Two women dressed in traditional saris walking down a street in Galle. The sari is a traditional wrap-around garment, often made of cotton or silk and worn in a variety of colours and patterns. – 1990

A powerful image capturing three generations in a moment of everyday life. The women are wearing clothing typical of rural areas such as Murukkady in Kerala. The younger woman is wearing a classic red sari with a floral pattern. The child has a bindi on her forehead and is wearing black bracelets – traditional symbols often worn for protection or for cultural reasons. – 1990

The rice fields are flooded, which is the traditional method of rice cultivation. The water not only aids growth but also naturally suppresses weeds. A woman in a colourful sari walks along a narrow embankment that separates the individual fields. These embankments serve both as footpaths and to regulate the water level. – Kannur area – 1990

The rice fields are flooded, which is the traditional method of rice cultivation. The water not only aids growth but also naturally suppresses weeds. A woman in a colourful sari walks along a narrow embankment that separates the individual fields. These embankments serve both as footpaths and to regulate the water level. In the background, a farmer ploughs a flooded field with a plough drawn by water buffaloes. – Kannur area – 1990

A flower seller outside the Sri Manguesh Temple (also known as Shree Mangeshi Temple), located in the village of Mangeshi in Goa, about 21 km from Panaji. It is one of the most significant and most visited Hindu temples in the region. Pilgrims often buy coconuts, flowers or garlands before entering the temple. In Hindu tradition, the coconut is regarded as an ‘auspicious fruit’. Smashing the hard shell symbolises shedding the ego in order to reach the pure core within. The flowers and garlands are offered to the deity (an incarnation of Lord Shiva). The gentle laying of the flowers at the feet of the deity symbolises, ritually, the letting go of worldly desires. – 1990

A street scene in Panaji (formerly Panjim), the capital of Goa, showing several people, including women in traditional saris, walking past a building covered in advertising posters. – 1990

A typical four-wheeled handcart with large, spoked metal wheels, of the sort often found at street markets in India. The vendor is wearing a traditional orange sari with a blue and white striped scarf loosely draped over her head and shoulders. She is selling apples from the cart. - Crawford Market – Mumbai – 1990

A woman steps through the ornate gateway into the City Palace in Udaipur, Rajasthan, India. Above the entrance hangs the distinctive golden coat of arms of the Mewar dynasty. The emblem is deeply rooted in Rajput history and symbolises the alliance and strength of the empire: on the left is depicted a warrior of the Bhil tribes (Rana Punja Bhil), on the right a Rajput warrior (Maharana Pratap). This symbolises the alliance between the tribal peoples and the ruling family. Above the shield stands the Sun with a Face, the symbol of the House of Mewar, which traces its lineage back to the Sun Dynasty (Suryavansha). At the bottom is the motto: ‘Jo dradh rakhe dharame, tahi rakhe kartar’ (He who holds fast to his faith/duty will be protected by the Creator). – 1990

An Indian woman in a pink sari sits by the roadside, weaving flowers into garlands. This scene is typical of the bustling markets in the Udaipur region of Rajasthan. Such garlands are often used as offerings to deities in temples or presented during religious rituals such as the morning aarti. The art of weaving flower garlands is a centuries-old craft. - 1990

A subji-walli (vegetable seller) in India. She is sitting in a doorway in Udaipur behind baskets containing various vegetables such as spring onions, aubergines, cauliflower and green courgettes. The woman wears a traditional yellow odhni (headscarf) over a pink blouse. This type of street trading is widespread in India and provides a livelihood for many families. – 1990

A street vendor in Udaipur selling local fruit, vegetables and spices to passers-by. Udaipur is situated in a region steeped in history. In the moonlight, the palaces on the lakeshore evoke memories of tales from “One Thousand and One Nights”. – 1990

Two Indian women, deep in conversation, sitting in front of a blue-painted door in Udaipur, Rajasthan. The women are wearing colourful outfits typical of the region. One woman is wearing a peach-coloured sari with a floral pattern, whilst the other is dressed in a light blue, embroidered gown with a white, sheer headscarf (odhni or dupatta). – 1990

