The Demo Site

On the way to Kumbhalgarh lies their royal lake with a magnificent dam created in the 17th century offers a spectacular views of the sunset adorned by beautiful Torans [arches] and Chhatris And number of attractive pavilions. Stunning sculpture and Sanskrit verses are vividly inscribed in store a small counterpart of Nathdwara.

This delightful lake, bordered by hills and woodland was constructed by Maharana jai Singh to the north of Lake Pichola. It is an artificial lake dug up in 1678, reconstructed by Maharana Fateh Singh A canal links the two, via Swaroop Sagar and Rang Sagar Lakes. The beautiful Nehru Island as well as an islet bearing a solar observatory rises from the lake. Lake Fateh Sagar is a medium-sized perennial storage reservoir constructed in the year 1678 A. D. by the rulers of former Mewar State. Although primarily constructed for irrigational purpose, this water body has lately formed a second major source of drinking water for the city of Udaipur. The main feeder canal of the lake comes from Madar tank situated at a higher altitude about 15 km from Udaipur City. Lake Fateh Sagar is also connected to the adjoining Lake Pichhola through a canal having gates. This (former) lake has somewhat pear-like shape and is surrounded by hills except on its eastern side where a straight masonry dam of about 800 m length is located. The lake lies on the northwest of main Udaipur city. The runoff emerging from surrounding hillocks drains into this lake. Along the eastern shore line runs a beautiful serpentine road which has a stone wall on the lake periphery. This lake has got three prominent islands. The largest is developed into a public park. The second island is situated on the northern side and has an installation of solar observatory. The smallest island on the western side near shore supports a jet fountain. The western bank of lake is occupied by marginal agricultural field. The vegetation cover around the lake is scanty. However, several species of plants are found along the undulating roads and hillocks around this lake.
Leaching of nutrients from the catchment area and agricultural activities in the marginal areas of the lake has influenced the nutrient level of this water body. Similarly, incoming silt has also reduced the water holding capacity of this lake. Lakes are focal point for social and economic activities of Udaipur people. Every year thousands of tourists from India and abroad come to this 'City of Lakes'. Yet this water body is facing acute shortage of water sometimes due to scanty rains. For checking loss of water through evaporation, Public Health Engineering Department (PHED) has been using cetyl alcohol (hexadecanol) during drought period. In the year 1972 the lake exhibited heavy bloom of blue green algae Microcystis. In 1978, local citizen groups and environmental conservation organizations undertook desilting operation through human labour wherein about 10 thousand truck loads of silt were removed from the shallow basin of this lake

Pichola Lake derives its name from Pichola Village was submerged and Maharana Udai Singh enlarged the lake after he founded the city. He built a masonry dam known as Badipol and lake is now 4 km long and 3 km wide. This picturesque lake encloses the Jag Niwas Island and the Jag Mandir. And, the City Palace extends along its eastern banks.

Is a small town famous for its castle now converted into a hotel. The castle's highlight in the pavilion in the central court, where the musicians would perform. Also near the castle are the cenotaphs of former rulers. Mahavir Temple, a Jain Temple is also one of the highlights of the town.

Kumbhalgarh Sanctuary

Is located in the most rugged of the Aravali in Pali, Rajsamand and Udaipur districts of Rajasthan. It takes name after the impressive historic fort of Kumbhalgarh, which come into view over the Park.It is 578 sq Kms in area and at an altitude of 500 to 1,300m. It is home to a very large variety of wild life, some of which are highly endangered species.The wild life includes wolf, leopards, sloth bear, hyena, jackal, jungle cat, smabhar, nilgai, chaisingh (the four horned antelope), chinkara and hare.
The bird life at Kumbhalgarh is also gratifying. The normally shy and untrusted grey jungle fowl can be spotted here. Peacocks and Doves can be sighted regularly feeding on grains scattered by the jungle guards. Bird like the red spur owls, Parakeets, golden Oriole, grey Pigeons, Bulbul, Dove and white breasted kingfisher can also be seen near the water holes. Kumbhalgarh’s natural beauty is attracting many tourists and especially for its accessibility from Udaipur, which is 100 Kms from here. Foot tracking and horse safari organised by local tour operators are proving to be very popular. A typical safari route enters the sanctuary from the Kumbhalgarh Fort and cutting across the sanctuary it reaches Ghanerao, and then borders an old abandoned road. On this road, one can sight Chinkaras, Neelgais, four horned Antelope and many birds.

