India - Rajasthan – Jaisalmer, fortress town in the Thar desert

India - Rajasthan - Barbati: nomadic woman in Thar desert

Barbati’s chapati - In the Thar Desert (western India), this young nomad woman, called Barbati, is preparing the chapati, traditional Indian bread. An image that, except for some clothing details, might as well belong to everyday life in the Sahara. Similar conditions, similar traditions. - 1990

Water eyes - Mârusthali, the name given to the Thar Desert, means "land of the dead." However, there is life here and little Ambu has hope for a fruitful future, for her name means "water", the source of life that shines in her eyes and on her lips. (Rajasthan, India) - 1990

A traditional mud-brick house in the Thar Desert. This distinctive architectural style is particularly common in the village of Khuri, near Jaisalmer. The houses are made of mud, clay and cow dung, which provides natural insulation in the extreme heat of the desert. The striking geometric patterns in white, ochre and reddish-brown are typical of this region and are often applied by the women of the village using natural pigments. – 1990

A traditional house in the village of Khuri, situated in the Thar Desert near Jaisalmer in Rajasthan. The walls are mostly made of a mixture of clay, straw and cow dung, which provides natural insulation in the extreme desert climate – keeping the house cool in summer and warm in winter. The striking geometric patterns on the exterior walls are called mandana. These ritual wall paintings are traditionally created by women using lime (white) and red clay (geru) to protect the house and invite good fortune. Typical features include the flat roofs, small windows to keep out the heat, and the distinctive wooden door, often painted turquoise or blue. – 1990

A traditional mud-brick house in the Thar Desert. This distinctive architectural style is particularly common in the village of Khuri, near Jaisalmer. The houses are made of mud, clay and cow dung, which provides natural insulation in the extreme heat of the desert. The striking geometric patterns in white, ochre and reddish-brown are typical of this region and are often applied by the women of the village using natural pigments. – 1990

The picture shows traditional Mandana art, one of the oldest forms of tribal painting in India. These murals adorn the mud-brick houses of Khuri in the Thar Desert. Mandanas are painted to protect homes from evil spirits and to welcome the gods (particularly the goddess Lakshmi) into the house. The geometric patterns symbolise the cosmic order and spiritual balance. – 1990

A traditional mud-brick house in the Thar Desert. This distinctive style of architecture is particularly common in the village of Khuri, near Jaisalmer. The houses are built from mud, clay and cow dung, which provides natural insulation in the extreme heat of the desert. The roofs are traditionally thatched with straw or brushwood to keep the interiors cool. – 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 traditional mud-brick house in the village of Khuri in the Thar Desert. These houses are characterised by their hand-painted walls, which often feature colourful geometric patterns in shades of red, yellow and white. In the foreground is a girl in a bright pink robe, carrying a bowl on her head – a typical scene from daily life in the rural regions of Rajasthan. – 1990

The houses in the village of Khuri are traditionally built from mud, straw and cow dung, which provides natural insulation against the extreme heat of the desert. The geometric patterns and motifs on the whitewashed walls are typical of the region around Jaisalmer and Barmer. They are often painted using natural pigments such as lime (white) and red ochre (reddish-brown). Many of these houses have conical, thatched roofs known as ‘jhumpas’. – Cattle are an integral part of daily life in Indian desert villages. – 1990

The picture shows traditional Mandana art, one of the oldest forms of tribal painting in India. These murals adorn the mud-brick houses of Khuri in the Thar Desert. Mandanas are painted to protect homes from evil spirits and to welcome the gods (particularly the goddess Lakshmi) into the house. The geometric patterns symbolise the cosmic order and spiritual balance. – 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

Traditional way of life in Khuri in the Thar Desert. A typical mud-brick house with thick walls for natural cooling. A white façade with a striking green wooden door and decorative geometric patterns on the walls. A clothesline in front of the house with colourful garments. A large clay pot (matka) for cooling water and metal drinking cups on the veranda. On the right of the picture, a traditional Indian bed, a charpai, is leaning against the wall. – 1990

The photograph shows a man from Khuri wearing the region’s traditional headdress. His striking appearance, with his pink turban and thick moustache, is a classic symbol of Rajasthani culture and pride. In Rajasthan, the way a turban is wrapped can often reveal which village or caste a person comes from. A long, proudly worn moustache is regarded in Rajasthan as a sign of masculinity and prestige. – 1990

