Maya and Pema go climbing - a short story
অচেনা মানুষের অকারণ কৈফিয়ৎ
(এই লেখাটি বিকাশের অসুখের পরের পর্ব। পাঠক যদি 'বিকাশের অসুখ'পড়তে চান তাহলে এই লিংকে যেতে পারেনঃ https://himalaya-raja.blogspot.com/2021/06/blog-post.html)
অচেনা মানুষের অকারণ কৈফিয়ৎ
“বলো তবে, অদ্ভুত অচেনা মানুষ, কী ভালবাসো তুমি?
আমি ভালবাসি মেঘ, চলিষ্ণু মেঘ…উঁচুতে…ঐ উঁচুতে…
আমি ভালবাসি আশ্চর্য মেঘদল।”
-( বুদ্ধদেব বসুর অনুবাদে ধরা দেওয়া বোদলেয়ারের দ্য স্ট্রেঞ্জার কবিতার শেষ কটি লাইন)
এতদিনে বেশ বুঝে গেছি রাজনীতি আমার জীবনে কখনও আলোচনার বিষয় ছিল না। ইদানীং, কখনোসখনো বিজ্ঞের মত দেশের ও দশের সম্পর্কে কিছু বিড়বিড় করে বলে বসলেও, এটা ঠিক যে আপনাদের সমাজ গোল্লায় গেলে আমার কিস্যু আসে যায় না। আপনাদের শিক্ষিত, প্রগতিশীল, আধুনিক মানব সভ্যতায় আমার বেশ অরুচি। কারণ, আমার দৃঢ় বিশ্বাস আপনাদের অসুখ বেশ গুরুতর এবং আমার কাছে সেই অসুখের একমাত্র অ্যান্টি-ডোট আমার অ্যাডভেঞ্চার-নিষ্ঠতা।
On the Shore of the Walden Pond
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The Retired Adventurer, Image courtesy: dndspeak.com |
The society in which he lived had changed, morphing into a toxic environment that seemed to suffocate the spirit of exploration and wonder. It pulled at him, tugging him into a self-imposed exile within the walls of his home. The outside world felt alien, a place where he no longer belonged.
Was this an implosion, he wondered? A collapsing of dreams and aspirations, crushed beneath the weight of age and societal pressure? But even in his darkest moments, he knew that the answer lay not in dwelling on what could have been, but in accepting what was.
He closed his eyes and let the memories wash over him, like gentle waves lapping at a distant shore. He recalled the scent of the earth after a storm, the exhilaration of reaching a summit, and the warmth of camaraderie shared with fellow wanderers.
As sadness settled in his heart, he found solace in the acceptance that life had its seasons, its ebb and flow. His adventures had taught him the impermanence of all things, the fleeting nature of experiences. And with that wisdom came a deep calm, a sense of resignation to the passage of time.
He realized that even if he had never tasted the nectar of a free, nomadic life, he would still carry the burden of longing. It was the price one paid for having been touched by the vastness of the world, for having danced with the winds of distant lands.
There would never be an end to this ache, this yearning for what was lost. But he found comfort in the knowledge that his travels had gifted him with resilience, with an unyielding spirit that refused to be extinguished.
And so, as the sun dipped below the horizon, casting a golden glow upon the room, the old adventurer rose from his chair. He walked to the window once more, gazing out at the world beyond, knowing that he would forever be tethered to the memories of his wandering days.
In that moment, a tear trickled down his weathered cheek, but it was not a tear of despair. It was a tear of gratitude for a life well-lived, for the boundless beauty he had witnessed, and for the lessons that had shaped him into who he had become. With a heavy heart, he turned away from the window and made his way to his bed. As he settled beneath the covers, he whispered a silent prayer to the universe, asking for peace and acceptance in the twilight of his days.
And as he closed his eyes, the old adventurer drifted into a world of dreams, where he was once again free, on the shore of the Walden pond, wandering beneath a starlit sky, forever seeking the unknown.
Memories of a road after the South Lhonak GLOF
Helena
Helena Roerich, a visionary philosopher and writer, spent her last years in the serene hills of Kalimpong, where her journey on earth came to a peaceful end. Last week, I had the privilege of visiting her grave, located next to the sacred Durpin Gompa, a site as tranquil and inspiring as her teachings. Her epitaph, a simple yet profound tribute to her life's work, echoes the spiritual depth and intellectual legacy she left behind. Reflecting on her final years in this secluded retreat, one can truly appreciate the profound impact of her wisdom and the tranquillity she sought through her deep connections with the mysteries of the East.
