Dasada Region

Dasada Region, a set on Flickr.

From salt flats and wild asses on the Little Rann of Kutch to cotton fields and Rabari cattle herders. Gujarat, India

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Agra Fort

Built by the Emperor Akbar between 1565 and 1573, this UNESCO World Heritage site is another of Agra’s jewels amidst the grime. In true fortress fashion, it has high walls (70 feet - 21 m), double ramparts, battlements, massive gates, circular bastions and a moat. Entering through the imposing Amar Singh Gate, today’s visitors see only a small mount of Akbar’s original structures; some were destroyed by Akbar’s grandson Shah Jahan and others by the British who used the fort for barracks. Parts of the fort are still used by the Indian military, visitors focus on the area closest to the Yuma River.

Despite portions of the fort being closed off to visitors, there are quite a number of beautiful buildings to see. The Diwan-i-Aam was an arcaded hall that reminded me of a similar royal public audience hall in the Delhi’s Red Fort. Nearby was the Anguri Bagh, a series of geometrically arranged gardens in alternating plant colors of green and deep burgundy. The Khas Mahal, built in a style so typical of Shah Jahan, is an elegant white-marble hall with brightly painted ceilings and twin golden pavilions. The Diwan-i-Khas is perhaps the most beautiful structure there, with its exquisite pietra dura work of flowers, vines, and designs covering columns and archways. In this open hall, the emperor would meet his court. From the double-storeyed profusely-decorated octagonal tower named the Musamman Burj, Shah Jahan had a direct view of his beloved Taj Mahal. Ironically it was this tower where Jahan spent the last eight years of his life, imprisoned there by his son. Walking back to the gate, we passed by the Bengali Mahal, constructed out of red sandstone. Its decorative architectural style reminded me of that at Fatehpur Sikri (Akbar’s planned capital city and palace), with its intermixing of Hindu and Islamic elements in the same red sandstone.

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Itimad-du-Daulah

Described as a “jewel box in marble,” this tomb of the “Lord Treasure of the Mughal empire under Shah Jahan is also nicknamed the “Baby Taj.” Predating the more famous structure, the Itimad-du-Daulah signals a change in Mughal architecture, away from the massive red sandstone structures to the more elegant structures such as the Taj Mahal. Highly symmetrical, the squat building had a minaret at each corner. Colored mosaic patterns of geometric and floral designs covered the outer surface and the interior floor. Window jail screens of complex geometric patterns were carved out of single pieces of marble. Inside, floral paintings were in various states of preservation were framed in arched niches on the upper half of the walls. The painted ceiling must have also looked rather beautiful with its incised patterns, relief textures, and golden accents. Not nearly as visited as the more famous structure in Agra, it was much quieter here, giving us ample opportunity to wander around the various rooms with tombs and admire the decorative architecture.

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The Black Taj

Our next destination was directly across the river from the Taj, but rather long to get there due to the traffic congestion, long divided roads with no/few U-turns, and the required bridge a distance away. Paying a small fee, we walked through orchards of fruit and flowering trees until we neared the Yuma River. From here, we had an alternate, less crowded view of the Taj Mahal, still looking rather placid against the foggy, grey sky. We stood amongst remnants of the foundation of a structure situated directly opposite the Taj. Legend has it that Shah Jahan wanted to build a replica of the Taj he had built for his beloved wife - except with black marble. With the emperor’s finances severely strained due to the hugely expensive white structure, Jahan’s son halted its construction.

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Agra and the Taj Mahal

After a brief visit to Fatehpur Sikri we arrived in Agra as dusk took hold. Darkness did make it a bit more difficult to realize the true dinginess of the city. Whereas many of India’s other cities also have issues with being crowded, dirty, congested, and polluted, the main city of Agra lacks color and vibrance.

Taj Mahal
The following morning, we got an early start to arrive at the Taj when it opened. Battery-powered vans quietly rolled past, reminders of attempts at limiting pollution around the World Heritage site. Bicycle rickshaws creakily paddled up to us and asked us if we’d like a ride, unsuccessfully convincing us that the Taj was “very far.” The dense fog ruled out any chance of getting those “picture-perfect” photos of the Taj Mahal against blue skies; now just seeing it from any distance would be a goal. Along with the already-growing cluster of tourists gathering at the front gate, some four-legged critters were wandering about. Some of the animals donned “coats” made from burlap sacks. One goat completed the fashion with a knitted cap. Our bags were checked prior to entering. My friend’s 4” wooden figurine of a big-nosed Serbian wearing a traditional shajkaca cap was detected and denied entrance. When asking why, the female guard said, “bad karma.”

