Says global recognition will help preserve centuries-old musical tradition. Chief Minister Omar Abdullah has urged the Union Ministry of Culture to initiate the process for securing UNESCO Intangible Cultural Heritage (ICH) status for Kashmiri Sufiyana Music, describing the classical art form as one of Jammu and Kashmir's most distinguished cultural and spiritual traditions. In a letter addressed to Union Minister for Culture and Tourism Gajendra Singh Shekhawat, the Chief Minister sought sympathetic consideration of a proposal submitted by the Indian National Trust for Art and Cultural Heritage (INTACH), Jammu and Kashmir Chapter, for inscription of Kashmiri Sufiyana Music, also known as Sufiana Kalam or Sufiana Mousiqi, on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. The Chief Minister said Kashmiri Sufiyana Music represents a unique synthesis of Sufi philosophy, devotional poetry and classical melody, reflecting Jammu and Kashmir's composite cultural heritage and centuries-old traditions of harmony and inclusiveness. "Recognition by UNESCO would not only ensure international visibility and safeguarding of this invaluable tradition but would also facilitate its preservation, documentation, promotion, and transmission to future generations," the letter states. CM Omar acknowledged that the nomination process requires preparation of a comprehensive dossier through the prescribed institutional mechanism and noted that INTACH Kashmir had expressed willingness to provide technical assistance in preparing the nomination documents, drawing on its previous experience with UNESCO-related heritage initiatives. The Chief Minister requested the Union Minister to have the proposal examined sympathetically and initiate the necessary action through the appropriate channels, saying international recognition of the musical tradition would be a matter of pride not only for Jammu and Kashmir but for the country as a whole. The proposal was originally submitted to the Chief Minister by Saleem Beg, Convenor INTACH Kashmir Chapter on May 26. In its communication, the heritage body said Kashmiri Sufiyana Music fulfils the core eligibility criteria for inscription under UNESCO's Intangible Cultural Heritage framework, which recognises oral traditions and performing arts of outstanding cultural value. INTACH explained that under the prescribed procedure, the nomination has to be forwarded by the state government to the Sangeet Natak Akademi under the Union Ministry of Culture, following which a detailed nomination dossier is prepared and submitted for further processing before being forwarded to UNESCO for final consideration. The organisation said it had previously prepared UNESCO nomination dossiers for Srinagar under the Creative Cities Network and for other heritage initiatives, including crafts and media arts, and was prepared to undertake the documentation and research required for the Sufiyana Music nomination as well. According to the concept note attached with the proposal, inscription on UNESCO's Intangible Cultural Heritage List would provide international recognition to the tradition, strengthen community pride, encourage documentation and research, and support sustainable cultural tourism. The note describes Kashmiri Sufiyana Music as a classical musical tradition rooted in Sufi mysticism that embodies Kashmir's composite culture and long-standing ethos of spiritual harmony.

https://www.greaterkashmir.com/jammu-kashmir/cm-omar-writes-to-union-minister-seeks-unesco-tag-for-kashmiri-sufiyana-music-12121847, July 1, 2026

Relocation of endangered Petroglyphs begins at India’s first Petroglyph Conservation Park at Sindhu Ghat in Leh. So far, 31 ancient rock arts relocated and preserved at Park. Leh, June 29: The work on India’s first Petroglyph Conservation Park at Sindhu Ghat in Leh, has commenced in full swing, with the systematic and meticulous relocation of petroglyphs (ancient rock art) from vulnerable sites across Ladakh. This marks a historic step towards preserving Ladakh’s priceless archaeological and cultural heritage. Lt. Governor, Shri Vinai Kumar Saxena, on April 18, on the occasion of World Heritage Day, had laid the foundation stone of the Petroglyph Conservation Park, to serve as a dedicated conservation space for centuries-old rock carvings, that are increasingly threatened by natural weathering, unregulated tourism, infrastructure development, human interference and lack of awareness.

The park will house petroglyphs collected from vulnerable and isolated locations across Ladakh, ensuring their preservation for future generations, while also making them accessible to visitors, in a curated and educational setting. The Park is targeted to be completed by September this year. So far, 31 petroglyphs from Saboo Thang have been relocated to the Petroglyph Conservation Park. These petroglyphs measure from 4 feet to 17 feet in circumference and weigh from 500 KG to 10 MT. The rock carvings predominantly depict distinctive Ladakhi wildlife such as ibex, yak, argali, blue sheep, dogs and other wildlife, along with scenes of hunting, hunters, warriors, footprints and other symbolic representations.

The distribution of the carvings also reflects the ecological diversity of Ladakh, with ibex figures commonly found in the lower valleys of Sham and Purig, while yak and argali dominate the higher reaches of Changthang. The first phase of the conservation works includes the relocation of 155 petroglyphs, including 13 petroglyphs from Phyang Thang, 30 from Stakmo Thang, 28 from Likir Hill, 14 from Likir Thang, 10 from Taru Thang, besides petroglyphs from Thiksey, Igoo, Ganglas, Khaltse, Saspol, Ranbirpur, Nimoo, Spituk, Tsogsti and several other locations. These invaluable artefacts are being carefully shifted and curated at Sindhu Ghat to ensure their long-term preservation, while making them accessible for research, education and public appreciation, through setting up an interpretation Centre “The Petroglyph Conservation Park is a historic initiative to preserve Ladakh’s priceless archaeological heritage for future generations. By relocating vulnerable petroglyphs to a scientifically managed conservation park, we are protecting an invaluable chapter of India’s civilisational legacy from the threats of natural degradation and human activities.