The Final Ascent

The sun barely peeked over the horizon, casting a pale orange glow on the untouched expanse of snow. In the shadow of towering peaks, an unnamed mountain stood tall, its summit a whisper among the giants. Arjun had been climbing for hours, his breath steady and his resolve unwavering. This was not just another ascent; this was to be his final climb.
Arjun's life had been a tapestry of high-altitude adventures, each thread woven with memories of triumph and loss. The mountains had always been his sanctuary, a place where the noise of the world fell away, leaving only the rhythm of his breath and the crunch of snow beneath his boots. Today, however, he sought more than the summit's solitude; he sought an end.
The climb was arduous, the air thinning with each step. Yet, Arjun moved with a grace born of experience, his mind focused on the path ahead. The peak loomed closer, its jagged edges silhouetted against the morning sky. He reached the summit just as the first rays of sunlight kissed the snow, bathing the peak in a golden light.
Arjun stood on the edge, looking out at the vast expanse of the world below. The panorama was breathtaking, a sea of peaks and valleys stretching as far as the eye could see. He took a deep breath, savoring the crisp, clean air one last time. The weight of his decision settled over him, a heavy blanket of finality.
He thought of the reasons that had brought him here: the pain, the emptiness that had crept into his soul, and the sense of purposelessness that no summit could conquer. The mountains had given him so much, but they could not fill the void. Each climb had become a reminder of an unknown absence, the solitude amplifying his loneliness.
Arjun closed his eyes, feeling the wind whip around him, carrying with it the whispers of the peaks. He took a step closer to the edge, the drop below a silent invitation. The ground seemed to beckon, promising an end to the relentless ache. He opened his eyes, gazing one last time at the beauty around him, a tear escaping down his weathered cheek.
With a final, resolute breath, Arjun stepped off the edge.
For a moment, he felt weightless, suspended between the sky and the earth. The wind roared in his ears, a final symphony of the mountains he loved. Time seemed to stretch, the descent an eternity. As he fell, memories flashed before him—joyous ascents, moments of triumph, the faces of those he had loved and lost.
Then, silence.
Arjun's body came to rest on the snowy slope far below, the mountain cradling him in its icy embrace. The peaks stood witness, their eternal vigil undisturbed by the fleeting passage of one man's life. The sun climbed higher, casting long shadows across the snow, the world moving forward as it always had.
The Summit of the Slighted Six
#
In the wood-panelled head office of Mountains Make Us Human—an old and respected institution whose walls bore the stories of decades past—tea was being served with biscuits of admirable durability. The society had its share of seasoned climbers, armchair philosophers, and earnest enthusiasts, all bound together by a love for the mountains. Its guiding belief, inscribed on a wooden plaque near the entrance, read: “Mountains teach us humility, patience, and perspective—qualities needed in valleys too.”
Rahul, steeped in the quiet confidence of one who had lived most of his life among mountains, sat in the corner, sipping silently. He
was known among a few for his favourite line, quietly offered in moments of
tension or pride: "Let the mountains judge, for they never lie."
He had recently taken it upon himself to ensure that the world-renowned
"Curtains and Crags" Mountain Theatre Festival came to Kalibagan, so that
the townspeople would not miss the chance to witness such a rare and classic
event. He had to do it—because originally, it was meant to be the
responsibility of a small clique within the society.
They were known as The High Altitude Gentlemen's
Association—or HAGA for short—a curious constellation of six
(sometimes eight, depending on whose cousin or a minion was visiting) members from
Kalibagan who had long perfected the art of high-decibel irrelevance. While
others in the society reminisced about climbs and trails, HAGA specialised in
mountaindering—the noble craft of loudly discussing mountains one had never
actually visited, often with such flair that listeners forgot to check the
facts. Their conversations were long, looping monologues sprinkled with foreign
climbing terms and chai-stained maps that rarely left the table.
It had been their task to liaise with the organisers of
"Curtains and Crags." Notices had been sent to them. Emails from the
society’s headquarters had reached them well in advance. WhatsApp reminders and
posters were shared. HAGA ignored them all. Whether through incompetence or
indifference, they simply let the opportunity pass. And so, Rahul stepped in.
The event went splendidly: packed auditorium, spellbound
audience, standing ovation. Some said it was the most inspiring evening
Kalibagan had witnessed in years.