Nathdwara lies 48 kms from Udaipur and literally means the gateway to the Lord. This great Vaishnavite shrine was built in the 17th century on spot exactly defined by the Lord himself. The legends have it that the image of the Lord Krishna was being transferred to safer place from Vrindaban to protect it from the destructive wrath of the Mughal Emperor Aurangzeb. The image when it reached the spot it vehicle the bullock carts wheel sank axel deep in mud and refused to move further. The accompanying priest realised that this was lord's chose spot and the image did not want to travel any further. Accordingly a Temple was built here.
This is revered temple and place of pilgrim amongst believers. Devotees throng the shrine in large number during occasions of "Janamashtmi" the day of Lord's birth and other festivals like Holi. The priests treat if like a living deity and tend to the lord with daily normal function like bathing- dressing meals called "prasad" and the resting times in regular intervals. The main attractions are the Arties and the Shringar. The formal prayer offered with diya, insentsticks, flowers, fruit and other offerings with local instruments and devotional songs of the Lord according to the demand of the time and occasion. The fine intricately woven shaneels & silk cloth with real original zari and shredded work done upon them along with tones of real jewellers, which are of antique value, looks dazzling.The view of the idol after the pardha (curtain) is removed is a spectacular sight that is simply mesmerizing leading to a melee (gully) of visitors, crowding divine lord. The mystic, spirited aura of India comes alive. Nathdwara has a small but throbbing township around the temple. It's shopping in the bye lanes is a great revelation. It's famous for its 'pichwani' paintings, which Shri Krishna in the centre and is recognized for profuse use of gold colour.

Eklingji

A RELIGIOUS COMPLEX Northern region of Mewar (22 Kms) It houses 108 temples chiselled out of sandstone and marble, this temple of Eklingji was built in 734 AD. Enclosed by high walls, it is devoted to Eklingji (A form of Shiv Deity adored under the epithet of EKLINGA).
One of the prominent deity of the Maharanas of Mewar, worshiped as Mahadeva Chaumukhi,the quadriform divinity, represented by a bust with four faces., it has an ornate Man dap [ A pillared hall ] and the huge pyramidal roof composed of hundreds of knots very vividly carved and finely decorated with the coloured stones.Before the entrance in the main temple there is a beautifully sculpted huge Nandi [ the sacred brazen bull who is the loyal steed of Lord Shiva and has his altar attached to all his shrines. The temple of EKLINGJI was constructed roughly in between the Uda- Nath route, with the hills towering around it and abundant small springs of water where more or less every tourist takes a break. And locals pay homage through out the whole year.The Belief is such.

Built by Maharana Jagat Singh I in 1651 the temple enshrines a black stone image of Lard Vishnu. There is a brass image of Garuda the Lord bird carrier. The exterior and the plinth are covered with base relief of alligators; elephants, horsemen and celestial musicians rise in tiers.
Chanting, bells and music can be heard throughout the day. It is the largest and most splendid temple of Udaipur.

This is the other island palace in Lake Pichola, which was constructed by Maharana Karan Singh as a hideout for Prince Khurram the estranged son of Emperor Jehangir the implacable foe of the Maharana. The reason for the aid was that the prince was the son of a Rajput mother. It is also said that Shah Jahan [prince Khurram] derived some of these ideas for the Taj Mahal from this palace when he stayed there in 1623-24. The island has some striking carving including a row of elephants that looks as though they are guarding the island. The exquisitely carved chhatri in grey and blue stone is another example.
Maharana Jagat Singh who made a number of additions to it later renovated the place. Within the palace was the temple dedicated to the Lord Jagdish and hence the name is derived from that. There is a museum detailing the history of the island as well and the neat courtyards.

The Mewar festival is celebrated to welcome the advent of spring. It coincides with the festival of Gangaur in Udaipur, and has a unique charm about it. The festival of Gangaur is very significient for women of Rajasthan.It is a time for them to dress up in their best clothes and participate in the festival. They gather to dress the image of Isar and Gangaur and then carry them in ceremonial procession through different parts of the city.
The procession winds its way to the Gangaur Ghat at Lake Pichhola. Here, the images are transferred to special boats amidst much singing and festivity.Once the religious part of the festival is over, it is time for cultural events where Rajasthani culture is portrayed through songs, dances and other programmes. The festival culminates with an impressive fireworks display. Like other fairs and festivals celebrated throughout the state, there is a lot of activity which keeps the participants in a joyful frame of mind, eager to enjoy every moment of the celebrations.