After the figurine was checked in at the baggage center, we proceeded inward. A few typical photos later, we walked in the mausoleum through the large door and admired the incredibly intricate marble screen around the two fake tombs briefly illuminated by camera flashes going on in the “no photo zone.” Even though I had seen the structure before, I couldn’t help but be awed by its artistic workmanship, including the flowers created by tiny pieces of inlaid semi-precious stones, and raised flowers carved from the same white marble as the rest of the structure. Letting the Japanese tourists posing in their new saris get their photos and move on, I took a few photos of the Taj, other buildings, and grounds in more creative views.

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From Jaipur to Agra

What should have been a rather simple drive on major roads to Agra turned into a more interesting, albeit slower journey through rural areas, thanks in part (again) to the Gujars blocking the roads in an effort to have their demands met. First we stopped at the Chand Baori stepwell, dating back to the 8th-9th century and the deepest in Rajasthan - 19.5m (64 feet) deep.

On the bumpy, narrow roads, our slower trek took us through tiny villages scattered in between fields. Kids engaged themselves on a favorite pastime of the region - kite flying. Women pumped water at the wells. Older men squatted near the road, smoking bedis as they chatted. Along both sides of the roads in these villages, children and some puzzled adults lined up as if observing a parade, waving at the unusual procession of trucks, tourist vehicles, and other unfortunates who were diverted. Children ran ahead and climbed on top of mud brick walls and further ahead in order to get a better (or second) viewing. It reminded me a bit of traveling by a traditional dugout boat up the Niger River to Timbuktu.

The flat land in the area yielded brilliant yellow fields of mustard plants. This crop, also seen in abundance in the Shekhawati region and even a bit in Himachal Pradesh, is used for cooking oil and creating dyes. Indian-style scarecrows stood above the crops, sporting a black pot for a head. Early in the morning steam from recent rains rose above the field, replaced later by deep, blue skies. Brick factories were situated in the middle of the mustard fields, with their blue and white striped chimneys rising high. Men and children piled bricks neatly in a cleared field next to the factory, creating patterns with their expert stacking techniques. In other ploughed fields, camels were hitched up to farm equipment. Others could be seen in the villages and towns hauling goods with special trailers. Tractors received special attention here as well, sporting decorations of colored tinsel tassels, artificial flowers, and colorful garlands. In the courtyard of farms, the women patted small mounds of cow dung into thicker disks to be used for fuel. Cowpies dried on the roof and dried ones were stacked 7-high on a low wall near the road, probably for purchase.

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New Year's Eve in Mandawa

For New Year’s Eve, we decided to stay at a beautifully restored haveli in the town of Mandawa. The main courtyard was particularly ornate – a feast for the eyes. After dropping off our luggage, we walked into the main part of town. Soon a small group of local kids followed us, with more offering their service as guides. The golden late afternoon light glowed on the outer walls of the town’s many havelis. Here we saw frescoes of the Wright Brothers, chauffeur-driven cars, trains, and the usual Hindu scenes. Far more of Mandawa’s havelis were in rather poor shape or had their murals painted over. On a remnant of one wall, a peacock stood proudly in the afternoon light. Donkey pulled carts competed for road space along with camel-pulled carts and buses. Revealing its more frequently visited tourist destination, the main street contained souvenir shops and touts requesting tourists to “come look into my shop.”

Although tired from the long day, we went to the New Year’s celebration taking place at the hotel. Guests donned layers of clothing as they watched the dancers and musicians, with some later joining in the dance. Finally, a meal was served, including both veg and nonveg Indian specialties. Absent was alcohol, but some guests did get some from the upstairs restaurant. At midnight, firecrackers were lit on the street outside the hotel.