##
But now, in the annual convocation of Mountains Make Us
Human, the air was thick not with reverence but with rumble.
Led by the venerable Mr. Chatterjee-Mukhopadhyay (who once
summited the steps of his bungalow and called it an ascent), HAGA was incensed.
"We were not informed," he thundered, his
voice quivering like a tent in a high-altitude storm. "To bypass us is to
defy the very summit of decorum. One does not pitch a tent on Everest without
first consulting the base camp, gentlemen!"
"Yes, yes," chimed in another, who wore a
windcheater untouched by wind. "This is a grave breach of protocol! How
could a member host an event without consulting us, the cultural
conscience of the club?"
The room fell into a hush, broken only by the clinking of
tea spoons and the distant sound of someone unfolding their moral compass
(badly). A large portrait of a legendary Himalayan climber looked down from the
wall, seemingly unimpressed.
Rahul blinked. He hadn't sent emails—those had come from the headquarters of the society. Official communications had been dispatched through every available channel. There were time-stamped emails. Public announcements. Printed posters. WhatsApp invites. And yes, that noticeboard. But none of it mattered to the members of the HAGA.
HAGA believed—or pretended to believe—that shouting loud
enough would erase the facts. They tried to shout a lie into truth, hoping that
volume could substitute for veracity.
But the truth, much like a snowfield under moonlight, does
not melt under noise.
And Rahul did not defend. He simply smiled.
Later that year, Mountains Make Us Human decided to
honour contributions to the club in a new, inventive way. A new prize was
conceived: The Foghorn Fellowship for the Loudest Contribution to Silence.
It was awarded unanimously to HAGA.
There was a touching group photo—windcheaters, hiking boots
with showroom shine, and all—and they beamed with pride, oblivious to satire.
Someone asked if they’d like to say a few words.
They said many.
And Rahul? He was on a trek that week, somewhere above the
treeline, where echoes fade and silence holds meaning.
In Kalibagan, the mountains remained unmoved.
And somewhere in the distance, a gust of wind laughed.
###
Disclaimer:
This is a work of fiction. Any resemblance to actual persons, living or dead, or to real organisations and events is purely coincidental. The characters, incidents, and dialogues are products of the author’s imagination and are intended solely for satirical and narrative purposes. Images used here are generated by AI.
When The Journey Becomes a Product: Certificate Culture in Trekking and Mountaineering
In recent years, the culture of trekking and mountaineering has shifted from introspective exploration to externally validated accomplishment. This short essay critically examines the rise of certificate-oriented treks and the commodification of high-altitude experiences, drawing on personal reflection and broader trends in adventure tourism. From summit selfies to laminated certificates, it explores how social media, bucket-list marketing, and consumer expectations have transformed sacred and solitary landscapes into stages of performance. Juxtaposing this trend with traditional values of humility, transformation, and reverence, the essay asks: what is lost when the journey becomes a product? Through examples from Kilimanjaro, Everest, Annapurna, and beyond, it advocates a return to a slower, deeper, more meaningful engagement with the mountains—one not stamped or shared, but quietly carried within.
Summits for Show: On the Commodification of Trekking
In the summer of 2005, I stood atop Kilimanjaro, Africa’s highest peak. It was a curious postscript to a much tougher expedition I had just led to Kamet (7,756 m) in the Garhwal Himalaya. Where Kamet demanded every ounce of focus and humility from our team, Kilimanjaro was, for me, undertaken almost light-heartedly—a quick adventure out of curiosity.
At the chilly Uhuru Peak, I took in the moment quietly. It was a still, wordless instant—the kind that plants a seed. In hindsight, that was the germination of my love for Africa. It was only the next day, on my way out of the national park, that a guide pressed a colourfully printed certificate into my hands, congratulating me on my success. I remember thanking him politely and stuffing the certificate into my pack, not ungrateful but faintly bemused. After the profound effort and inner journey of Kamet, this piece of paper felt inconsequential—a token to say I had been there, done that. I folded it away and forgot about it.
Little did I know that this summit certificate—at the time a quirky souvenir—would, in the years to come, become a central artefact in what I now think of as the performance culture of trekking.