This boy from Khuri, with a heavy sack on his head, is an example of how even the youngest members of the family have to help their families with their work in rural areas. – 1990

A musician from Khuri plays the kamaicha (also known as the kamayacha), one of the oldest stringed instruments in the world. It is carved from a single piece of mango wood. The soundbox is large and circular, and covered with goatskin. The instrument has 17 strings. Three main strings are made of goatskin, whilst the remaining steel or copper strings serve as resonating strings. It is played with a bow and is known for its deep, resonant sound, often described as the ‘heart and soul’ of Rajasthani folk music. – 1990

A nomad travelling with two dromedaries in the village of Khuri in the Thar Desert. These animals are perfectly adapted to the hot, dry conditions of the desert. They carry wooden saddles or racks used for transporting water, firewood or trade goods. – 1990

A rural scene in Rajasthan, where women are milking a family cow by hand. This traditional method of milk production is widespread in rural India and is often part of daily life in farming villages. Milking is traditionally often carried out by women, whilst the whole family, including the children, helps with household chores and animal care. Cows are considered sacred in Indian culture and are a vital source of livelihood for the rural population. – Khuri – 1990

A scene from the traditional village of Khuri. The photograph captures the essence of rural life in this arid region, where architecture and craftsmanship are closely intertwined with the surrounding environment. In the background, a couple can be seen at a spinning wheel (charkha), a symbol of the traditional production of yarn from wool or cotton, which is still widespread in the villages of the Thar Desert. The open courtyard in front of the house is the centre of daily life, where people work, eat and socialise. – 1990

The Meghwal are known as a community of carpet weavers and produce handmade items from camel, goat and sheep’s wool. The division of labour is traditionally defined, with women combing, cleaning and spinning the wool, whilst the men usually weave it into carpets or traditional fabrics. The hand-spun wool is used to create high-quality carpets, blankets and shawls featuring traditional patterns. The device shown in the picture is a classic Indian charkha. The technique of spinning whilst seated on the floor has remained virtually unchanged for centuries. – Khuri – 1990

A view of the village of Khuri in the Thar Desert near Jaisalmer in Rajasthan. The houses are built from mud and cow dung, which provides excellent insulation against the extreme heat of the desert. The white decorations (mandana) around the door and on the walls are typical of Rajasthan. The clay pots (matkas) in front of the house are traditionally used to cool water. – 1990

A man wearing a white turban sits in front of a traditional mud house in Khuri. The house is made of mud, which provides natural cooling in the desert region of Rajasthan. The decorative patterns on the wall are characteristic of the regional village style. – 1990

The picture shows a man tying a turban, a traditional headdress that holds deep symbolic significance in many cultures – particularly in India. The orange turban shown here is often referred to as a pagri or dastar. The bright orange colour (often called ‘kesariya’ or saffron) symbolises courage, self-sacrifice and spirituality. In Rajasthan, the wrapping techniques and colours often vary from village to village and can even indicate social status or the occasion (such as a wedding). – Khuri – 1990

At the traditional cattle market in Phalodi, this man is preparing a thin flatbread. The freshly chopped vegetables (potatoes and chillies) are staples of everyday Rajasthani cuisine, which makes do with just a few ingredients in the barren desert environment. – 1990

A trader at the livestock market in Phalodi sells traditional, very large metal basins or cooking pans (often referred to as kadhai or tasla). The basins are made of sturdy, hammered iron or sheet steel. The individual metal plates, which have been firmly joined together with rivets, are clearly visible. These handmade vessels are used for preparing large quantities of food at festivals or for agricultural purposes. – 1990

Portrait of an elderly man from the rural areas of Rajasthan. The artfully wrapped turban provides protection from the strong sun, whilst the gold earrings are a traditional form of jewellery for men in this region. – Phalodi – 1990

A man with a full beard and a traditional turban (often referred to as a pagri or pugree). This headdress consists of a long, unsewn piece of cloth that is artfully wrapped around the head. – Phalodi – 1990

The large white turban worn in the Rajasthan region protects against extreme heat and often signifies social status or membership of a particular community. The traditional leather shoes are handmade and typical of this region. They are characterised by their pointed shape and sturdy leatherwork. The simple wooden stick is used by shepherds or elderly villagers in rural areas as a walking stick and a tool. – Phalodi – 1990

