This dissertation builds foundations for documenting the material and artistic history of micro-locales in the Jammu region of the Western Himalayas. This geographical zone has held immense research potential, yet archaeological sites have remained under-explored. The dissertation presents my archaeological fieldwork-based survey, mapping and photo-documentation of pre-modern local landscapes in the hill tracts of Jammu, known as “Ghora-Galis” or horse passes. These distinctive landscapes consist of scattered stone media, including complex water fountain structures, three-dimensional horse-warrior sculptures, pillar bases and reliefs - each displaying intricate narrative art and stone craftsmanship. In the dearth of historical research in the region and the absence of any writing or inscriptional evidence associated with the finds, little is known about the communities who created them.
The dissertation presents my documentation and mapping across six Ghora-Gali sites with the conscious clustering of similar stone features. The artistic peculiarity of these finds makes them unique in the material-cultural history of South Asia. The only prior study conducted at the sites was by a Russian team of archaeologists led by Polosmak (2018), who suggested Central Asian connections to the finds. In contrast, this dissertation presents my alternative hypothesis of a Medieval timeline that connects the Jammu region to its southern neighbors such as Chamba, Kangra and Kullu. On the basis of historical and cultural connections, particularly with Chamba’s inscribed water fountains (dated between 10th-12th centuries C.E.), I propose a tentative 7th -15th century C.E. chronology of the finds.
Examining the robust visual archive collected, the dissertation builds an interdisciplinary methodology to address chronological uncertainties of the finds. I study archaeological landscape distribution patterns, Medieval textual sources, art-historical iconographic elements, and gather insights from local communities. Applying this approach to two primary features of the Ghora-Gali landscapes, water fountains and horse-warrior sculptures, I identify traces of a broader Medieval commemorative tradition associated with the cult of the water. Highlighting the ideological and cultural significance of these finds at the time of their creation, I also explore how such pre-modern landscapes continue to be engaged with by local communities in the present day, preserving them and making new meanings.