On our way back to Jaipur, we passed through the town of Fatehpur and visited a few havelis there. The market area was quite active. Cows, busses, and donkey carts all contributed to traffic congestion. My friends were getting “haveli-ed out,” so we moved onward. Along the road we passed by a group of Jains on a cart, wearing white masks over their face to avoid accidentally ingesting any insects. Camels hauled gnarled wood on crude carts and straw on others. Alongside the road in a few spots we saw dead cows, apparently victims of traffic. Colorfully decorated tractors puttered along, with bran names including Mahindra, New Holland, and Massey Ferguson. As we neared Jaipur (143 km – 3hrs away), yellow mustard fields became more common, replacing the more arid fields of the Shekhawati region.

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Dundlod Fort

Although there was more we could have seen in Parsurampura, we headed to Mandawa, our destination for New Year’s Eve. Along the way we stopped at Dundlod to visit the fort. After waiting for a rather disorganized staff to take us inside, we toured the well-preserved interior. The main room was extremely spacious, framed with warm-yellow columns and filled with ornate European furniture and a collection of rare books. An old photo of the young handsome maharaja was on display on an antique table, accentuating the feeling of his presence. Also of note was an ornately carved wooden writing table and a whole room full of equestrian trophies.

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Old Frescoes of Parsurampura

Leaving the town of Nawalgarh, we made a little side detour to Parsurampura, a little village 20 km southeast of there to see some of the region’s best preserved and oldest frescoes. The Shamji Sharaf Haveli, dating back to the end of the 18th century, had particularly interesting motifs. Here we saw Hindu gods intermixed with images of Europeans. In one corner, a European-looking lady dressed in black clothes holding a parasol was depicted right above a local woman with a spinning wheel.

We then visited the Chhatri of Thakur Sardul Singh. From a distance, the white domed structure looked like nothing special. Looking up at its interior, we were treated to a visual feast. Dating back to the mid-18th century, the well-preserved images were painted with natural pigments – whereas most of the frescoes we had seen on buildings were done with artificial pigments. The deep reds, rich blacks, and tans provided a harmonious color palette. Following the curved contour of the dome were incredibly detailed battle scenes of the Hindu epic Ramayana, local noblemen, and the love story of Dhola Maru. Of similar style is the Gopinathji Mandir temple, built in 1742. Legend goes that the son of the nobleman who had the Chhatri built chopped off the hand of the artist (hoping that would prevent him from completing the temple paintings and retain exclusivity of the artist’s work), but the undeterred artist completed the temple paintings with his feet.

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Nawalgarh, Shekhawati

In order to break up our tour through the Shekhawati region, we stayed the first night in the town of Nawalgarh. I had read that it had a good selection of havelis as well as a colorful market – two great ingredients! We were arrived in time for a great home-cooked dinner, seated around a long table with other guests. Partway through the meal, a cow poked its head through the door, on the lookout for a snack. The tourist pension owner said that the cow visited often (several times a day, sometimes) and had a particular fondness for chapattis. With the small fire in the courtyard of the haveli growing dim, we retired to our upstairs bedrooms, each beautifully painted and containing handmade carved furniture.

After a breakfast prepared from ingredients grown in the pension owner’s garden, we headed out into the muddy streets to begin our haveli tour, aided by a map indicating the location of some of the main sights. Some of the places were closed, so we could only enjoy their frescoed exteriors. Others, such as the Uattara Haveli were open (small admission fee), giving us a chance to experience more of its glory. Entrance was usually through a tall, rather fortified-looking door framed by an archway. With the really tall entrances, a smaller normal-sized could be opened within it for normal use. An outer formal courtyard, typically single-storyed, was used for attending guests and conducting business. The real beauty was in the inner courtyard, typically more spacious and multiple-storyed. This is where the women spent most of their time. Fluted arches framed the courtyard. Some framed intricately carved doors or shuttered windows. Others led into small rooms with thick walls. Adorning nearly every square inch of wall space were frescoed murals. Framed by floral motifs were scenes of Krishna and Rama, interspersed with paintings of red-uniformed soldiers, locals riding elephants, women milking cows, etc. In some havelis, one could find scenes of local merchants driving a car, locomotives (some painted rather naively), gramophones, and bicycles.

Also of note in Nawalgarh was the Bala Quila with its mid-19th century room filled with mirrorwork, large portraits, and painted domed ceiling. Had there not been a sign out in front of the rather plain-looking building, we would have walked past it. The Ganga Mai Temple, dating back to 1868, also has some fine floral motifs on the fluted archways of the courtyard.