A peanut seller (often called a ‘Mungfali-Wala’) stands behind a four-wheeled wooden cart piled high with unshelled peanuts. In the middle stands a small pot, often containing hot coals, to keep the peanuts warm and crispy. A classic pressure lamp (Petromax) can also be seen, which is used for lighting at dusk and in the evening hours. – Phalodi – 1990

Camel carts such as these are a typical and traditional means of transport in the rural areas of Rajasthan. The cart, pulled by a dromedary, is heavily laden with large tree trunks. It is fitted with modern, pneumatic rubber tyres, which make it easier to pull along tarmac roads. – Pokhran – 1990

In the rural and semi-arid regions of Rajasthan, water is an extremely scarce resource. It is a traditional, often arduous task for women and young girls to walk for miles every day to wells or water points to provide for their families. The containers are balanced directly on the head using a small, ring-shaped cloth pad (called an indhoni), leaving the hands free whilst walking. The girl wears traditional jewellery such as necklaces and a discreet nose ring. - Lathi - 1990

Women from the desert region around Lathi and Jaisalmer are known for these colourful traditional costumes, which stand in stark contrast to the barren, sandy desert landscape. This woman is carrying a small child in her arms and is dressed in a patterned tunic (often called a kurti), combined with a striking, usually red headscarf (odhni or dupatta), which is artfully draped over her head and shoulders. Typical of this region are the heavy, multi-layered necklaces with beads and silver pendants, as well as the wide bangles, which are often made from imitation ivory, bone or plastic and cover almost the entire forearm. – Lathi – 1990

This young girl from the arid and water-scarce region of the Thar Desert is balancing two containers on her head. At the bottom of her head is a large, ribbed tin can. Placed on top of this is a traditional, shiny vessel made of brass or bronze. Such vessels (often referred to in India as a lota or ghara) are traditionally used to carry and keep water fresh. To distribute the weight and protect the head, a small, ring-shaped fabric pad (known as a chumbal or indhoni) is usually placed directly on the hair beneath the containers. Balancing the load on the head keeps the hands free and allows for an upright posture, but requires extreme dexterity and strong neck and back muscles from a very young age. – Lathi – 1990

A young girl from Lathi in the Thar Desert carries a large, traditional metal vessel (often referred to as a matka or ghara) on her head. Beneath the heavy vessel, a small, ring-shaped cushion made of cloth or straw rests on her head. This stabilises the load and alleviates the pressure. Carrying water containers on the head is a traditional method of transporting water. – 1990

A young girl from Lathi balances a large, gleaming golden metal vessel (traditionally known as a lota or ghada) on her head. Carrying loads on the head is a centuries-old practice. A small, ring-shaped cloth pad (chumli or indhoni) is often placed between the head and the vessel to distribute the pressure and make it easier to balance. In many rural areas without running water, fetching water is a daily task, often involving a walk of several kilometres, which is frequently carried out by women and children. – 1990

The historic fort of Jaisalmer (also known as Sonar Qila or the Golden Fort), situated in the heart of the Thar Desert in Rajasthan, India. It is considered one of the few remaining ‘living forts’ in the world. Around a quarter of the old town’s population still lives and works directly within the fort walls today. It was founded in 1156 AD by the Rajput ruler Rawal Jaisal, from whom the city also took its name. The entire complex, as well as the surrounding historic merchant houses (havelis), were built from local yellow sandstone. When the sun shines, the fort glows in a honey-gold hue, earning it the nickname ‘Golden City’. The massive stone blocks were joined together at the time using precise dry-stone masonry techniques (interlocking blocks without cement or mortar). Since 2013, Jaisalmer Fort has been a UNESCO World Heritage Site as part of the Hill Forts of Rajasthan. – 1990

The city of Jaisalmer lies in the heart of the Thar Desert, some 150 kilometres north-west of Jodhpur as the crow flies. It owed its splendour and wealth entirely to the caravans of the Silk and Spice Routes, which travelled here from Central and South Asia towards the Indus Valley in the west. The city is dominated by the mighty citadel, dating from the 12th to the 16th century. Numerous interior rooms are adorned with paintings and mosaics, and the façades also feature interesting ornamentation. In the lower town are 18th-century palaces, the havelis, which were built for wealthy merchants and boast exceptionally beautifully decorated balconies. The most magnificent building, the Patwah-ki-Haveli from the early 19th century, is particularly fascinating for its incredibly varied chiselled window ornaments. – 1990