Literally meaning a "Craftsmen's Village" is a living ethnographic museum depicting the enormous diversities in craft, art & culture between various Indian states, but the exquisite terracotta work mainly in dark red and dark brown sand material along with the wooden carvings are the forte of this ethnic village . Shilpgram comprises 26 huts set in 70 acres of natural surroundings at the foot of the Aravali Hills.A colourful craft festival during winter seasons to the whole set up induces viatanity and zeal.Situated 3 kms west of Udaipur near the Havala village is the Centre's Shilpgram - the Rural Arts and Crafts Complex. Spread over an undulating terrain of 130 bighas (70 Acres) of land and surrounded by the Aravallies, the Rural Arts and Crafts Complex is conceived as a living enthnographic museum to depict the lifestyles of the folk and tribal people of the West Zone. Within this complex, huts of the member states are constructed incorporating traditional architectural features of different geographical and ethnic groups residing within the West Zone of India comprising of five Federal States. One of the important objectives of Shilpgram is in the sphere of increasing awareness and knowledge of rural life and crafts, specifically, for the younger generation. Special emphasis is laid on workshops for children on arts, crafts, theatre and music. The Rural Arts and Crafts Complex - Shilpgram - would also provide an opportunity to rural and urban artists to come together and interact through the process of camps and workshops. It is hoped that through intimate observation of different styles and experiences, urban and rural artists would learn from one another and enrich their skills and art forms. The Centre promotes contemporary urban ceramists, potters, designers, visual artists etc. to work with their traditional counterparts in creating works of everyday art which would then be put up for exhibition and sale for visitors. The Center developed two Museums in the Shilpgram where simple objects of day-to-day use, that represent the sense of wonder and aesthetics in rural and tribal life are put on display. In addition, a Crafts Bazar in the fashion of a traditional 'haat' was made where visitors could buy traditional crafts from the Zone. Craftsman were invited periodically to demonstrate their skills and sell the crafts to the visitors at the Shilpgram.
An attraction no less of the Rural Arts and Crafts Complex is the open air Amphitheatre with a seating capacity of approximately 8000. Besides the major theatre festivals which the Centre hold here, it is hoped that this facility would motivate the local community as well as outside visitors to take a keener interest in theatre and the traditional folk performing arts. Shilpdarshan is a continuing activity at Shilpgram in which traditional performing artists and craftsmen are used to draw from the interior villages of the member states. They are regularly invited to exhibit their skill and to demonstrate their crafts, and sell their masterpieces in order to have direct access to the buyers. This programme has encouraged the rural craftsmen and performers in a big way. The Shilpgram has become an important landmark in India and Government of India has decided to replicate them in all the Federal States of India. In these traditional huts, household articles of everyday use - whether terracotta or textile, wooden or metal, along with decorative objects and implements - agricultural or craftsmen's tools, etc. are featured with appropriate signages and explanatory details. The objective is to give a realistic glimpse of the people and their belongings representing Unity in Diversity and National Integration. In order that the above is vested with its own internal dynamism, the huts are constructed around an interlocking occupational theme. Traditional village life was said to have been, to a considerable extent, self-contained and self-sufficient with a potter, a carpenter, a blacksmith, often a weaver, living alongside one another. The Centre's Rural Arts and Crafts Complex adopts this cellular approach such that each individual hut is at once an organic entity and at the same time nourishing and husbanding a series of such transactions. In this integrated pattern are 5 huts from Rajasthan, representing weaver's community from Marwar. There are 2 huts named after the two sand bound villages of Rama and Sam from the desert region of western Rajasthan. From the hilly region of Mewar, is a potter's hut from the village Dhol, 70 kms west of Udaipur. Two huts represent the tribal farmer communities of the Bhil and the Sehariyas of the Southern regions of Rajasthan. There are 7 representative huts from the state of Gujarat. A cluster of six huts from Banni area and one from Bhujodi have been selected from the arid wastelands of Kutch. the Banni cluster consists of two huts each of the Rebari, Harijan and Muslim communities famous for their weaving, embroidery, bead & mirrorwork, wood work and rogar work. Equally well known for its valiant horses, Lambdia village near Poshina in North Gujarat is represented with a potter's hut. Adjoining to the Lambdia potter's workshop at the Shilpgram is the weaver's hut from Vasedi village in Chota Udaipur area in western Gujarat. Two huts represent the Dang and Rathwa tribal farmer communities of southern Gujarat. In addition to these, there is an ornately carved wooden house from Pethapur near Gandhinagar. Selected after an exhaustive survey of the Konkan coast of Maharashtra, the Koli hut is from a seashore hamlet in Raigarh district. Close to the Koli hut stands one from Kolhapur - representing leather chappal craftsmen from southern Maharashtra. From Thane district in north Maharashtra is aWarli hut replete with its wall paintings. The tribal farmer community of the Kunbis is also represented along with two huts of the Gond and Maria tribal communities from eastern Maharashtra famous for their 'dokra' work. From the member state of Goa, there are 5 representative huts. A potter's hut from Bicholim stands in close proximity to a Hindu hut and Christian hut made of local laterite stone. From the lush green taluka of Canacona is a typical hut of the Kulumbi tribal agriculturalists renowned for their grass and cane weaving work. A hut chosen from the Mandovi riverside represent the traditional fisherman's way of life. Thus each member state of the West Zone has huts derivative of certain basic occupations fundamental to the way of life of the people of the area. In addition, certain occupations feature a commonality so as to offer a basis for comparison. For example, three member states have a potter's hut since working with the earth is fundamental to all our cultures. What is interesting to highlight is how Indian people have fashioned and reshaped this basic element to suit their environment, needs and aesthetics. Similarly, two member states of the West Zone feature weaving, again as an affirmation of how geography and needs have given rise to such a variety in this most basic of occupations. Also while the above are illustrative and not exhaustive, the occupations and crafts to be shown will differ so as to cover a wider variety of our crafts heritage. In order to ensure that a visit to Rural Arts and Crafts Complex - Shilpgram - becomes an educative and enriching experience, the hut from Sam (Marwar) is planned as the Activity and Documentation Section where workshops, seminars etc.can be organised. Similarly the cluster of Banni and Bhujodi huts from Gujarat would comprise of Guest Room facilities for the visiting master craftsmen, researchers and scholars. A Goan mainstream hut and Mewar potters hut can accommodate children and students.

