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Welcome to my blog’s very first ‘Travel Guide’. I have chosen to write it on the colourful historical world of Shekhawati in north-east Rajasthan, and tried my level best to keep it relevant from a traveller’s point of view.

It covers four suggested full day routes with Mandawa as a base and what to focus on in each of the towns derived from personal experience. Rajasthan’s Shekhawati region can be pretty overwhelming. It is not uncommon for travellers to be haveli-id out when faced with hundreds of painted havelis [Indian mansions], one after the other. In addition, many are crumbling to dust, being painted over, or turned into ‘heritage’ hotels. This post is a humble attempt to add value to a visit to this open-air art gallery which is a wonder in itself, a region unlike anything else, anywhere else.

Time required: 6 days. These include 1 day to explore Mandawa [the base], and 4 full day itineraries to discover the region at a relaxed, yet in-depth pace. Happy travels! 🙂

Note: This blog post has been written with valued inputs from Om Singh Shekhawat, my guide during my stay in the region.

Table of Contents
[This is a long blog post. If you would like to go straight to any particular section, please click on the links below.]

1. Putting the Shekhawati Region into Context: History, Wealth, and Heritage
2. Mandawa: Base Camp for Exploring Shekhawati
3. Southern Route: Mandawa > Lohargal > Nawalgarh > Dundlod > Mukundgarh > Mandawa
4. South-West Route: Mandawa > Fatehpur > Laxmangarh > Mandawa
5. Northern Route: Mandawa > Ramgarh > Mahansar > Bissau > Churu > Mandawa
6. North-East Route: Mandawa > Jhunjhunu > Alsisar > Malsisar > Mandawa

1. PUTTING THE SHEKHAWATI REGION INTO CONTEXT:
HISTORY, WEALTH, AND HERITAGE

Rao Shekha, the Founder of Shekhawati
Shekhawati, in the semi-arid north-east part of Rajasthan, was founded in 1471 by Rao Shekha from the Kachhwaha Rajput clan who ruled Amer. He set up a confederation of 33 thikanas [feudal lands] and called his independent kingdom Shekhawati, the Garden of Shekha or Land of Shekhawat Rulers. Prior to him, the area had been ruled by the Kayamkhani Nawabs, a Muslim community with Hindu Chauhan Rajput roots.

After the collapse of the Mughal empire, Shardul Singh, a powerful feudal Shekhawat ruler, ousted whatever remaining nawabs were still there, took over control of the entire region, and set up his capital in Jhunjhunu in 1730. On his death, his estate [Panchpana] was divided amongst his five sons and their descendants ruled the region till India’s independence in 1947.

Shekhawati Marwaris and their Havelis
By the early-1800s, the Shekhawati region had become a leading hub for the caravan trade routes of the Great Silk Road centred on opium, cotton, silks, and spices. The merchant [baniya] caste in Shekhawati were quick to capitalise on this and in no time became billionaires of their era. What better way to announce one’s wealth than through grandiose havelis, the Indian equivalent of mansions, and that’s exactly what they did.

When the British East India Company decided to direct trade through the Ports of Calcutta and Bombay in 1822, Shekhawati’s traders followed suit. They moved to the port cities, became even more wealthy, and remitted funds back to their home towns. That’s also when the term Marwari for Rajasthan’s business community got coined. Marwar was one of Rajputana’s leading princely states and became synonymous with entrepreneurs from the region. A bit of a misnomer, but it stuck.

The Bajaj, Birla, Dalmia, Goenka, Jhunjhunuwala, Kothari, Mittal, Modi, Oswal, Piramal, Poddar, and Singhania are but some of Modern India’s leading business families who trace their roots to the dozen or so little towns in the Shekhawati.

Haveli Architecture Deconstructed
Haveli, in Hindi, is derived from the Arabic word Haveli and means ‘private space’. It refers to mansions in the Indian sub-continent. Shekhawati’s havelis have a standard floor plan and comprise of at least two interconnected roofless courtyards surrounded with at least two floors of rooms. The first courtyard is where the men of the house carried out their business. The second or zenana courtyard was for private domestic use. Some of the bigger havelis may also have a third courtyard where the servants, storehouses, and stables would be located.