The majestic Jaisalmer Fort (also known as Sonar Quila or the Golden Fort), situated in the heart of the Thar Desert in Rajasthan, was founded in 1156 AD by the Rajput ruler Rawal Jaisal. It was built from yellow sandstone on Trikuta Hill. The walls shimmer in shades of sand during the day and turn a warm honey gold at sunset. Since 2013, the complex has been a UNESCO World Heritage Site as part of the Hill Forts of Rajasthan. – 1990

A view of the citadel of Jaisalmer with its imposing, soaring towers, which offer a magnificent panoramic view. French travellers have, quite rightly, called the city the ‘Carcassonne of the Desert’. – 1990

A camel cart, women dressed in traditional colourful saris and a classic car all reflect the lively daily bustle at the foot of the massive defensive walls of the majestic Jaisalmer Fort. The structure is famous above all for its monumental, circular bastions and walls of yellow sandstone, which shimmer like pure gold in the sunlight. It is one of the very few remaining ‘living forts’ in the world, as its interior still houses residential quarters, markets, hotels and centuries-old temples. – 1990

The photograph shows the impressive architecture of Jaisalmer Fort in the Indian state of Rajasthan. The entire structure is built from local sandstone, which has been assembled without mortar using precise interlocking joints. One can also see the typical narrow, ascending alleys, which served a defensive purpose, as well as small, ornate window openings (jharokhas) and stone corbels. In the foreground, a person can be seen wearing traditional Rajasthani clothing with a bright orange turban, which emphasises the region’s distinctive character. – 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 building depicts the magnificent Tilon Ki Pol gateway leading to the artificial Gadisar Lake in the desert city of Jaisalmer in Rajasthan. Constructed from the region’s characteristic golden-yellow sandstone, this two-storey gateway has one of the most fascinating histories. It was commissioned in the 14th century by a wealthy and famous royal courtesan named Tilon. The then ruler (Maharawal) of Jaisalmer initially rejected the structure. As he used the lake regularly, he felt it was beneath his dignity to pass under a gate financed by a courtesan. He threatened to have the gate demolished. Whilst the king was away on a journey, Tilon had the gate completed without further ado. To permanently prevent the threatened demolition, she placed a statue of the god Vishnu (often described as a Krishna temple) atop the gate. As the building was thus regarded as a sacred site, the king was no longer permitted to destroy it. The gate is notable for its classic Rajput architectural style: the jharokhas are delicate, stone-carved, balcony-like bay windows typical of the architecture in Jaisalmer. Two striking pavilions (chattris) crown the outer corners of the gate. Through the large main arch of the gate, one looks directly out onto the calm waters of Gadisar Lake and the small shrines built within the lake. - 1990

The Gadi Sagar Temple, situated in the middle of the historic Gadisar Lake in Jaisalmer. The pavilion was built from the region’s characteristic golden-yellow sandstone and features ornate arches and a traditional dome (chhatri). The lake was artificially created in the 12th century by King Rawal Jaisal. For centuries, it served as a vital drinking water reservoir for the entire fortified city of Jaisalmer. – 1990

The picture shows an ornately decorated chhatri pavilion on Gadisar Lake in Jaisalmer, Rajasthan. The artificial lake was built in 1367 by Maharawal Gadsi Singh. For centuries, it served as the vital and primary source of water for the desert city of Jaisalmer. The striking, dome-like pavilions, which stand in or at the edge of the water, are typical features of Rajput architecture. They were constructed from the region’s characteristic golden-yellow sandstone and served as royal cenotaphs, monuments or shaded resting places. – 1990

The intricately carved torana (ornate gateway) of the historic Lodhurva Jain Temple near Jaisalmer in Rajasthan. It is an outstanding example of Maru-Gurjara architecture (also known as the Solanki style). The entire structure is built from the characteristic golden-yellow Jaisalmer sandstone. In Indian temple architecture, a torana symbolises the solemn transition from the secular outside world into the sacred, spiritual realm of the temple. The original temple complex was built as early as the 9th century, when Lodhurva was still the capital of the Bhati Rajputs. Following severe destruction caused by invasions, this magnificent gateway was faithfully reconstructed in 1615 AD. – 1990