The atmosphere in the picture, with the hanging goods and traditional clothing, is typical of Udaipur’s oldest markets. The winding streets of the old town, particularly around Jagdish Temple and the City Palace, still retain this timeless charm to this day. – 1990

Two women shopping at a market stall in Udaipur. The scene is characterised by the vibrant, traditional clothing and the rustic setting of a small street stall. – 1990

A woman standing in a doorway in Udaipur. She is wearing traditional Indian clothing, likely a sari or a lehenga choli, often complemented by a dupatta (veil) covering her head. – 1990

Following the first monsoon rains, a farmer in the Udaipur area leads a team of two white zebus (humpback cattle) to prepare the ground for sowing. A woman in a yellow sari carries a shallow bowl on her head, containing the seeds for the upcoming sowing. - 1990

The photograph depicts traditional farming in India, showing a farming couple ploughing a field with the help of oxen or zebus. This scene is typical of rural areas where hand-operated wooden ploughs are still used to prepare the soil for sowing. – Udaipur – 1990

The photograph captures traditional rural life in the Aravalli Hills, in the region between Udaipur and Narlai. In this area, agriculture is still largely characterised by traditional methods. Ploughing with oxen is a common method of tilling the soil in this hilly and often arid landscape. The area around Udaipur is known for the cultivation of cereals such as maize and wheat, as well as pulses. – 1990

The woman is wearing a type of odhani (a long veil) draped over her head. The gleaming golden vessel on her head is a typical Indian lota, used for carrying water. Balancing such loads is a skill widely practised in rural India. – Ranakpur – 1990

Collecting water is a vital task that often dictates the daily routine of women in the region around Desuri, which lies at the foot of the Aravalli mountain range, marking the transition between the more fertile Mewar region and the arid Thar Desert. The women wear colourful saris, often paired with bangles and face veils. Balancing heavy clay or metal jugs on their heads is a traditional method of transporting water over long distances. – Desuri – 1990

A large puddle in the foreground lends the scene an artistic depth. A woman in a traditional red sari balances a box on her head. This method of transporting water containers or building materials is common in this region. – Rajasthan, Desuri – 1990

The scene captures everyday life in the Indian city of Desuri following rainfall, a common occurrence during the monsoon season. The puddle on the street creates a clear reflection of the passers-by and the surrounding architecture. – 1990

This woman from Desuri in Rajasthan sells small fruits known as ber or Indian jujube. They are eaten fresh, dried or processed into products such as pickles and juices. – 1990

A woman in traditional Indian dress walking along an old stone wall. She is wearing a pink ghoonghat (headscarf/veil) and a patterned, reddish-pink gown. On her wrist she wears traditional bangles, which are typical of married women in this region. – Jodhpur – 1990

A woman in a blue sari is sitting on a four-wheeled wooden cart, which serves as her mobile stall for selling bananas. She is serving a woman in a pink, patterned sari. In the background, two sacred cows (zebus) are wandering freely along the street. – Jodhpur – 1990

An elderly woman in traditional dress is selling various goods. A brightly patterned cloth (sari or dupatta) covers her head and she has tattoos on her right forearm. In her hands she holds a traditional mechanical beam balance with two pans, used to weigh goods for customers. Behind the woman, several bicycles are leaning against a metal railing. – Jodhpur – 1990

Street scene in Jodhpur – A family of three riding together on a bicycle. – 1990

Balancing heavy sacks or bundles on one’s head is a common way of transporting goods in many rural and urban areas of India. The toddler sitting on the woman’s hip looks unhappy. – Sardar Market (or Girdikot) in Jodhpur – 1990

In India, the scooter is seen as a symbol of the middle-class dream. It provides families with an affordable means of transport, and it is not uncommon for several people – often an entire family – to ride on a single vehicle at the same time. – Jodhpur – 1990