Entrances to the two courtyards form a focal point of the haveli and include a scalloped arch, pillared seats on the sides, and a heavily carved door. No surprises then that much of the haveli décor is centred around the entrance and that no two havelis’ entrances are ever the same.

Haveli Frescoes: Technique and Content
One-upmanship amongst Shekhawati’s merchant community took the form of whose haveli was bigger, and whose was more embellished. No bars were held. No monies spared. The finest artists [chiteras] were called in to paint topics ranging from the erotic to the religious to the secular to copies of European prints. Whatever it took to impress.

In the beginning, mineral colours were painted on wet plaster to depict two-dimensional scenes from Hindu mythology, portraits of family and friends, and geometric and floral patterns. But exposure to the British changed both content and technique. European subjects and themes were introduced, chemical colours from Germany imported, and photography provided a three-dimensional view of the world for the artists to copy. One decorative element, however, remained consistent—the community’s favourite gods Radha and Krishna.

Shekhawati Today
Over the years, the owners of the havelis carved out new lives for themselves in India’s metropolises or overseas. Though incredibly beautiful, these havelis were neither easy to maintain nor to live in. Abandoned and empty, many are now crumbling to dust. Some have been converted into hotels. A few have family members, tenants, or caretakers who for an official or unsaid nominal fee open their doors to travellers. It pays towards the bills.

How long will Shekhawati’s wonders survive in the absence of either government or corporate funding is as good a guess as any. Whilst they still stand, do explore them, and preferably with a guide to help identify and access the havelis, and to point out their artistic treasures which are painted on a ceiling, under a parapet, or inside a dim alcove.

2. MANDAWA: BASE CAMP FOR EXPLORING SHEKHAWATI

Mandawa is extremely popular with film and ad shoots. The haveli above, part of the Goenka Double Haveli, is a favourite for haunted scenes. To the right is an unusual ceiling in Hanuman Prasad Goenka Haveli with two wild animals fused at the chest.

Mandawa makes for an ideal base to explore the region. For one, its central location. Secondly, there are enough architectural and painting styles on display, and that too in pretty good condition, to offer a crash course on the unique art of Shekhawati. This allows for travels to the other towns to be focused and in consequence, rewarding. Lastly, Mandawa is used to tourists. It has excellent hotels and restaurants, is safe, and small enough to be walkable.

Mandawa, along with Nawalgarh to the south, was ruled by Nawal Singh, the fifth son of Shardul Singh. Seeing its potential, Nawal Singh built a fort, the Mandawa Castle, in 1755 to protect his outpost. Soon a township blossomed around the fort and traders flocked to take advantage of the strategic location, their wealth reflected in their resplendent homes. Though fast falling into the trap of modernism and development, Mandawa still retains a charming rural air.

A good place to start is the Mandawa Castle, now a heritage hotel with a visit to its café giving access to its marvels, if perchance one is not staying there. Beautifully restored, the place is run by the Mandawa royal family’s 10th generation.

Round the corner is the Chowkhani Double Haveli [1910] with a rather prosaic take on life back then replete with spectacled portraits and dining etiquette. Nearby is the Snehram Ladia Haveli [1907] with snooty British sahibs and memsahibs all dressed up on the walls of its guest room and Gulab Rai Ladia Haveli [1845]. The latter’s facade comprises scenes of child birth and sexual intercourse juxtaposed with pokerfaced formal images of the family.

Inside the nondescript entrance of Jhunjhunuwala Haveli [1870] is Mandawa’s prettiest room covered with images of Krishna in red and gold leaf in the company of the haveli-owners. In the heart of the marketplace is the Bansidhar Newatia Haveli [1920s] which now houses a bank. Walk to the side wall to come face-to-face with advancements in technology such as the [then] newly invented airplane and telephone.