These buildings in the desert town of Jaisalmer are constructed from the characteristic golden-yellow sandstone of the Thar region. These historic mansions (havelis) dominate the streetscape of the old town. Of particular note are the intricately carved stone balconies with their delicate patterns. – 1990

A lively street scene in a historic, narrow alleyway typical of the architecture in Jaisalmer. The walls and floor are rendered in warm, earthy tones, some adorned with white frames around the doors. The paths are narrow and paved with large stone slabs, which is typical of old fortified towns in Rajasthan. In the middle of the alley, a man stands by a handcart laden with large metal containers, presumably selling milk or water. – 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

This intricately carved stone façade is located in Jaisalmer Fort in Rajasthan. The fort is world-renowned for its yellow sandstone architecture, which is why it is also known as the ‘Golden City’. The walls are made of local yellow sandstone, which has been assembled without mortar using traditional construction methods. The door on the left has a magnificently carved frame featuring floral patterns and reliefs depicting peacocks and a central wheel (chakra). The ornate, metal-studded wooden doors reflect the region’s classical craftsmanship. – 1990

This portrait depicts a girl named Ambu from Jaisalmer in the Thar Desert in Rajasthan. The name of this desert means ‘the land of the dead’. Yet life thrives there nonetheless, for the girl’s name means ‘water’ – a symbol of hope for a fruitful future. Ambu wears a striking, beaded headband in yellow and red, with a round, golden decorative button attached at the front. Traditional golden earrings hang from her ears, featuring delicate filigree patterns and small green accent beads at the bottom. A red dot (bindi) is applied to her forehead. Her eyes are heavily outlined and emphasised with traditional dark kohl. – 1990

Red chillies are traditionally sun-dried. The intense sunlight draws the moisture out of them. This prevents mould from forming and allows the chillies to be stored for months or even years. This method also concentrates their flavour and heat. In the background are filled jute sacks. They are used to transport and store the dried chillies before they are sold at spice markets or processed into chilli powder. – Jaisalmer, Rajasthan – 1990

A small shop in Jaisalmer, notable for its wide variety of colourful goods displayed in glass jars. A boy sits relaxed in the shop’s entrance, intently reading a newspaper written in Hindi (Devanagari script). This typical traditional shop, often referred to as a kirana shop or paon shop, makes the most of its limited space. – 1990

At the market in Jaisalmer, we see an impressive collection of traditional, handcrafted clay pots known as matkas. These unglazed clay pots have been used for centuries for the natural cooling and storage of drinking water and food. – The pots are expertly stacked in a sturdy structure to air-dry before being fired in the kiln. – 1990

A large collection of hand-painted clay water pots, known as matkas in Indian culture. Matkas utilise the principle of evaporative cooling. Through the microscopic pores of the unglazed clay, a minimal amount of water seeps out and evaporates, keeping the remaining water inside pleasantly cool even in intense heat. The pots are decorated with characteristic patterns. These include geometric shapes such as zigzag lines, waves, dots and bands of lines, usually applied in white, black and reddish earth tones. The production of these vessels is a craft dating back thousands of years, passed down from generation to generation. Each pot is shaped on the potter’s wheel and then artistically painted by hand. – Jaisalmer – 1990

The impressive façade of Patwon Ki Haveli in Jaisalmer, one of the most significant architectural monuments of the ‘Golden City’. The entire residence was built from the local yellow-gold sandstone for which the desert region around Jaisalmer is famous. The façade captivates with its numerous richly decorated, projecting balconies (known as jharokhas) featuring the finest stone carving, reminiscent of lace or lace borders. The delicate stone lattices (jalis) serve not only as decoration but also allow for constant air circulation, keeping the interior of the building cool even in the extreme desert heat. – 1990

The impressive façade of Patwon Ki Haveli in Jaisalmer, one of the most significant architectural monuments of the ‘Golden City’. The complex was commissioned in 1805 by Guman Chand Patwa, an extremely wealthy merchant dealing in brocade, gold and silver thread, and opium. It is not a single building, but a connected complex of five separate havelis, built over a period of around 50 to 60 years for his five sons. Parts of the complex are now managed by the state heritage authority, whilst another part serves as a private museum (Kothari’s Patwa Haveli Museum), offering an insight into the luxurious lifestyle of the merchant class in the 19th century. – 1990