The collection within the grounds of the Garden Hotel comprises a variety of classic and interestingly rare transportation vehicles; some stately and vintage like Cadalec, Chevalate, Morais etc., while the others are sleek and fast.The Maharanas of Udaipur once possessed and used these regal splendours of automobiles as their luxuries but most of the other models are gradually being added to the collection ,since it provides a unique aristocratic safari for the exclusive guests.

Located about 2 kms east of Udaipur is an impressive cluster of cenotaphs of the Maharanas of Mewar. There are about nineteen cenotaphs of Maharanas cremated there.
The most striking cenotaph is that Maharana Amar Singh, who reigned from 1597 to 1620. Nearby is also Ahar Museum, where on display is limited but very rare earthen pottery. Some sculptures and other archaeological finds. Some pieces date back to 1700 BC and a tenth century metal figure of Buddha is a special attraction.

Literally meaning a "Craftsmen's Village" is a living ethnographic museum depicting the enormous diversities in craft, art & culture between various Indian states, but the exquisite terracotta work mainly in dark red and dark brown sand material along with the wooden carvings are the forte of this ethnic village . Shilpgram comprises 26 huts set in 70 acres of natural surroundings at the foot of the Aravali Hills.A colourful craft festival during winter seasons to the whole set up induces viatanity and zeal.Situated 3 kms west of Udaipur near the Havala village is the Centre's Shilpgram - the Rural Arts and Crafts Complex. Spread over an undulating terrain of 130 bighas (70 Acres) of land and surrounded by the Aravallies, the Rural Arts and Crafts Complex is conceived as a living enthnographic museum to depict the lifestyles of the folk and tribal people of the West Zone. Within this complex, huts of the member states are constructed incorporating traditional architectural features of different geographical and ethnic groups residing within the West Zone of India comprising of five Federal States. One of the important objectives of Shilpgram is in the sphere of increasing awareness and knowledge of rural life and crafts, specifically, for the younger generation. Special emphasis is laid on workshops for children on arts, crafts, theatre and music. The Rural Arts and Crafts Complex - Shilpgram - would also provide an opportunity to rural and urban artists to come together and interact through the process of camps and workshops. It is hoped that through intimate observation of different styles and experiences, urban and rural artists would learn from one another and enrich their skills and art forms. The Centre promotes contemporary urban ceramists, potters, designers, visual artists etc. to work with their traditional counterparts in creating works of everyday art which would then be put up for exhibition and sale for visitors. The Center developed two Museums in the Shilpgram where simple objects of day-to-day use, that represent the sense of wonder and aesthetics in rural and tribal life are put on display. In addition, a Crafts Bazar in the fashion of a traditional 'haat' was made where visitors could buy traditional crafts from the Zone. Craftsman were invited periodically to demonstrate their skills and sell the crafts to the visitors at the Shilpgram.
An attraction no less of the Rural Arts and Crafts Complex is the open air Amphitheatre with a seating capacity of approximately 8000. Besides the major theatre festivals which the Centre hold here, it is hoped that this facility would motivate the local community as well as outside visitors to take a keener interest in theatre and the traditional folk performing arts. Shilpdarshan is a continuing activity at Shilpgram in which traditional performing artists and craftsmen are used to draw from the interior villages of the member states. They are regularly invited to exhibit their skill and to demonstrate their crafts, and sell their masterpieces in order to have direct access to the buyers. This programme has encouraged the rural craftsmen and performers in a big way. The Shilpgram has become an important landmark in India and Government of India has decided to replicate them in all the Federal States of India. In these traditional huts, household articles of everyday use - whether