Continuing west brings one to Murmuria Haveli [1935], a mansion straight out of Venice in architecture and its frescoes. Alongside it is the Goenka Double Haveli [1820] made of two havelis. The first, with a massive tree bang in its courtyard and ethereal weathered frescoes has been a location for many a film’s spooky scene and advert. Hanuman Prasad Goenka Haveli’s [1840] highlight is the paintings on its ceilings including one of two wild cats fused at their chests.

Scattered among the havelis are chhatris, temples, and wells, the last identified by towering pencil pillars. The Saraf Well [1890s], in particular, offers lovely views of rural bliss at sunset.

Mandawa’s elegant Murmuria Haveli is decorated with Venetian architecture and cityscapes.

Childbirth and a couple in the midst of an amorous interaction show up on Gulab Rai Ladia Haveli’s outer wall frescoes. Reconfirming that nothing is taboo in art.

Pipes and spectacles in the year 1910 in Chowkhani Double Haveli, Mandawa.

One of Mandawa’s most exuberant rooms is a riot of red and gold leaf inside Jhunjhunuwala Haveli.

European sahibs and memsahibs in the guest room of Snehram Ladia Haveli.

Ceiling inside the much-restored Mandawa Castle Hotel illustrates the seamless line of Mandawa rulers who ruled the little town from the castle.

3. SOUTHERN ROUTE: MANDAWA > LOHARGAL > NAWALGARH > DUNDLOD > MUKUNDGARH > MANDAWA

Tip: Drive straight to Lohargal and visit the other towns on the way back. This way one would have more daylight hours to explore.

Not much is known about the picturesque Lohargal stepwell nestled in the Aravalli hills completely off the tourist radar. According to local legend the site is associated with events in the Hindu epic Mahabharata—It was here the Pandava brothers went into hiding for one year and hid their iron [lohar] weapons. Surya Temple and its kund, a short distance away, is one of the most sacred temples in the Shekhawati. Lined with pickle shops and dedicated dharamshalas for various Hindu castes, it offers a unique glimpse into local life, rituals, and beliefs.

Nawalgarh, very much on the tourist circuit and one of the richest towns in Shekhawati, was founded in 1737 by Nawal Singh, Shardul Singh’s fifth son. Amongst its hundreds of havelis, four stand out and are part of the finest the region has on show. The colossal European-styled Jhunjhunuwala Haveli [1908] contains seven courtyards and over a hundred rooms. It is a private property but a small tip opens up its rusty doors to the expanse within. Dr. Ramnath A. Poddar Haveli [1902] and the Kamal Morarka Haveli [1900] are both filled with carefully restored exquisite paintings, and have been converted into museums. For a quirky mix of east and west, the Bhakto Ki Haveli [1890] is a charmer with portraits of its Indian owners side-by-side with those of European friends and their associated paraphernalia of bicycles and bowler hats.

[Many travel guides on Nawalgarh mention the Aath Haveli Complex. Please note, these havelis have since fallen into irreparable decay and those bits that are occupied have been painted over.]

Eight kilometres north of Nawalgarh is Dundlod, a tiny dusty village with the historical Satyanarayan Mandir and the lovely Seth Arjun Das Goenka Haveli Museum [1870] atop a plinth showcasing merchant life replete with life-sized clay figures. Mukundgarh, is the last stop on the southern route and warrants a visit for its Ganga Bux Saraf Haveli built in the 1930s along with the older Saraf Haveli [1910] round the corner. The star attraction of the former, recognizable with its large jutting porch, is the series of Indian freedom fighters’ portraits, including Nehru and Gandhi, on the arches and walls.

Chetan Das Ki Bawri aka Lohargal Stepwell is a seven-storeyed pink sandstone water-stained stepwell snuggled in the Aravalli hills.

Some 750 frescoes cover every inch of Dr. Ramnath A. Poddar Haveli Museum in Nawalgarh.

Radha and Krishna engrossed in a dance sequence in the Kamal Morarka Haveli Museum, Nawalgarh.