The state of condition of the havelis varied greatly. Some appeared to be recently restored, with its murals very bright in color and structure intact. Murals on other havelis were fairly intact, but rather faded. In many, the lower portion of the building’s exterior no longer contained images, instead replaced by plain plaster, exposed bricks, or graffiti. Some of the havelis were still used as dwellings; others were bricked up or abandoned, sadly falling apart. Others were stripped of their intricate carved wooden doors and shutters, sold as antiques or made into tables. We were told that most of the owners no longer lived in the Shekhawati region and of these, too few seemed to care enough to pay for any upkeep or maintenance on the buildings. We saw some havelis being torn down, probably being replaced with more bland, modern buildings. How sad that these historical national treasures are literally and physically crumbling before our eyes, with little being done about it!

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Samode, Shekhawati Region

One of the areas of Rajasthan that I was most looking forward to was the Shekhawati region, located NW of Jaipur. I had seen photos of some of its painted havelis, the grand homes of merchants, in some books and wanted to see them for myself. Many of these painted wonders date back to the 18th-late 19th centuries when the region’s towns were important trading posts on the caravan route from the ports of Gujarat. In addition to rendering more traditional subjects such as Hindu mythology and everyday life, many of the murals (covering both the interiors and exteriors of the structures) depict contemporary events of the time and new innovations. Often times such scenes were depicted from imagination without having ever actually seeing them. As such, there is a certain naivety and innocence about the murals.
A series of narrow rural roads took us to the various selected villages. On our way, we passed through stretches of countryside with rather bare scrubby trees, thatched conical huts, homes made from mud brick or cement, and ploughed flat land.

About 50 km from Jaipur, we stopped at the town of Samode. Our objective was to visit the 19th century palace, now converted into a rather luxurious hotel. Walking through the arched gateway, an employee stopped us and said that the hotel was closed, due to preparations for a 3-day wedding for around 400 guests being held there. Although disappointed, I spotted some colorful piles of flowers being used for the wedding decorations and asked if we could at least go there to take photos. Sensing our interest, he made a phone call and told us we could come in. To our surprise, we were given a tour of the palace’s main rooms. In true Rajasthani style, each room was lavishly decorated with contrasting colors and patterns. Even the ceiling contained floral patterns and portraits. Through an archway, the reflective mirrors of the Diwan-i-Khas room sparkled, begging us to enter. Inside, we admired the mirrorwork covering most of the walls and ceiling, as well as naturalistic and figurative murals near the bottom. Back out in the courtyard, several men were draping long garlands of marigolds and jasmine to form a canopy. Another created designs out of different flower petals arranged along the path leading up to the main door. Scents of rose and jasmine filled the air. No doubt it would be a beautiful wedding!

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Anokhi Museum, Jaipur

Our next destination was the Anokhi Museum, housed in an excellently restored haveli. An admirer of the wooden block printed cloth for which Anokhi is so famous, I was interested in learning about the process and history of the technique. The displays were well lit and signposted, giving those interested plenty to read. In an open courtyard, a man sat on the floor, deeply engaged in carving a wood printing block. He explained that it took him 10 days working eight hours a day to make one block out of teak wood. Many of the prints used three blocks to create the pattern, requiring precision and planning on the part of the carver. A wood block could stamp around 1,600 meters of cloth before it needed to be retired. Mr. Mugeebulla Khan had 35 years of experience, having started at ten years of age, following the footsteps of his father.

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Amber Fort, Jaipur

On our way to the Amber Fort, we stopped briefly at the pink Hawa Mahal “Palace of the Winds” building, and the Jal Mahal palace that seemingly floated in the middle of the lake. At the Amber Fort, colorfully painted elephants carried tourists up through the Suraj Pol gate and into the main courtyard. Some of the entrances such as the Ganesh Pol were beautifully restored, containing intricate floral patterns with the elephant god above the door. The Aram Bagh comprised of a geometric maze made out of carefully trimmed bushes. The splendid Sheesh Mahal room contained inlaid mirrors along with arabesque and floral designs. The bottom portion comprised of relief flowers in white marble, reminiscent of the Taj Mahal. Perched high up, we had a great (although misty) view of the Kesar Kyari Bagh ornamental garden below, surrounded by water.

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