Threshing grain is a traditional agricultural technique in which grains are separated from the chaff by dropping them into the wind from a certain height. A woman lifts a basket to clean the grain in the wind, whilst a man sits on the ground and sifts the grain. It is likely to be pearl millet. In Hindi and the local Rajasthani language, this nutrient-rich grain is called bajra. It is extremely drought-resistant and a staple food for the people in this desert region (e.g. in the form of bajre ki roti, a flatbread). – Area around Jodhpur – 1990

A woman is performing the ritual known as ‘threshing’, in which grain (such as millet or wheat) is thrown into the air so that the wind separates the lighter chaff from the heavier grains. The woman is wearing many bracelets, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made of materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

A woman from the Rabari community is piling the grain she has winnowed into a heap. She is wearing many bangles, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made from materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

A woman is performing the ritual known as ‘threshing’, in which grain (such as millet or wheat) is thrown into the air so that the wind separates the lighter chaff from the heavier grains. The woman is wearing many bracelets, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made of materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

This young woman from the Jodhpur area is wearing the traditional jewellery and clothing characteristic of the nomadic communities in this region. The numerous white rings on her upper and lower arms are known as churas. In many Rajasthani tribes, married women wear this jewellery, which was traditionally made of ivory or bone and is now mostly made of plastic. Her facial jewellery includes a striking nose ring (nath) and an elaborate headband (matha patti). The heavy necklaces with green beads and large metal pendants are typical examples of the region’s tribal-style silver jewellery. – Jodhpur area – 1990

A woman is performing the ritual known as ‘threshing’, in which grain (such as millet or wheat) is thrown into the air so that the wind separates the lighter chaff from the heavier grains. The woman is wearing many bracelets, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made of materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

A scene from the village of Khuri in the Thar Desert near Jaisalmer. The building is a typical mud-brick house with thick walls that keep the interior cool by day and warm by night. The stepped, white-framed doorway is a characteristic architectural feature of this region. A woman wearing a colourful red odhni (veil) balances a water pot on her head, a daily task in water-scarce desert areas. Cattle are an integral part of daily life in Indian desert villages. – 1990

A scene from the village of Khuri in the Thar Desert near Jaisalmer. The building is a typical mud-brick house with thick walls that keep it cool by day and warm by night. The stepped, white-framed doorway is a characteristic architectural feature of this region. A woman wearing a colourful red odhni (veil) balances a water pot on her head, a daily task in water-scarce desert areas. – 1990

A scene from the village of Khuri in the Thar Desert in Rajasthan. The houses are made of mud, straw and cow dung, which provides natural insulation against the extreme desert heat. The white, stepped patterns on the brown mud walls are typical of the region’s folk art, often known as Mandana art. – 1990

A woman from Khuri in Rajasthan. Her appearance is deeply rooted in the traditions of the local nomadic or semi-nomadic tribes. The yellow-green headscarf (odhani) protects her from the intense desert sun and is an essential part of the traditional women’s costume. The golden nose ring (nath) with small decorations is a classic feature of married women in rural areas of Rajasthan. She wears heavy, layered necklaces, including yellow pearl necklaces and silver amulets, which often serve as protective symbols. On her arms are the characteristic white bangles, traditionally made of ivory (nowadays mostly plastic). The red dot on her forehead has spiritual significance and often symbolises the ‘third eye’ or her married status. – 1990

A woman from Khuri in Rajasthan. Her appearance is deeply rooted in the traditions of the local nomadic or semi-nomadic tribes. The yellow-green headscarf (odhani) protects her from the intense desert sun and is an essential part of the traditional women’s costume. The golden nose ring (nath) with small decorations is a classic feature of married women in rural areas of Rajasthan. She wears heavy, layered necklaces, including yellow pearl necklaces and silver amulets, which often serve as protective symbols. The red dot on her forehead has spiritual significance and often symbolises the ‘third eye’ or her married status. – 1990

The scene captures a typical, bustling moment at a public transport bus stop in Deshnoke, characterised by improvisation and a dense crowd. Deshnoke (also known as Deshnok) is a small town in the Indian state of Rajasthan, around 30 km south of Bikaner. – 1990

