Royal Procession re-created at Mehrangarh Fort, Jodhpur, photo: Neil Greentree.

Cover for a Lady’s Palanquin, late 19th century or early 20th century, Mehrangarh Museum Trust, photo: Neil Greentree.

Installation view of Peacock in the Desert: The Royal Arts of Jodhpur, India at the Museum of Fine Arts, Houston, photo: Neil Greentree.

Howdah with Chattr (Elephant Seat with Parasol), early 19th century, Mehrangarh Museum Trust, photo: Neil Greentree.

The Mahi-o-maratib (Fish Insignia) in Procession, Jodhpur, ca. 1715, opaque watercolor and gold on paper, Mehrangarh Museum Trust, photo: Neil Greentree.

The Rathores of Marwar 
A photographic montage introduces the desert landscape of Marwar-Jodhpur, its diverse peoples, and the exhibition’s central protagonists: the Rathore clan that ruled the region from the 13th to the mid-20th century. Two sculptural highlights include a gilt wood and glass mahadol (palanquin) that underlines the Rathores’ emphasis on dignified processions for kings and queens, and a large cradle for Krishna that demonstrates their spiritual leadership. 

Mehrangarh Fort, Jodhpur, photo: Neil Greentree.

Shiva and Parvati in Conversation; Shiva on His Vimana (Aircraft) with Himalaya, Folio 53 from the Shiva Rahasya, 1827, Jodhpur, 1827, opaque watercolor and gold on paper, Mehrangarh Museum Trust, photo: Neil Greentree.

Palanquin (Mahadol), Gujarat, c. 1700–30, gilded wood, glass, copper & ferrous alloy, Mehrangarh Museum Trust, photo: Neil Greentree.

Krishna Jhula (Cradle for Krishna), late 19th century, Mehrangarh Museum Trust, photo: Neil Greentree.

Portrait of Maharaja Ajit Singh, ca. 1830, , Mehrangarh Museum Trust, photo: Neil Greentree.

Conquest and Alliance: The Rathores and the Mughals 
The arrival of, and eventual takeover by, the Mughal Empire in 1561 began centuries of political and military alliances between the Mughals and the Rathores. This section examines the movement of objects throughout these alliances in the 16th and 17th centuries, presenting ornate sabers, daggers, and rifles alongside 17th- and 18th-century paintings and illustrations of the court and portraits of kings. The section begins with the extraordinary 17thcentury Lal Dera tent, one of the oldest, if not the only, intact Indian court tents in existence. 

Zenana: Cross-Cultural Encounters 
In this section, paintings, carpets, textiles, and jewelry evoke the setting of a royal zenana, the women’s wing of a Rathore palace. Here, the zenana is explored as a hub of language, exchange, and culture led by the women of the court. They played a crucial role as agents of cultural change and patrons of the arts, preserving cultural traditions of festivals and dress throughout the centuries. Among the furnishings shown in this section is an exceptional wood baradari (pavilion). A sequence of paintings emphasize the unique role of women as patrons of festivals that marked the seasons. 

Nagaur, Women of the Zenana Watch a Dance Performance with Bakhat Singh, ca. 1736, aque watercolor and gold painting, photo: Neil Greentree.

Baradari (Pavilion), Jodhpur, 19th century, wood, paint, lacquer, and gold, Mehrangarh Museum Trust, photo: Neil Greentree. 

A Durbar in the Zenana, ca. 1850, Mehrangarh Museum Trust, photo: Neil Greentree. 

Choker Necklace, 18th or 19th century, gold, diamonds, pearls, emeralds and enamel, © The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Kuwait.

Jhula (Swing), late 19th century, Mehrangarh Museum Trust, photo: Neil Greentree. 

Durbar: The Rathore Court 
As Mughal influence began to decline in the late 18th century, artists, craftspeople, and nearby dynastic kingdoms were attracted to Jodhpur due to its increased stature. This shift is seen in paintings of durbars (royal receptions) staged by the Rathores. Alongside these developments came the growing trend of exchanging artworks as gifts. This led to a period of intense creativity in artistic production and a cross-fertilization of Mughal and Rathore styles, seen in the woven canopy and textiles, finely crafted arms and armor, and 18th- and 19th-century paintings on view. 

The Court of Maharaja Man Singh, ca. 1830, Mehrangarh Museum Trust, photo: Neil Greentree. 

Singhasan with Chattr (Throne with Parasol), mid-19th century, 

Maharaja Gaj Singh I Holding Court, ca. 1800, Mehrangarh Museum Trust, photo: Neil Greentree. 

Sheikh Taju, Maharao Umed Singh of Kota on a Hunt, 1780. Opaque Watercolor And Gold On Paper, 52 x 66 cm, Mehrangarh Museum Trust, photo: Neil Greentree. 

The Raj 
A dramatic transformation in Jodhpur is triggered by India’s encounters with the British Empire in the 19th century. By 1876, Queen Victoria took the title of Empress of India and set off a new wave of European aesthetics. Merging with traditional Indian garments, paintings, and jewelry, an imperial hierarchy was emphasized during the era known as the Raj. During the 20th century, the Maharajas of Jodhpur became renowned for innovative patronage. In 1944, Umaid Bhawan Palace was completed and is now operated as a hotel by the Taj Group. Today, this legacy continues with the current leader of Marwar-Jodhpur.

Umaid Bhawan Palace at sunset. photo: Neil Greentree.  

Bert Harris, Portrait of Maharaja Sardar Singh, 1896. Oil On Canvas, 250 x 162 cm, Umaid Bhawan Palace, photo: Neil Greentree. 

Sculpture of a Peacock, early 20th century. Mehrangarh Museum Trust, photo: Neil Greentree.  

Bert Harris, Portrait of Maharaja Jaswant Singh II, 1895, Jodhpur, oil on canvas, 59 7/8 × 48 3/8 in., Umaid Bhawan Palace, photo: Neil Greentree

Design for Her Highness’s Bathroom at Umaid Bhawan Palace, 1944, photo: Neil Greentree

Sarpech (Turban Ornament), Probably second half of 17th century, © The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Kuwait.