Been :
You would be under the charm for those moments during the visit to the museum, Yes, when you’ll come across the typical folk instrument of the snake charmers for making the ‘earless’ snakes dance catching the vibrations.

Usually made up of teak-work, the eight holed Shehani is the folk instrument of the desert dwellers. It is played simultaneously by two artists where one plays the ‘Sa’ of the Indian octave, the activity requires regular intake of breath.

The wandering balladeers, (like the Bhopas) who sing about the Marwar folk hero-Paluji, travel from village to village with their phad painting and Rawanhatha entertaining people with their balled.

The Rawanhatha of the Thori or Nayak Bhopas is probably the earliest instrument played with a bow, and this humble instrument could well be the precursor of the violin made by framing of a big coconut hollow, with animal skin, it possess nine strings on which a ‘Gaj’ made of the horse’s tail’s hair, is moved and thus comes out the magic of the legends of its the heroism and romance of Rajasthan, all captured in the vibrant and evocative music of this desert land.

Members of the category of instrument, Dhap is percussion sort of a single faced and shallow rimmed drums.

A folk instrument which includes two long and hollow tube like things having holes numbering from three to five. One of those is played to maintain the continuity of Sur ’Sa’ and the other one is used for other six ‘Surs’. Both are kept, at a time in the month. This is the favorite instrument of tribal communities like Bhil and Kalbelia.

It is a colorful gallery to exhibit the beautiful traditional living style and office of the business community in Rajasthan.

The main baithak (Main Sitting Room), equipped office decorated Gadda (bed) wrapped in Chundri (bedsheet) along-with the ancient hukka (smoking pipe) and indigenous hand fan transport the tourist to the ancient style of hospitality prevalent in Rajasthan.

The carved wooden gate at the main entrance of the Haveli Museum is one among the best specimen of wooden carving in the country comprising the work of various school of wooden carving.

The gate with iron/brass nails was made for the purpose of security. Even the elephant cannot break it.

The gallery exhibits the miniature but exact representations, of the renowned forts of Rajasthan, in thermocol, with the light system as much similar to that of the original one.

The spectacular forts are almost inaccessible, many stand in abandoned splendor with their famous guns, too large to remove or melt down still in place directed towards a forgotten enemy.

Standing on an isolated rocky plateau, its haunted ruins half–conceited amongst thick jungle and dead silver trees.

Govinda the son of Chouhan emperor Prithviraj Chauhan III, took their place from a branch of Jadon Rajputs in 1192 AD, from there the fort reached its peak of fame during the reign of the powerful Rao Hamir Dev, who held it strongly till 1301 AD.

The fort’s mostly thirteenth century crenellated walls and bastions rise sheer; access to them is by the north-east face of Ranthambhor’s crag, 700 feet above the plain overhanging cliffs, jagged rocks dense forests, form natural obstacles to which Ranthambohor’s rulers added their own.

If you visit the museum, I am sure you can witness the grandeur at one place in this gallery of the grand museum, and wonder upon the royal exuberant beauty and charm which exists in Rajasthan.

The model is a miniature representation of the full fledged citadel, built in the year 1726 AD by Sawai Jai Singh to bolster the defense of the area.

The architecture makes clear intentions of using the fort purely as a military structure.

To the right side of the fort, model you’ll come across ‘Jaivana’ world’s largest cannon on wheels, which some historians opine, that it was fired only once.

The water channels are another striking feature which are a part of rainwater harvesting system.

Rare example of a medieval period monument, this magnificent fort was built in 1588 AD by Raja Rai Singh of Bikaner, one of the most trusted generals of Emperor Akbar.

Although built on lower grounds, highly in contrast with forts built on higher plains, to enhance their defensive characteristics, it could never by conquer.

The fort houses beautiful palaces inside like Anoop Mahal, Badal Mahal and  Phool Mahal etc.

The1459 AD construction Mehrangarh perches high, like an eyrie, on its rocky outcrop it eastern towers and bastions stand out like though sinews gleaming with a copper tinge where the rock itself was hewn to form the walls and ramparts.

Like all the most spectacular palaces of the Rajputs constrained by existing fortifications, Jodhpur provides a picturesque contrast between the exigencies of defense and the flamboyance of prosperous peace.

The specimen speaks its history itself and sometimes a still silence hangs over the deserted pavilions and rained temple of Chittorgarh.

Witness of three ‘Sakas’ (Warriors carrying death) and ‘Jauhar’ (princess accepting death than dishonour) in 1303 AD, 1534 AD and 1567 AD, the model in the gallery highlights the victory tower and Kalihka temple.

The gallery depicts the traditional folk jewellery which had been worn by the people, belonging to different communities, occasionally as well as casually.

Jewellery usually worn by men, consisting of heavy designer middle piece, in the chain made up of the same metal. The ornamentation differed from person to person depending upon his economic status.

Hamel :
A specific neck-piece, with middle-piece and other similar pieces getting smaller in size, as they are designed to be placed side-ways, on the chain. The ornament is usually worn by the women belonging to Jat community.

Sheesphool and Ear-ring:
Sheesphool is an ornament with an elongated middle-piece, studded with stones, in some cases, which are sometimes representative of the ‘Maang-Teeka’ (jewellery worn on the head). The chain like extensions and the net like protrusions cover the fore head and half of the hair. It is worn by folk women as well as the brides, during marriage ceremonies.