terracotta or textile, wooden or metal, along with decorative objects and implements - agricultural or craftsmen's tools, etc. are featured with appropriate signages and explanatory details. The objective is to give a realistic glimpse of the people and their belongings representing Unity in Diversity and National Integration. In order that the above is vested with its own internal dynamism, the huts are constructed around an interlocking occupational theme. Traditional village life was said to have been, to a considerable extent, self-contained and self-sufficient with a potter, a carpenter, a blacksmith, often a weaver, living alongside one another. The Centre's Rural Arts and Crafts Complex adopts this cellular approach such that each individual hut is at once an organic entity and at the same time nourishing and husbanding a series of such transactions. In this integrated pattern are 5 huts from Rajasthan, representing weaver's community from Marwar. There are 2 huts named after the two sand bound villages of Rama and Sam from the desert region of western Rajasthan. From the hilly region of Mewar, is a potter's hut from the village Dhol, 70 kms west of Udaipur. Two huts represent the tribal farmer communities of the Bhil and the Sehariyas of the Southern regions of Rajasthan. There are 7 representative huts from the state of Gujarat. A cluster of six huts from Banni area and one from Bhujodi have been selected from the arid wastelands of Kutch. the Banni cluster consists of two huts each of the Rebari, Harijan and Muslim communities famous for their weaving, embroidery, bead & mirrorwork, wood work and rogar work. Equally well known for its valiant horses, Lambdia village near Poshina in North Gujarat is represented with a potter's hut. Adjoining to the Lambdia potter's workshop at the Shilpgram is the weaver's hut from Vasedi village in Chota Udaipur area in western Gujarat. Two huts represent the Dang and Rathwa tribal farmer communities of southern Gujarat. In addition to these, there is an ornately carved wooden house from Pethapur near Gandhinagar. Selected after an exhaustive survey of the Konkan coast of Maharashtra, the Koli hut is from a seashore hamlet in Raigarh district. Close to the Koli hut stands one from Kolhapur - representing leather chappal craftsmen from southern Maharashtra. From Thane district in north Maharashtra is aWarli hut replete with its wall paintings. The tribal farmer community of the Kunbis is also represented along with two huts of the Gond and Maria tribal communities from eastern Maharashtra famous for their 'dokra' work. From the member state of Goa, there are 5 representative huts. A potter's hut from Bicholim stands in close proximity to a Hindu hut and Christian hut made of local laterite stone. From the lush green taluka of Canacona is a typical hut of the Kulumbi tribal agriculturalists renowned for their grass and cane weaving work. A hut chosen from the Mandovi riverside represent the traditional fisherman's way of life. Thus each member state of the West Zone has huts derivative of certain basic occupations fundamental to the way of life of the people of the area. In addition, certain occupations feature a commonality so as to offer a basis for comparison. For example, three member states have a potter's hut since working with the earth is fundamental to all our cultures. What is interesting to highlight is how Indian people have fashioned and reshaped this basic element to suit their environment, needs and aesthetics. Similarly, two member states of the West Zone feature weaving, again as an affirmation of how geography and needs have given rise to such a variety in this most basic of occupations. Also while the above are illustrative and not exhaustive, the occupations and crafts to be shown will differ so as to cover a wider variety of our crafts heritage. In order to ensure that a visit to Rural Arts and Crafts Complex - Shilpgram - becomes an educative and enriching experience, the hut from Sam (Marwar) is planned as the Activity and Documentation Section where workshops, seminars etc.can be organised. Similarly the cluster of Banni and Bhujodi huts from Gujarat would comprise of Guest Room facilities for the visiting master craftsmen, researchers and scholars. A Goan mainstream hut and Mewar potters hut can accommodate children and students.