One of Shekhawati’s largest havelis, Jhunjhunuwala Haveli in Nawalgarh has over a hundred rooms.

Bhakto Ki Haveli displays a quirky mix of Indian figures and European themes, comfortably placed next to each other.

Left: A haveli in use by the original owner’s descendants; Right: A haveli turned into a museum—Seth Arjun Das Goenka Haveli Museum, Dundlod.

Indian freedom fighters’ portraits give an unexpected twist to the otherwise Krishna-themed frescoes of Ganga Bux Saraf Haveli in Mukundgarh.

4. SOUTH-WEST ROUTE: MANDAWA > FATEHPUR > LAXMANGARH > MANDAWA

West of Mandawa, in the Sikar District, is Shekhawati’s ‘culture capital’ Fatehpur. Founded by Nawab Fateh Khan in 1451, it was taken over by the Shekhawati Rajputs in the 18th Century. Though choc-o-bloc with colourful havelis, the town is built in a shallow pit. The ensuing water seepage has destroyed many of the havelis’ lower walls. What remains is still magnificent.

Much of the town’s fame in the global arena has been because of Nadine Le Prince Haveli. Originally known as Nandlal Devra Haveli [1802], it was purchased and restored by French artist Nadine in 1998, a descendant of the 18th Century Old Masters artist Jean-Baptiste Le Prince. Unfortunately, a recent legal tussle with a neighbouring haveli’s residents has forced it to, at least for now, close down. But that does not mean one cannot, meanwhile, enjoy and appreciate the paintings on its facades which are still spectacular.

Apart from Nadine Le Prince Haveli, Fatehpur has a number of other havelis which demand exploration and justify the town’s claim as a cultural hub. Harikrishnan Das Saraogi Haveli [1900s] features delicate iron filigree on its balconies and Hindu gods in chauffeured luxury cars. Singhania Haveli, built by Seth Jagannath Singhania in 1860, stands out with its four-elephant Gaj Laxmi frescoes flanking the second doorway and British Raj themed panels. Bhairamal Kedia Haveli [1890] is a fantasy-world concoction of scenes from Krishna’s life in 19th Century European villas, spaceships, and rolls royces. In addition, there are the Saraf and Goenka Havelis, albeit now peeling. Ghadwa Johara [1854] on Fatehpur’s outskirts is a picturesque water reservoir by Ram Poddar. Ramgopal Ganeriwala added to it in 1899 during the great drought.

To the south of Fatehpur, also in Sikar, is Laxmangarh. Dominated by the Laxmangarh Fort perched atop massive speckled boulders, it was built by the town’s founder and King of Sikar, Laxman Singh in 1805. In 1960, the fort was bought by the Jhunjhunuwala family and has since been out of bounds to the public. One can however, climb up to the two temples on the ramp, the Bhairavji and Balaji temples.

Char Chowk Ki Haveli, with Laxmangarh Fort looming in the background, is Shekhawati’s largest haveli. It was built by the Ganeriwala family in 1810 who made their fortunes as financiers and money lenders in the 19th and 20th centuries. Their descendants still reside inside, happily allowing visitors to take a stroll through the faded painted rooms. Murli Manohar Mandir makes for an interesting last stop before heading back. Despite being painted over, it retains its original structure and is crammed with grocery stores and businesses owned by Muslims on its ground floor.

Rajasthan’s romantic folklore pair, Dhola and Maru, adorn a wall of Nadine Le Prince Haveli in Fatehpur, Shekhawati’s ‘culture capital’.

Radha and Krishna chauffeured in a luxury car in Harikrishnan Das Saraogi Haveli, Fatehpur.

Singhania Haveli’s gigantic frescoes feature the mythical four-elephant Gaj Laxmi, Fatehpur.

The eclectic entrance to the inner courtyard of Bhairamal Kedia Haveli, Fatehpur.

Laxmangarh Fort atop a spattering of boulders dates back to 1805.

Shekhawati’s largest haveli, the Ganeriwala Char Chowk Haveli in Laxmangarh. Descendants of the family continue to reside inside.

