In the dusty bustling little market town of Nawalgarh, I am vowed by the vividly colourful frescoes casually popping up on the walls of havelis. This is one among many towns and villages in the semi-arid northeastern part of Rajasthan, the Shekhawati region, and the open-art gallery of frescoes.
Named after Rajput chief Maha Rao Shekhaji (1433-1488 AD) who proclaimed sovereignty in 1471 of this region, it was not until the mid-18th century that the region prospered. Marwari traders shifted here from arid Marwar. Later under British patronage, they amassed wealth in coastal cities of Calcutta and Bombay. They poured their wealth in decorating grand havelis (mansions) back home that depicted rich tapestry of visual history in brightly-painted frescoes. But as the Marwari traders left Shekhawati, the havelis’ decline begun.
The strikingly beautiful paintings on the outside walls of Dr Ramnath A Podar Haveli Museum scream attention. As we enter through the painted gateway, one of the museum caretakers enthusiastically narrates anecdotes about the frescoes. The carved wooden gate replete with iron and brass nails was a cynosure of our attention.
The meaning of ‘haveli’, which means ‘enclosed space’, is derived from the Persian word ‘hawli’. A haveli had two courtyards; the first with a large room served as a baithak (sitting room) for meetings and business being conducted. The main baithak had a hookah and a hand fan, which was operated by a deaf person so he couldn’t hear business deals.
The second courtyard, surrounded by rooms, was the living quarter where ladies lived. Built in 1902, Anandilal Podar lived there till 1935. Afterwards, it served as a school for 40 years. It was later converted into a museum.
The 750 frescoes spread over the walls and ceiling across 11,200 square metres were restored to original beauty using natural stone and vegetable colours.
Peering at the long train so precisely etched, I was surprised, for Shekhawati didn’t have railways for a long time. Artists were sent to Mumbai to see modern modes of transport and the ruling elite so they could authentically paint them in the remote havelis of Shekhawati.