The main part of the palace is now preserved as a museum displaying a large and diverse array of artefacts. Down steps from the entrance is the armoury museum exhibiting a huge collection of protective gear, weapons including the lethal two-pronged sword.The City Palace museum is then entered through the Ganesh Deori meaning the door of Lord Ganesh. This leads to the Rajya Angan, the royal courtyard that is the very spot where Maharana Udai Singh met the sage who told him to find a city here. The rooms of the palace are superbly decorated with mirror tiles and paintings.
Manak Mahal or the Ruby Palace has a lovely collection of glass and mirror work while Krishna Vilas display a rich collection of miniature paintings. Moti Mahal or the pearl palace has beautiful mirror work and the Chini Mahal has ornamental tiles all over. The Surya Chopar or the sun square depicts a huge ornamental sun symbolising the sun dynasty to which the Mewar dynasty belongs. The Bari Mahal is a central garden with view of the city. Some more beautiful paintings can be seen in the Zenana Mahal or the ladies chamber, which leads to Lakshmi Chowk a beautiful white pavilion.

This is a very congenial old building built right on the waterfront of Lake Pichola at Gangori Ghat. Amir Chand Badwa, the Prime Minister of Mewar built it in the eighteenth century. The palace has over hundred rooms and some very interesting display of costumes and modern art. The glass and mirror in the interiors of the Haveli delicate work and well preserved too. It also preserves a fine example of Mewar Painting on the walls of Queen's Chamber. The two peacocks made from small pieces of colored glasses are fine examples of glasswork. After the death Badwa the building became the property of Mewar State. It came to be occupied by Maharana Shakti Singh of Bagore who built the palace of the three arches also in 1878 and it acquired its name of Bagore-ki-haveli, the house of Bagore. After independence the structure lay in neglect until 1986 when it housed the West Zone Cultural centre. The haveli now stages delightful evening's entertainment; the pleasurable performance of Rajasthani traditional dance and music in the moody surroundings of the haveli. It is an ideal place for an evening entertainment while enjoying the view of Lake Pichola.

This is a very congenial old building built right on the waterfront of Lake Pichola at Gangori Ghat. Amir Chand Badwa, the Prime Minister of Mewar built it in the eighteenth century. The palace has over hundred rooms and some very interesting display of costumes and modern art. The glass and mirror in the interiors of the Haveli delicate work and well preserved too. It also preserves a fine example of Mewar Painting on the walls of Queen's Chamber. The two peacocks made from small pieces of colored glasses are fine examples of glasswork. After the death Badwa the building became the property of Mewar State. It came to be occupied by Maharana Shakti Singh of Bagore who built the palace of the three arches also in 1878 and it acquired its name of Bagore-ki-haveli, the house of Bagore. After independence the structure lay in neglect until 1986 when it housed the West Zone Cultural centre. The haveli now stages delightful evening's entertainment; the pleasurable performance of Rajasthani traditional dance and music in the moody surroundings of the haveli. It is an ideal place for an evening entertainment while enjoying the view of Lake Pichola.