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Rajasthan

                ... a great confluence of past, present and future
Nawalgarh Jodhpur | Barmer | Jaipur Alwar 
Shekhawati Chhatri Tadaamyaham
Morarka Haveli Tadaamyaham
Uttara Haveli Tadaamyaham
Gher ka Temple Tadaamyaham
Dhola Maru Frescoe Tadaamyaham
Jaipuria Haveli Tadaamyaham
Morarka Haveli Fresco Tadaamyaham
Ornate Wood Frame Tadaamyaham
BrassDoor Morarka Haveli Tadaamyaham
Uttara Haveli, Nawalgarh Tadaamyaham
Morarka Haveli Tadaamyaham
Badi Bhagat Haveli Tadaamyaham
Shekhawati Archway Tadaamyaham
Chhoti Bhagat Haveli Tadaamyaham
Aath Haveli complex Tadaamyaham
Small courtyard, fresco Tadaamyaham
Frescoed Arch Shekhawati Tadaamyaham
Nawalgarh, Shekhawati, Tadaamyaham
Cenotaph at Shekhawati Tadaamyaham
Morarka Haveli Tadaamyaham
Nawalgarh, Shekhawati

(2010)

 

Nawalgarh is a small town in Jhunjhunu District of North Rajasthan. A true blue specimen of the Shekhawati region, Nawalgarh is famous for its frecoed grand Havelis bearing testament to the oppulence and affluence of the Marwari merchants. Up until the mid 19th century, the rulers and barons commissioned the construction of grand structures such as fortresses, palaces, temples, cenotaphs, etc. The great era of painted havelis and temples started in the mid 19th century and carried on till the mid 20th century, as the Marwari Merchants became the greatest patrons of the fresco art to express their rising status. This affluence was due to subsequent historical and social developments which sealed Nawalgarh’s crucial domain on several caravan trade routes.

The palatial mansions of the merchants displayed a unique architectural style which evolved around the courtyard thus ensuring safety from the long and harsh summers. The earlier paintings from 1830 AD to 1900 AD were largely based on the mythological themes depicting local legends, animals, portraits, hunting and wrestling scenes and a glimpse of everyday life. In order to meet the changing taste and in keeping with the arrival of European prints and art objects the painters created acres of wall paintings covering every conceivable subject- from religious works to erotic texts, from court scenes to street scenes and scenes of religious festivities to circus and tamasha. No wonder then, that a native called the fresco paintings in Nawalgarh a form of “local-television”. Now cars replaced elephants and traditional Indian miniatures mingled with the naturalism of western paintings to produce interesting hybrids.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Shri Jairamdas Morarka commissioned the construction of Morarka Haveli in 1900 AD. The Haveli is since considered a landmark in Nawalgarh and showcases the fine examples of art and architecture. Shri Kamal Morarka, has not only restored and conserved his ancestral heritage but has also opened its doors as a Museum for all to understand and imbibe the values and expressions of an era largely unseen in printed memory.

 

Furthermore, Shri Kamal Morarka has created a functional platform for experts to continuously work on the field and devise effective conservation strategies, in order to periodically organize workshops for spreading awareness and also most importantly to instill a feeling of pride in the region’s multi-faceted heritage. It is for this purpose that Morarka Foundation and its Director, Shri Mukesh Gupta entrusted Tadaamyaham to undertake the production of a Documentary Film and Coffee Table Book. The Film was screened at the Shekhawati Festival in nawalgarh, and has since garnered the active interest of International Tourists as an important information resource on Shekhwati and its painted heritage.

 

Documentary Film : Nawalgarh : A Tale Reiterated

 

Coffee Table Book : Colours of Affluence .. Painted Heritage of Morarka Haveli Museum

 

Colours of Affluence Tadaamyaham
Colours of Affluence Tadaamyaham
Colours of Affluence Tadaamyaham
Colours of Affluence Tadaamyaham
Colours of Affluence Tadaamyaham
Colours of Affluence Tadaamyaham
Colours of Affluence Tadaamyaham
Colours of Affluence Tadaamyaham
Colours of Affluence Tadaamyaham
Jodhpur

(2014)

 

In May 2014, Mehrangarh Museum Trust, The Museum Shop and Jodhpur Jawaharat in Jodhpur engaged our team for Photography of the Vintage Royal Cars at Umaid Bhawan Palace, product shoots for the Palace Collection Shop and Museum Shop for the purpose of product development and use on online platforms. We are extremely grateful to Ms. Maureen Liebl and Ms. Amrita Singh for having considering us for this project as we hold the Trust in utmost high regard for their pioneering heritage conservation and promotion work in Jodhpur.    

Jaipur

(2009)

 

A series of heritage gardens developed by the erstwhile Dhundhar Kings in the 18th and 19th century to act as a gateway to the majestic Dhundhar empire capital of Jaipur. Situated in the hills towards the south east of the walled city of Jaipur, it marked the entrance to the stronghold on the Jaipur- Agra Route. 'Ghat ki Guni' is defined by a 2 kms long stretch of heritage structures running along either sides of the road, presenting a glimpse of Rajputana Architecture. It is flanked by series of planned gardens, haveli's with stepped terrace gardens and temples. Over time, the route got converted into the National Highway connecting the two major cities of Jaipur and Agra, thus endangering the heritage value of the small yet significant stretch. The Government, realizing the potential of Ghat ki Guni as a possible cultural hub for multiple activities, decided to work out a planning strategy to conserve, revitalize and rehabilitate the stretch. And thus deciding to divert the national highway from it.

This short film was developed in August 2009, to assist the presentations and proposals, of Development and Research Organization for Nature Art and Heritage (DRONAH), Jaipur Virasat Foundation (JVF) and other concerned authorities, for the initiation of redevelopment and rehabilitation of Ghat ki Guni into a cultural hub and night haat.In the film, the ambient sounds of the stretch have been deliberately kept unaltered in places (no noise reduction/ cancellation) to give an exact representation of the chaos inflicted by the highway traffic. As is quite apparent, it is most noticeable in the parts where conversations/ interviews are in play.

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