5. NORTHERN ROUTE: MANDAWA > RAMGARH > MAHANSAR > BISSAU > CHURU > MANDAWA

Of all the routes emanating from Mandawa, the zig-zag northern route offers the largest variety of architectural and decorative art styles. The first stop here is Ramgarh or Ramgarh Sethoka [Ramgarh of the wealthy merchants] as it was popularly called. Its residents, trading in opium and chintz, were believed to be so uber-wealthy even the wealthy borrowed from them, and equally philanthropic. They funded schools, colleges, hospitals, dharamshalas, wells, and even paid taxes on behalf of the less fortunate. It was founded in 1791 by the Poddar family from nearby Churu, who’d left after a tiff with the state over hefty taxes, and were determined Ramgarh outshone their hometown. India’s first registered company Tarachand Ghanshyamdas was set up in Ramgarh that same year.

The double three-storey havelis of the Ruiya family [1890s] perhaps best illustrates the extent of wealth this town once housed. Close by is the early-20th Century Motilal Sawalka Ki Haveli and the Ram Gopal Poddar Chhatris [1872]; the latter is a funerary complex comprising of four magnificent pavilions adorned with almost 500 detailed frescoes inside the domes.

Taking the longer route to Churu allows for breaks at Mahansar and Bissau, both frozen in time. Mahansar’s chief claim to fame is the Sone Ki Dukan or Golden Room inside Poddar Haveli, so named because of the gold leaf used in its frescoes. Painted in 1846, the room depicts Vishnu’s incarnations and scenes from the Ramayana and Krishna’s life. Bissau’s attractions are less exotic and more about the atmospheric with an abandoned [jinxed] fort and crumbling locked-up havelis. Part of Shardul Singh’s estate, it was awarded to his son Keshri Singh, but unlike the kingdoms of his other brothers fell into ruins over the years.

Some 12 kilometres from Bissau is Churu. Established in 1620, it became part of the princely state of Bikaner in 1871 and stayed so till India’s independence. The Kotharis were Churu’s wealthiest merchant family and their havelis dot the entire city. Even Churu’s iconic mint-green Italian art-deco Malji Ka Kamra [1920], now a hotel, was built by Malji Kothari to host Maharaja Ganga Singh of Bikaner on his travels to the region.

Worth a visit are the 19th Century Sushil Kothari Haveli with its mirror-encrusted façade and multi-level Ashok Kothari Haveli, Parekh Haveli [1925] with frescoes of Maharaja Ganga Singh, and Surana Haveli [1820] also known as Hawa Mahal armed with 1,111 windows. For something completely different, have a picnic at Sethani Ka Johara. Built by the widow of Bhagwan Das Bagla [Shekhawati’s first multimillionaire], it was a relief project to counter the 1899 – 1900 famine.

Front facade of Seth Bejnath Ruiya Haveli with Seth Meemraj Ghanshyamdas Ruiya Haveli next to it, Ramgarh.

Ramgarh’s magnificent Ram Gopal Poddar Chhatris is the funeral complex for the Poddar merchant family.

Scenes from Krishna’s life and the Ras Leela fill the ceiling of one of the three rooms in Sone Ki Dukan, Mahansar. The other rooms are just as richly adorned.

An act of philanthropy by a Churu multimillionaire’s widow: Sethani Ka Johara.

Wall painting of Maharaja Ganga Singh of Bikaner in a buggy in Parekh Haveli, Churu. Churu was part of the princely state of Bikaner from 1871 to 1947.

No two haveli entrances in Shekhawati are alike, even if they belong to the same [Kothari] family in the same town [Churu].

Italian art-deco Malji Ka Kamra in Churu, now a hotel, was built by Malji Kothari to host Maharaja Ganga Singh of Bikaner.