The Certificate as Summit
The thought resurfaced years later when a man from Kolkata, quite earnestly, contacted me requesting a summit certificate for Everest—not for himself, but for his wife. They had been part of a guided trip, and whether she had actually reached the summit or not remained unclear. He was desperately seeking the certificate as proof, willing to pay a significant sum for it. The paper, to him, wasn’t a souvenir. It was the summit.More recently, I saw a Facebook announcement from a trekking operator celebrating that their clients had “earned their certificates” for reaching Annapurna Base Camp. The wording struck me: not “completed the journey,” not “witnessed the mountain”—but earned their certificates. It made me pause. At what point did walking through a Himalayan valley demand official endorsement? When did the validation become more important than the experience?
Welcome to the Era of Trophy Trekking
From
Kilimanjaro to the Inca Trail, from Everest Base Camp to Kedarkantha, the
certificate has evolved from keepsake to badge of honour. For many, it is the
most anticipated moment of the trek—the formal, frame-worthy declaration that
one has achieved something. On Kilimanjaro, for instance, the Tanzanian
authorities issue green certificates for those reaching Stella Point and gold
for those reaching Uhuru Peak, complete with date, altitude, and signature¹.
In Nepal,
companies guiding clients to Everest Base Camp (5,364 m) offer
"Certificates of Accomplishment" even though it is not a summit.
Tibet-based operators describe such documents as “your best bragging rights”².
Indian trekking firms similarly issue e-certificates for popular trails such as
Kedarkantha, Brahmatal, and Sandakphu. Some even issue participation
certificates to those who did not complete the trek³.
At first glance, this may seem harmless. After all, who doesn't like a souvenir? But the certificate culture, as it grows, reveals a deeper transformation in how many people relate to the outdoors. The emphasis is shifting from presence to performance, from experience to evidence, from being moved by a mountain to proving you were there.
From Souvenirs to Status Symbols
The shift is
visible across the adventure tourism industry. Trekking packages often include
not just logistical support but also professional photos, achievement badges, and
pre-printed banners for summit selfies. An entire economy thrives on producing
portable, postable tokens of triumph.
For an
increasing number of people, the mountain is not the goal. The goal is what the
mountain gives them: a certificate, a selfie, a story to tell, a box ticked on
a bucket list. Achievement replaces absorption. And in this shift, something
elemental is lost.
This isn’t merely a philosophical issue—it has real consequences.
The Darker Side: Forged Summits and Faked Proof
The pressure
to have done it—and to have something to show for it—has led some to fake
it. In 2016, an Indian couple, Dinesh and Tarakeshwari Rathod, claimed to be
the first Indian husband-wife team to summit Everest. Nepal’s Ministry of
Tourism initially issued them certificates. But their summit photo turned out
to be digitally manipulated—a crude Photoshop job superimposing their faces
onto another climber’s image⁴. Once the fraud was exposed, their summit
certificates were revoked and they were banned from climbing in Nepal for 10
years⁵.
A few years later, another Indian climber, Narender Singh Yadav, claimed to have summited Everest in 2016 and submitted faked photos to obtain an official certificate. He was even shortlisted for India's prestigious Tenzing Norgay Adventure Award—a distinction that, given its recurring controversies, often raises deeper questions about the country’s understanding of adventure itself. It took several whistle-blowers to reveal that Yadav never made it to the top.
In 2021, his certificate was rescinded and a climbing ban imposed⁶.
These are not isolated cases. Around the world, from marathon races to mountain ascents, there is a rising incidence of achievement fraud—false claims made to gain social capital, jobs, awards, or simply admiration. When the certificate becomes the goal, truth becomes negotiable.
Overcrowded Peaks and Cultural Fractures
Beyond
ethical concerns, the trophy culture of trekking is putting enormous pressure
on fragile ecosystems and traditional communities. In 2019, a photo of a
traffic jam near the summit of Everest went viral. Dozens of climbers, crammed
into the Death Zone above 8,000 m, waited for their turn on the summit ridge⁷.
That same season saw a record number of Everest deaths, many due to congestion.
In India,
the popular Kedarkantha trek has been inundated. On New Year’s Day 2022, over
3,000 trekkers attempted the summit. Locals described it as a stampede⁸. The
alpine meadow was left littered with plastic, snack wrappers, and liquor
bottles⁹. The once-quiet village of Sankri, now a booming trailhead, is
struggling with sewage issues, water shortages, and unregulated construction¹⁰.
In Ladakh,
the authorities had to close Stok Kangri, once the most climbed 6,000 m peak in
India, due to overuse. The sacred mountain was being “loved to death” by
trophy-seeking trekkers and operators marketing it as a beginner’s summit¹¹.