This relief is located on the outer wall of the historic Lodurva Jain Temple near Jaisalmer in Rajasthan, India. This ancient temple complex was once the capital of the Bhatti Rajputs before Jaisalmer was founded. It is renowned for its intricate stonework and delicate carvings in yellow sandstone. - Seated on the back of the richly decorated elephant is a figure in a traditional posture, likely holding a weapon or an elephant goad (ankusha) to guide the animal. – 1990 Latticed windows and curved Bengali roofs. – 1990

A woman walks down a street in Jaisalmer wearing traditional, colourful clothing. She is wearing a pink ghagra choli (a loose-fitting skirt and top) and a patterned red dupatta (veil) covering her head. She skilfully balances a large, rolled-up quilt or mattress on her head. In her right hand, she also carries a full, light-green plastic bag. Carrying heavy loads on the head is a common method of transport in many rural regions of India. – 1990

Barbati, a nomad dressed in the traditional attire of the Bhopa community from the desert region around Jaisalmer in Rajasthan, sits on a stone step with her toddler on her lap. She wears a traditional ensemble consisting of a vividly coloured veil (known as an odhni or dupatta) and a printed blouse (choli), as well as a floor-length, loose-fitting skirt (ghagra). A striking feature is the large, golden nose ring, which is artfully fastened to her hair or ear by a chain. In many rural regions of Rajasthan, this piece of jewellery signifies a woman’s marital status. On her forehead, a round, glittering pendant sits directly at the hairline, a typical element of Rajasthani wedding and festive attire. On her wrists she wears thick, traditional bangles (often made of imitation ivory, bone or colourful plastic), which can cover almost the entire forearm and are firmly rooted in the regional culture. – 1990

The nomad Barbati in traditional, colourful festive dress. The striking pink veil covers her head and is often artfully draped over her shoulders. On her forearms she wears stacked, wide bangles in the traditional colours of white, red and blue, typically made from imitation ivory, plastic or glass. A delicate, traditional tattoo pattern can be seen on the back of her hand. – Jaisalmer – 1990

This portrait of the nomad Barbati is characterised by a wealth of symbolic and ornate jewellery: on her forehead, just beneath her veil, she wears a round, bell-shaped ornament. This piece of jewellery is typical of married women in Rajasthan. A large, delicately crafted nose ring, attached to the hair or behind the ear with a fine chain (often studded with pearls). It is traditionally regarded as a sign of marital status. – Jaisalmer – 1990

The bright pink veil worn by the nomad Barbati covers her hair and is typical of women from the region around Jaisalmer. It serves both as protection from the sun and as a sign of respect. The striking, round ornament on her forehead is a traditional hairpiece often worn by married women in Rajasthan. The large, elaborately decorated golden nose ring is connected to the earrings or her hair by a delicate chain. She wears a bindi on her forehead. Her neck is adorned with several heavy, traditional necklaces (some decorated with coins). – 1990

The bright pink veil worn by the nomad Barbati covers her hair and is typical of women from the region around Jaisalmer. It serves both as protection from the sun and as a sign of respect. The striking, round ornament on her forehead is a traditional hairpiece often worn by married women in Rajasthan. The large, elaborately decorated golden nose ring is connected to the earrings or her hair by a delicate chain. She wears a bindi on her forehead. – 1990

Barbati, a nomad from the Thar Desert, makes chapati, the flatbread known in various forms throughout the Near East. She kneads flour, salt and water into a smooth dough, which she shapes into a round disc between her hands, much like a pizza chef, and then cooks in a pan, turning it several times. – 1990

Barbati, a nomad, is preparing dough outdoors whilst wearing her traditional Indian attire. She is dressed in a colourful ensemble consisting of a dark top and skirt with a floral pattern, as well as a bright pink veil (dupatta or odhni) covering her head. Her jewellery is very striking and includes several necklaces (including one with coin pendants), bangles on both wrists, earrings and traditional headdresses. In front of her stands a clay bowl containing dough, and she is currently shaping a ball of dough with her hands. Next to the bowl is a small bottle of oil. – Jaisalmer region – 1990

Barbati, a nomad, is preparing dough outdoors whilst wearing her traditional Indian attire. She is dressed in a colourful ensemble consisting of a dark top and skirt with a floral pattern, as well as a bright pink veil (dupatta or odhni) covering her head. Her jewellery is very striking and includes several necklaces (including one with coin pendants), bangles on both wrists, earrings and traditional headdresses. In front of her stands a clay bowl containing dough, and she is currently shaping a chapati with her hands. Next to the bowl is a small bottle of oil. – Jaisalmer region – 1990