Ear-ring is the ornament with heavy hangings having an inverted basket type look called ‘Jhumki’ is also, depicted in this gallery.

Anvla :
An ornament made up of silver (solid) in rounded form, with small designer bunch of ‘Ghungaroos’ (bells) and is worn in the legs fitting itself around the ankles.

It is a traditional jewellery of age-old culture of Rajasthan.

Bajubandh :
An ornament of which armlet is the recent modification. These are made up of silver, gold and other metals. The design is heavy in the middle which narrows down as we look upon the ornament, capturing a rear view.

Especially associated with the royal ladies of Jaipur, who passed it on to the Rajput royalty, Ghoomar, is derived from the word Ghoomna (pironette) is a very simple dance where the ladies dressed in resplendent ‘Ghaghra’ move smoothly and gracefully in circles. Both men and women sing the accompanying songs, while the dancers move, both clockwise and anti-clockwise.

Fascinating dance performed by the women of a specific community, whose age-old occupation being, catching snakes and trading snake venom.

The costumes are traditional black swirling skirts, which sway sinuously to the accompaniment of Pungi, Dafli, Been and bear resemblance to that of the serpents.

The vigorous and zestful display of their perfect movements to the enchanting tune of musical instruments is a treat to the eyes.

The festival is the celebration of monsoon harvest and marital fidelity in Jaipur.
‘Gan’ is a synonym for Lord Shiva and Gaur/Gauri is the embodiment of perfection and conjugal love, which symbolizes Saubhagya (Marital Bliss).

The festival commences on the first day of Chaitra, the day following Holi (Festival) and continues for 18 days. Images of Isar and Gauri are made of clay, in some families; permanent wooden images are painted afresh by painters called ‘Matherans’.

The festival reaches its climax when on the last day at an auspicious hour, a procession is taken out to a garden tank or a well, with images placed on the heads of married women.

It is a festival of swings marking the advent of the monsoon month of Shravan i.e. August. The festival is dedicated to Goddess Parvati commemorating her union with Lord Shiva.

An elaborate procession is taken out in Jaipur for two consecutive days with the idol of Teej covered with a canopy.

Camel Fair:
You will experience the Romance, called Rajasthan, during one of India’s best known festivals – The Pushkar Camel Fair.

The usually dull ambience of the desert comes to life where elaborately decorated camels are paraded, raced, bought and sold. Vendors sell everything from beads, bangles and brass utensils to embroidered clothes, shoes and skillfully woven blankets.

Varying communities, colourful costumes and rich cultural heritage, this is what Rajasthan is all about.

The Rajpoot groom is carrying a sword in his hand with ‘Kilangli’ (an elongated part studded with coloured feather) over his head, dressed in Sherwani, with work of golden threads and embroidery.

The bride wearing sheesphool (ornament was upon the head) and heavy garment is standing near the groom.

The ‘Meena’ tribes are found in great number near areas surrounding Alwar, Swaimadhopur and Bharatpur which was called Matsya region in the Indian Epic, Mahabharata. The bride wears Lehanga-Choli with her waist open.

The milk-men belong to this community. The Gujjar bride has a distinct costume with Net-Chunari, worn overhead and colorful bridal dress inside.

Chejara are the Indian masonry community. The bride standing besides the groom is studded with silver jewellery from head up to the toe.

The Jat groom has a distinctly tied turban on his head, standing near his bride wearing jewellery, including Hamel.

From sixteenth century onward, the Schools which flourished in Rajashthan are, the Mewar Style, Hadoti Style and Marwar Style etc.

Having portrayed different themes, from Ramayana, Krishna Leela, Ragmala series and Gita Govinda, these paintings represent the hills, valleys, gardens, palaces, court scenes, deserts and religious processions.

Shekhawati School :
This depicts the Shekhawati School of painting where in one part Lord Krishna is fighting with the devil Bakasur ( in the form of a swan), sent by his uncle, Kansa, the king of Mathura. Another part depicts both Krishna and his elder brother Balaram with the latter, carrying Haldar (a weapon) in his hands.

Bundi School:
The painting represents the Bundi School, where in the specimen present the greenery and vegetation is the major attraction, in between this you’ll notice a Mughal watching and admiring two beautiful Rajput princesses preparing themselves for Shiv puja (worship) upon the attire of a palace.

Udaipur School:
The picture is the unique representation of the Udaipur School of painting where a crocodile is hurting and trying to swallow the leg of an elephant that was near the lake to drink water or so.

Kishangarh School:
The famous Kishangarh, style of painting has feminine figurines with long structures and delicate linings which are so very attractive that you feel lost sometimes looking at the scene of women taking bath near a lake with their long black hair kept loose and open.

Radhogarh School:
Radhogarh School of painting is the sub-school of Kota – Bundi style of painting. In the picture, Lord Rama is hugging his younger brother, the scene of ‘Bharat Milap’ (the incident from the great epic Ramayana). Another section represents the scene where Jaamwant (the incarnation of a bear) is addressing a group. Jaamwant had led the army of Lord Rama, in his fight against Ravana in order to let free his wife Sita from his rescue.

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