And then there’s the cultural toll. As trekking becomes a transaction, locals often become service providers in their own sacred landscapes. Sherpas on Everest, Chaggas on Kilimanjaro, and Quechua porters in Peru carry the weight of other people’s ambitions—often without receiving even the certificates that climbers so proudly display¹². Their knowledge, resilience, and sacrifice are invisible behind the photo ops.
The Addiction to Applause
Social media
has fuelled this performative mindset. Treks are planned with the end-photo in
mind. Hashtags and filters replace journaling and reflection. One now prepares
not just physically for a climb, but narratively—deciding in advance how the
experience will be framed and received online.
As British
adventurer Adrian Hayes observed, “All these internal drivers—self-fulfilment,
curiosity—have been overtaken. We’re in a massive epidemic. We’re striving for
recognition and fame.”¹³
Even the noble idea of turning back, once a mark of wisdom and mountain sense, is now often seen as failure unless mitigated by a photo or certificate of participation. But the mountain does not owe you a summit. Or a certificate. Or a narrative arc. It simply is.
What We Might Lose—and What We Can Still Keep
When
climbing becomes performing, and walking becomes posing, we lose the elemental
gift of the mountains: their silence, their challenge, their refusal to flatter
our egos.
I have
returned from many expeditions with no photos, no summit, no applause. But
those are often the ones that taught me the most. The wind on a remote ridge.
The decision to turn around. The quiet meal in a shepherd’s hut. These don’t
fit easily onto a certificate or Instagram story—but they endure.
So here is
my invitation: by all means, accept your certificate if offered. Pose for the
photo. But don’t let that be the point. Let the real proof lie in your
patience, your humility, your willingness to walk slowly, listen deeply, and
return changed.
Endnotes
- “Mount Kilimanjaro Certificate.”
Tranquil Kilimanjaro. https://www.tranquilkilimanjaro.com/mount-kilimanjaro-certificate/
- “Get Mt. Everest Certificate!
Your Best Bragging Rights for Tibet Tour.” Tibet Vista, 2024. https://www.tibettravel.org/everest-base-camp-trek/everest-certificate.html
- “Do you provide a certificate of
completion?” Bikat Adventures. https://www.bikatadventures.com/Home/Itinerary/Annapurna-Base-Camp-Trek
- “Indian Couple Banned from
Climbing After Faking Ascent of Everest.” The Guardian, 31 August
2016. https://www.theguardian.com/world/2016/aug/31/indian-couple-banned-climbing-fake-everest-ascent
- “Nepal Cancels Everest Summit
Certificates.” BBC, 2016. https://www.bbc.com/news/world-asia-37218238
- “Nepal Bans Three Indian
Climbers.” The Guardian, 12 Feb 2021. https://www.theguardian.com/world/2021/feb/12/nepal-bans-indian-climbers-accused-of-faking-everest-summit
- “Everest Traffic Jam at 8,000
Metres.” BBC News, 2019. https://www.bbc.com/news/world-asia-48395880
- “New Year Stampede on
Kedarkantha Peak.” Deccan Herald, 2022. https://www.deccanherald.com/specials/insight/is-a-boom-in-trekking-an-uphill-task-for-conservation-1147720.html
- Ibid.
- Ibid.
- “Stok Kangri Trek Banned to
Regrow Ecology.” Trekking Community of Ladakh, 2020. https://www.indiahikes.com/blog/stok-kangri-banned
- “On Summit Certificates, Liaison
Officers and Funny Mountaineering Rules.” Mark Horrell Blog, 2016. https://www.markhorrell.com/blog/2016/on-summit-certificates-liaison-officers-and-funny-mountaineering-rules/
- Hayes, Adrian. Interview in The
Guardian, 2019. https://www.theguardian.com/sport/2019/sep/26/everest-instagram-climbers-mountaineering
Discovering Ladakh’s Uncharted Petroglyphs : A Short Note
Whispers on Stone: Discovering Ladakh’s
Uncharted Petroglyphs
We were trudging down a dusty trail by the frozen
stream near the little village of Lato when something caught our eye: a curious
carving on a sun-bleached boulder. At first it seemed like a simple scratch,
but as we knelt closer the outlines emerged – faint figures, perhaps animals.
Our hearts raced. A closer look revealed many more carvings on adjacent
stones, their pale lines surviving in the red-brown patina of the rock. In that
quiet Himalayan afternoon, we had stumbled into the remote gallery of ancient
hands.