6. NORTH-EAST ROUTE: MANDAWA > JHUNJHUNU > ALSISAR > MALSISAR > MANDAWA

This route explores Shekhawati’s highlights located north-east of Mandawa with a first stop at Jhunjhunu, Shekhawati’s largest town and old capital. After Shardul Singh ousted the nawabs from the region post the Mughal era, he set up his capital here in 1730.

Though there are numerous havelis in Jhunjhunu, two are an art connoisseur’s delight. Mohanlal Ishwardas Modi Haveli [1896] has glass-covered paintings in its entrance, couple portraits with oh-so-realistic features, and a steam engine running past the façade which take one’s breath away. Tibrewala Haveli [also 19th Century] has two-seater airplanes and galloping horses juxtaposed comfortably with scenes from Krishna’s life. In contrast to the two havelis are the ethereal silvery-gold murals against a white background inside the 350-year-old Bihariji Temple deep in the city’s marketplace. The much-touted Khetri Mahal is, unfortunately, now in ruins; its ground floor used as a boys’ hostel. Constructed in 1770 by Bhopal Singh, Shardul Singh’s grandson, it was the inspiration behind Jaipur’s Hawa Mahal.

Next on the route are the twin villages of Alsisar and Malsisar, named after the two daughters of a local chieftain. Malsisar’s sole surviving attraction is the crumbling yet very lovely Seth Motilal Bhivraj Haveli. Alsisar, on the other hand, is in a better condition and has more to offer the traveller.

Alsisar’s attractions include two Jhunjhunuwala havelis and Ramdev Haveli clustered together on a windswept lane and the grand Alsisar Mahal. The grander of the two Jhunjhunuwala havelis dates back to the 1840s and holds in its upper floor two rooms decorated with some of Shekhawati’s best frescoes. Painted in red and deep yellow with convex mirrors, the rooms are an enchanted land of Krishna myths and human portraits. Gangadhar Bheemraj Jhunjhunuwala Haveli close by has a fine façade with delicately painted life-sized prancing elephants and horses. Next to it, the 18th Century Ramdev Haveli is remarkable for its unrestored yet impeccable frescoes in a subtle colour palette of maroon, lilac, and teal. On the fringes of Alsisar is the imposing squat 160-year-old Satyanarayan Mandir built by Inderchand Kejriwal. Last, but not least, Alsisar Mahal [1757] on the village outskirts is now a sumptuous hotel and is run by the 8th generation of Alsisar ruling family’s descendants.

A picture-perfect lobby in Mohanlal Ishwardas Modi Haveli, Jhunjhunu.

Couples of all kinds from Hindu mythology. Meghnath and Sulochana, and a sadhu and young belle. Details from the arched entrances of Mohanlal Ishwardas Modi Haveli, Jhunjhunu.

Elephants, cows, dogs, and warriors race across a battle scene inside the 350-year-old Bihariji Temple in Jhunjhunu.

The magical world of the Red Room in Jhunjhunuwala Haveli, Alsisar Village.

King-sized elephants guard the facade of Gangadhar Bheemraj Jhunjhunuwala Haveli, Alsisar Village.

18th Century Ramdev Haveli in all its unrestored glory, Alsisar Village.

– – –

I hope you enjoyed the above travel guide. If you feel it will be useful to someone you know who’s travelling to the Shekhawati, may I request you please share the link with them. Perhaps it will help enrich their travels. Many thanks in advance. ❤

Travel tips:

• Staying there: I stayed at the incredibly charming and hospitable Hotel Chobdar Haveli through Booking.com.
• Getting to Mandawa: I used Rajputana Cabs for an intercity drop from Bikaner.
• Getting around in the Shekhawati region: To get to the various towns I hired a car with driver from Hotel Chobdar Haveli. Within the towns, I walked.
• How many days?: I stayed for 6 full days.
• To better understand and access the region’s havelis, I had the fantastic Om Singh Shekhawat of Mandawa Heritage Tours as my guide. You may contact him at +91 98 2820 9856.

[Note: This blog post is part of a series from my 35-day solo and independent road trip through Rajasthan from 17 October to 20 November, 2021. To read more posts in my Rajasthan series, click here.]