The historic Suraj Pol (also known as the Sun Gate or Surya Gate) is one of the four successive, massive fortified gates of the famous Jaisalmer Fort in the Indian state of Rajasthan. The gate was built in 1594 and is deliberately designed in a zigzag curve. This military tactic prevented attackers (particularly those with war elephants) from gaining sufficient momentum to breach the gate with battering rams. Above the archway is a delicately carved, semi-circular stone relief imitating traditional Rajasthani motifs. – 1990

One reaches the citadel of Jaisalmer through the magnificent Surya Pol gateway, with its richly chiselled, harmoniously structured façade. Jaisalmer’s decline began with the development of the major sea routes, before the railway dealt the final blow to the caravan route through the desert. The partition of India and Pakistan in 1947 then put a definitive end to trade with the Indus Valley. However, the constantly simmering conflicts between the two neighbours gave the region a new strategic importance, with the result that today the army and tourism are the city’s main sources of income. – 1990

The eye-catching poster at the top left advertises the famous 1989 Bollywood film ‘Maine Pyar Kiya’ (English: I Fell in Love). It features the lead actors Salman Khan and Bhagyashree. This film was a huge milestone in Indian cinema. - Street scene from Jaisalmer featuring a woman in a traditional, bright pink sari. – 1990

A street scene in Jaisalmer. The woman is wearing a classic sari in a striking shade of pink, traditionally wrapped around the body and pulled over the head. On the wall is a faded, hand-painted advertisement for Limca. Limca is a lemon- and lime-flavoured soft drink that is very well known in India; it was launched in 1971 and is now owned by the Coca-Cola Company. The sign above the doorway suggests a furniture shop. On the right-hand side, the rear wheel of a typical Indian roadster bicycle can be seen; this remains the main mode of transport. – 1990

The woman is wearing a traditional odhni (veil/headscarf) over her clothes, which is typical of women in the Thar Desert (Rajasthan). The building is constructed of sun-dried mud bricks, finished with a mud plaster (kucha house). This traditional construction method provides excellent thermal insulation against the extreme heat of the desert regions. – Jaisalmer – 1990

The picture shows the traditional exterior wall of a mud house in the Jaisalmer area of Rajasthan, decorated with the intricate traditional folk art known as Mandana art. This wall decoration is one of the oldest forms of tribal art in India. It is traditionally applied to walls and floors by women. The paintings are created for festive occasions such as Diwali, weddings or births. They serve to protect the house, welcome deities and attract good fortune. The brown background consists of a mixture of clay and cow dung (Geru Mitti). The white, delicate patterns are painted using a liquid made from white chalk or lime (Khadiya), applied directly by hand or with simple brushes. – 1990

A traditional mud-brick house (kucha) in the Jaisalmer region, decorated with white lime paint. A woman in a red sari stands in the doorway, hanging up a bright orange cloth. The white decorations on the brown mud walls are examples of Mandana art, one of the oldest forms of tribal and folk art in India, practised mainly by women in Rajasthan and Madhya Pradesh. – 1990

A traditional mud-brick house (kucha) in the Jaisalmer region, decorated with white lime paint. Standing in the doorway is a woman in a red sari, hanging out the washing. The white decorations on the brown mud walls are examples of Mandana art, one of the oldest forms of tribal and folk art in India, practised mainly by women in Rajasthan and Madhya Pradesh. – 1990

At a market in Jaisalmer, a young woman wearing a yellow sari is selling various vegetables: potatoes, onions, tomatoes, sweet potatoes, green chillies, spring onions, etc. – 1990

In the historic desert town of Jaisalmer in the state of Rajasthan, a woman dressed in traditional clothing walks along an alleyway within the walls of Jaisalmer Fort. The buildings are constructed entirely from the region’s characteristic golden sandstone, which is why Jaisalmer is also known as the ‘Golden City’. In the background and to the sides, one can see the intricately decorated stone façades, bay windows and balconies of traditional Indian mansions, known as havelis. – 1990

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