We had been in that area for exploratory
mountaineering, prospecting a remote valley for potential future climbs. It was
March 2025, and all of Ladakh had just experienced a late winter storm that had
blanketed the mountains in fresh snow. On our way out, tired but content, we
took a side trail above the river – and that’s when we found the carvings. The
discovery felt accidental, but significant: a reminder that in these mountains,
even a descent route can lead to something profound. Before reaching any conclusions,
we crosschecked with Dr. Sonam Wangchok—widely regarded as an expert in Ladakhi
cultural heritage—and he confirmed that this site had not been previously
recorded.
We paused in the silence, humbled. Here,
etched into stone by someone’s chisel thousands of years ago, were stories left
unsought by history. The carved ibex with curved horns, the stocky wild sheep,
a hunting scene – these images looked out of place on our modern journey, yet
somehow belonged to it as surely as the river belonged to the valley.
Encountering them was a moment of wonder and gentle awe. We felt like travellers
who had found a secret poem scratched into the earth itself.
Ladakh’s
Living Rock-Art Legacy
Our find fits into a vast, little-known
tradition. Ladakh’s high valleys are dotted with petroglyphs (rock carvings)
spanning millennia. Scholars believe the oldest of these may be about 5,000
years old, dating to the Bronze Age. Carbon dating from nearby sites suggests
humans lived here as early as 4700 BCE (Bruneau & Bellezza, 2013). In
Ladakh, the prehistoric era’s artists favoured sturdy dark boulders, chiselling
out figures of daily life and belief. Over time they recorded hunting, dances,
cult scenes and symbols that speak of ancient faiths.
By around 1000–700 BCE, cultures of the
Himalayan Bronze Age and wider Eurasian steppes were prolific here. This began
an unbroken rock-art tradition from the Bronze Age all the way into the early
second millennium CE (Bruneau & Bellezza, 2013). In fact, archaeologists
note that this stone art tradition culminates in the spread of Tibet’s great
religions: Buddhism and Bon (Bellezza, 2008). Petroglyphs turn up in every
Ladakh valley – lower Indus (Sham), Nubra (Shayok), Changthang, Kargil, Zanskar
– over 500 sites have now been documented (Devers, Bruneau & Vernier,
2014).
Despite Ladakh’s harsh climate, rock carvings
survived here even when ice-age hunters first arrived and when medieval armies
marched through. For example, some boulders at Alchi (a famous site) were
carved in Bronze/Iron Age styles (hunting scenes, ibex), and centuries later
the same rocks were re-carved with Buddhist stupas in the 9th–11th centuries
(Denwood, 2008). This continuity shows how Ladakh’s petroglyphs bridge
pre-Buddhist shamanic times to the historic era of temples. Our Lato discovery,
set in this continuum, likely belongs to those pre-Buddhist Bronze/Iron Age
layers, adding precious data about Ladakh’s distant past.
Common
Motifs and Their Meanings
Ladakh’s rock art speaks a vivid visual
language. Certain themes recur again and again, as if carrying deep meaning for
the carvers. Among the most common motifs are:
- Ibex and wild animals:
Granite boulders teem with carvings of mountain goats, wild sheep, deer,
yaks, and other game. The ibex – with its long, curving horns – is
especially ubiquitous (Bruneau, 2013). In fact, "the hunting of game
animals is the single most common rock-art theme in Ladakh," and
"ibex hunting scenes number in the thousands" (Bruneau, 2013).
These herds of etched ibex and their human hunters dominate the imagery
because these animals were vital: they supplied food, hides and ritual
value.
- Hunting scenes and social life: Men
with bows, spears and flutes appear alongside animals. Beyond mere hunting
records, these scenes may commemorate rites of passage or clan identity.
Scholars note that by the Iron Age hunting’s practical importance had
waned, yet hunts retained "high prestige and cultural
centrality" (Bruneau & Bellezza, 2013).
- Solar and geometric symbols: Many
boulders bear circular suns, spirals, zigzags and concentric rings. For
example, sun-wheel symbols appear frequently. In the Alchi carvings,
archaeologists catalogue sun, swastika, cross and spiral motifs among the
earliest symbols (Jettmar, 1985).
- Mask-like human faces: One
especially mysterious motif is the “mascoid”: round human faces with large
eyes and simple features. These appear sporadically, notably in Nubra and
along trade routes. Recent research links them to the Okunev culture of
Bronze-Age Siberia (Snellgrove, 1967).