This initiative reflects our commitment to preserving Ladakh’s unique cultural heritage while creating a world-class centre for heritage education, research and responsible cultural tourism,” said L-G Shri Saxena. Notably, Ladakh is regarded as one of the richest repositories of prehistoric rock arts in South and Central Asia. Spread across an altitude ranging from 2,500 metres to over 5,000 metres, these petroglyphs offer a remarkable visual record of the region’s early human history and cultural evolution.

https://ladakh.gov.in/relocation-of-endangered-petroglyphs-begins-at-indias-first-petroglyph-conservation-park-at-sindhu-ghat-in-leh/, July 2, 2026

A recent archaeological field survey conducted by two students of Nagpur University has led to the discovery of significant rock art shelters in the Satpura hill range along the tributaries of the Shakkar River, a major tributary of Narmada River, in the Chhindwara and Narsinghpur districts of Madhya Pradesh.The newly documented rock shelters, believed to be around 8,000 years old, are approximately 235km from Nagpur. The students, Sagar B Dodke and Tanmoy Howlader, were guided by professor Prabash Sahu, head of the department of ancient Indian history, culture and archaeology (AIHCA), Nagpur University.

The discovery was made during Dodke’s MA dissertation research and Howlader’s PhD fieldwork. As per the researchers, the team began exploring the area after identifying a hill with an ancient Shiva temple, which indicated the possibility of archaeological remains in the vicinity. Further exploration led to the discovery of rock shelter art painted on sandstone surfaces along with prehistoric stone tools, suggesting the site was occupied by prehistoric communities. The researchers identified and documented three groups of rock shelters located within the Satpura hill range.

Two of the shelters are situated between the tribal villages of Siyar Kheda and Jamunpani, while the third group is located near the forested region of Gadagad village. All three rock shelter groups occur within an area of approximately 8 to 9 km inside dense forest and appear to be culturally and artistically interconnected through their architectural setting and stylistic characteristics. The shelters remain largely inaccessible due to their forest location. As per local residents, they are generally visited only during January and February, when seasonal religious rituals are performed.

Over time, some of these rock shelters have been converted into local shrines, and portions of the prehistoric paintings have unfortunately been covered with limewash, posing a threat to their preservation. Preliminary archaeological observations suggest that the rock paintings belong to the Mesolithic (middle stone age), Chalcolithic (stone-copper age) and historical periods, based on their artistic style and their association with stone tool assemblages found in the surrounding area.

Professor Sahu said the paintings likely span the period between the Mesolithic and Chalcolithic ages, reflecting different phases of prehistoric occupation. He explained that rock shelters remained inhabited across several prehistoric periods, with artistic styles evolving over time. During the Upper Palaeolithic period, artists generally drew simple stick-like and abstract figures, while the Mesolithic period witnessed more detailed "X-ray style" depictions. In the Chalcolithic phase, artists began filling in the bodies of human and animal figures. The paintings are executed in red, ochre, black and white pigments and portray a wide range of subjects, including scenes of hunting, warfare, festivals and daily life. The artwork also depicts numerous weapons such as arrows, swords, spears and axes, reflecting the technological and cultural practices of prehistoric communities. Rich representations of fauna, including deer, stag, wild boar, sheep and cattle, further illustrate the close relationship between early human societies and their natural environment. "Prehistoric rock art serves as a visual record of the societies that created it. Themes depicting hunting scenes, religious beliefs, daily life and human activities provide valuable insights into the social and cultural life of prehistoric communities, enabling archaeologists to reconstruct the lifestyle of those generations," Sahu said.

He added that Central India is known for three major forms of prehistoric rock art — pictographs (paintings), petroglyphs (engravings) and cupules (small cup-shaped depressions carved into rock). While sites such as the Gavilgarh Hills predominantly contain pictographs and petroglyphs, finding all three forms together at a single location is uncommon, making the newly documented site particularly significant. Sahu said prehistoric artists prepared durable pigments from minerals and plant-based materials, mixing them with natural binders such as honey or egg. Since sandstone is highly porous, the colours seeped into the rock surface, while the dense forest canopy protected the shelters from direct weathering, allowing the artwork to survive for thousands of years. The researchers said while direct scraping of the paintings for dating is not feasible due to the risk of damaging the artwork, detached flakes from the rock surface can be subjected to carbon-14 (C-14) analysis to help establish the age of the paintings. The department is exploring the possibility of collaborating with the Archaeological Survey of India (ASI) for scientific documentation and conservation of this site.

https://timesofindia.indiatimes.com/city/nagpur/nagpur-university-students-discover-prehistoric-rock-art-heritage-in-madhya pradesh/articleshowprint/132042006.cms, July 3, 2026