Making dough for flatbreads is a daily ritual in almost every Indian household. The everyday, unleavened flatbread chapati is made from whole wheat flour (atta) and water. Preparation: Flour and water are mixed in a shallow bowl (often made of clay, brass, or wood, called a parat) and kneaded vigorously until a smooth dough forms. This is divided into small, uniform balls and rolled between the palms of the hands. The balls are either rolled flat with a rolling pin (belan) or flattened by hand. The bread is baked directly in the embers. – Jaisalmer region – 1990

This historic, ornately decorated truck (often known as the “Nissan One Ton” or Nissan 4W73) was photographed in the desert region around Jaisalmer. These rugged four-wheel-drive vehicles were originally developed for military use and later adapted for civilian use. The body and the wooden superstructure above the cab are decorated with detailed floral patterns, ornaments, and inscriptions in Hindi and Sanskrit. A large eye is painted on the hood. This widespread symbol traditionally serves as protection against the “evil eye” (Nazar) and is said to protect the vehicle and its crew on long journeys. A curtain made of fine metal chains hangs in front of the front bumper. These fringes swing back and forth while driving, producing a rattling sound that is also believed to contribute to the ritual warding off of evil spirits. An image of a deity is affixed to the top of the front panel, a feature typical of Indian trucks, to invoke divine blessings for the journey. – 1990

This truck is a classic example of the colorful and artistic truck decoration that is a tradition in India and Pakistan. Indian script (Devanagari) can also be seen above the windshield. The license plate displays the letters “RNM.” In the old Indian license plate system (in use until the late 1980s), the combination “RN” specifically stood for the state of Rajasthan. On the left side, a camel pulls a transport cart—a common mode of transportation in Rajasthan. - The vehicle and scenery shown bear a striking resemblance to the famous truck from the Indian film “Road, Movie” (2009/2010), starring Abhay Deol, which was also filmed in the distinctive desert landscapes of Rajasthan. – 1990

Dromedaries and their guides near the city of Jaisalmer. These animals no longer carry spices, but instead transport tourists on excursions in the surrounding area. – 1990

The Thar Desert stretches largely across the Indian state of Rajasthan and parts of Pakistan, and is known for its combination of various desert landscapes. The eroded, rocky hill in the background (Bhakars) is characteristic of the foothills and isolated ridges that repeatedly break through the sandy plains of the Thar. The pronounced wind ripples on the undulating dunes in the foreground reflect the sandy habitats that characterize large parts of the region. The sparse shrubs and grasses in the sand represent the typical xerophytic (drought-resistant) flora of the Thar, such as thorny shrub species (Capparis decidua or Acacia). These deep-rooted plants also serve as important soil stabilizers against wind erosion. – 1990

In the Thar Desert, also known as the Great Indian Desert, which stretches across northwestern India (primarily Rajasthan) and parts of Pakistan, these small creatures play a remarkable role in the ecosystem. They belong to the family of darkling beetles (Tenebrionidae). These beetles use a sophisticated method to obtain water. In the cool morning hours, they position themselves head-down on the dune crests (often referred to as fog-basking). Moisture in the air condenses on their smooth exoskeletons and flows directly into their mouthparts. As saprophages, they feed primarily on organic waste, dried plant matter, and the dung of desert animals such as camels. In this way, they maintain the nutrient cycle of the barren sand dunes. While temperatures in the Thar Desert can reach extreme levels during the day, the beetles escape the deadly heat by burrowing into the sand at lightning speed or seeking shelter under sparse vegetation. – 1990

Much of the Thar Desert consists of flat sandy plains and dune landscapes, some of which are covered with thorny shrubs. In areas without vegetation, such as the famous Sam Sand Dunes near Jaisalmer, one can find striking, untouched ripple structures like the one in the photo. The sand ripples and shifting dunes in the Thar Desert change primarily during the hot summer months due to the strong southwest monsoon winds. The winter winds play a rather minor role. – 1990

Perhaps camels laden with spices once passed through here on their way across the Thar Desert in Rajasthan. In the distance, you can see a caravanserai where the camel drivers would rest at nightfall before continuing their long journey toward the Middle East the next morning. - 1990

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