- Other human forms and symbols: Some
boulders show dancing figures, horsemen, or even outline drawings of
people. Geometric carvings (grids, mazes, footprints) hint at maps or
shamanic talismans. Many petroglyphs were later "borrowed" by
Buddhist pilgrims: we find stupas, chortens and Tibetan script carved atop
or beside ancient scenes (Denwood, 2008).
New Find
Amid Known Sites
Ladakh’s petroglyph hotspots are well-charted
in broad strokes, but each new discovery still brings surprises. Known sites
include Domkhar (home to Ladakh’s Rock Art Sanctuary), Tangtse, Murgi (Nubra),
Khaltsi, Zanskar, and Sasoma. An IGNCA survey notes extensive art across Sham
valley, Nubra, Changthang and more (IGNCA, 2012). Compared to these, the
carvings at Lato were utterly unknown. We found them unannounced by any
official record. Even recent scholarship that has expanded the rock-art map of
Ladakh remarks only briefly on new sites near "Gya Chu, Meru and
Lato" (Devers et al., 2014).
Continuity
and Cultural Significance
These ancient carvings matter because they are
history in situ – raw data about Ladakh’s pre-Buddhist era. The Lato engravings
likely date to the Bronze/Iron Age, a time when Indo-Central Asian cultures
mingled here (Rizvi, 1996). Each figure — an ibex, a hunter, a spiral — is a
clue to spiritual beliefs or social life that left no written record.
Discovering them is like finding a direct voice from antiquity.
Moreover, these carvings show continuity of
tradition. Rock engraving in Ladakh did not end with the Stone Age, nor with
Buddhism. As late as the 14th century CE local people still added chortens and
prayers to stones (Bellezza, 2001). In Ladakh, the very act of marking rock
carries sacred weight. Inscriptions in many languages at Tangtse (Kuχean,
Sogdian, etc.) tell of traders and pilgrims over a millennium (van Schaik,
2011).
The imagery also hints at community identity.
The high relief of ibex hunts in Ladakh parallels "animal style" art
across the Eurasian steppes. By adding our find to the record, we help fill in
the map of how different clan groups or migrants moved through Ladakh.
Respecting
the Stones: A Trekker’s Duty
As trekkers and climbers, we are outsiders but
stewards of these wild places. The Lato petroglyphs we found were fragile
relics under our feet. We took photos and notes and then left the rocks as we
found them. Modern adventurers have a special role. By venturing into remote
corners, we can act as first responders to cultural heritage – spotting
undocumented sites, alerting researchers, and educating fellow travellers.
In the hush after sunset, as we packed our
camp near Lato, the petroglyphs seemed to watch us depart. They reminded us
that even in the most familiar-seeming landscape, the past lies just beneath
the surface. Our accidental discovery was modest, yet it connects us to a grand
continuum of human creativity. May these ancient stones remain safe, their
silent stories heard by all who pass this way.
References
- Bellezza, J.V. (2001). Antiquities of Upper Tibet: An Inventory
of Cultural Sites. Asian Highlands Perspectives.
- Bellezza, J.V. (2008). Zhang Zhung: Foundations of Civilization
in Tibet. Austrian Academy of Sciences Press.
- Bruneau, L. (2013). "Animal Figures in Rock Art from
Ladakh."Rock Art Research, 30(1), 43–54.
- Bruneau, L. & Bellezza, J.V. (2013). "A Preliminary
Chronology of Rock Art in Ladakh."Revue d’Etudes Tibétaines,
25, 21–56.
- Denwood, P. (2008). "Iconography and Continuity in Ladakhi
Art."Artibus Asiae, Vol. 68(1), 67–94.
- Devers, G., Bruneau, L., & Vernier, A. (2014). "Rock Art
in Ladakh: A Thematic Overview." In Ladakh: Culture, History, and
Development.
- IGNCA (2012). Documentation of Petroglyphs in Ladakh. Indira
Gandhi National Centre for the Arts.
- Jettmar, K. (1985). Petroglyphs in the Indus and Upper Swat
Regions. Heidelberg University Press.
- Rizvi, J. (1996). Ladakh: Crossroads of High Asia. Oxford
University Press.
- Snellgrove, D. (1967). The Nine Ways of Bon. Oxford
University Press.
- van Schaik, S. (2011). Tibet: A History. Yale University
Press.