a bull at the Sado Mazo rock art site. I have already written many articles on this site.

Bull image at Chiti Dhoro rock art site in Khashani valley

The bull images in Khashani Valley, a tributary of Taki Valley, exhibit a unique appearance compared to those found in other valleys. A distinctive feature of the Chiti Dhoro rock art in the Khashani valley is the depiction of bulls with elongated bodies, which are quite rare in other rock art sites in Sindh. In total, there are about four bulls with this elongated body shape. Additionally, the rock art of Chiti Dhoro also features ibexes and other animals, some of which have similarly elongated bodies. At least three ibex drawings feature this characteristic as well.

A tall man behind the wild bull is shown crying with his hands raised, indicating that he is stunned by a sudden attack by a bull. This shows that bulls were not domesticated at that time

In addition to the elongated bulls, there are also depictions of heavy-bodied bulls. Some images feature bulls alongside human figures. The relationships between humans and bulls in Sindh’s rock art are remarkable to note at various sites. At several of these sites, humans are portrayed standing next to bulls, likely participating in a ritual. In the rock art site of Chitan-Wari-Bhar in Seeta Valley, one finds anthropomorphic figures with outstretched arms before a bull, which may represent some ritualistic activity. These rock carvings appear to be from the prehistoric period, when the bull was not domesticated. This ritualistic ceremony depicts a group of human figures before a bull, probably invoking a deity for some boon, either in the form of the hunt or for the domestication of bovid. The bovid is depicted as unrealistic, with a large, rectangular body, a short head, large horns, and almost non-existent or missing legs. There are at least five human figures carved close to the bull.

Bull and anthropomorphic figures at Chiti Dhoro, Khashani valley

Another fascinating depiction of a human and a bull is found at the Kari Laki rock art site in Seeta Valley. In this drawing, the bull appears to be very lively and wild. The bull probably hits a woman. In the carving, it is clearly shown that a bull drags the woman or man. A tall man behind the wild bull is shown crying with his hands raised, indicating that he is stunned by a sudden attack by a bull. This shows that bulls were not domesticated at that time.

At the rock art site of Chiti Dhoro in the Khashani Valley, there are drawings of two anthropomorphic figures positioned behind a bull. These figures seem to either follow the bull or be led by it, which may represent a ritualistic scene. A line beneath the anthropomorphic figures could symbolize a path. Similar depictions of humans leading bulls or bulls leading humans can also be found at various rock art sites in the Gaj Valley.

The author with a local community member in the Khashani valley

Below the drawings of anthropomorphic figures and bulls, there are two other petroglyphs of bulls. Both seem to be earlier representations, one of which is more in crude form without prominent features. The simple line represents the body of a bull, with its legs and horns also depicted in a rudimentary style. Nearby, there is another drawing of a bull. In this illustration, the most expressive features are the horns, legs, and genitalia. This prehistoric style of representation includes erect genitalia, and the horns are portrayed as pointing forward rather than upward. If one moves to the right of these images, one will find another panel with intricate carvings. On this panel, there are numerous dots within an enclosure, which likely represent a cattle pen or a magical trap used for hunting animals. The dots or holes probably signify a fence or cattle pen, and within this enclosure are many images of animals and anthropomorphic figures. Inside the pen, there are drawings of bulls, ibexes, hunters, and shamans. Notably, some bull images appear to be connected to the dot pattern, suggesting that both were created around the same time.

Bull with elongated body in Chiti Dhoro Khashani valley

Three anthropomorphic figures and five images of cattle are depicted earlier than the other bull drawings. Interestingly, one bull image is located outside the cattle pen but appears to be related to the dot pattern and the enclosure. This dot pattern or enclosure may symbolise the early stages of bull domestication, indicating that cattle were first domesticated in Sindh during the late Mesolithic period. The petroglyphs within this pen offer lively and remarkable representations of this domestication process. To understand the intricate pattern of dots representing the cattle pen, one must closely examine each image, all of which were likely created in the late Mesolithic period. The presence of multiple overlapping elements makes it challenging to clearly identify some of the images.

Within the cattle pen or dot pattern, two anthropomorphic figures are depicted. The first figure is shown beside the enclosure line and is surrounded by numerous dots. The second figure is illustrated below the first, with fully pecked lines. From the feet of this second figure, two lines of dots extend: one goes to the right, and the other goes to the left. The line on the left connects through a series of dots to a depiction of cattle situated near the enclosure, where a humpless bull is depicted.

A bull image at Chiti Dhoro rock art site, Khashani valley

This representation may symbolize a ritual hunting practice or indicate how the humpless bull was domesticated. It may reflect the use of magical spells performed by a shaman to assist a hunter in capturing cattle or depict a hunter setting a trap to deceive a bull for the purposes of hunting or domestication. This intricate pattern illustrates the cognitive map of the ancient hunters and shamans of Sindh, which I find challenging to interpret. Nonetheless, I believe this scene marks the beginning of cattle domestication. At the top of the enclosure, an image of a bull is depicted, featuring a long tail, tassels, horns, and a small head. This fence or magical trap is associated with the bull, likely created during the same period as the dotted designs.

All the magical traps were probably made to control the wild bull. This trap may reflect the farmers’ initial attempts at domestication, which seem to have been unsuccessful, as there is no clear evidence of animal husbandry or domestication at that time. Later efforts by these farmers might have been successful in taming and domesticating the bull. A prime example of this is shown in a panel depicted to the left of the dotted panel, known as the “cattle pen” panel. Once the bull was domesticated, more refined bull drawings appeared on the same cattle panel.

Apart from these earlier representations of bulls, later bull representations are also notable. The rock art site features a variety of figures, including anthropomorphic representations and numerous bull images, which are clearly outlined. Some of the bulls are depicted in full body and are shown in close proximity to the anthropomorphic figures. In addition to the bulls, there are petroglyphs of ibex and deer. As mentioned earlier, the bull drawings are particularly abundant at this site. Most of these drawings date back to the Bronze Age, although some originate from the prehistoric period, and a few were created during the Neolithic period.