My earliest recollections of Jodhpur are of merunning through the jaali (lattice) corridors of the zanana (women’s) section of my home, the Ajit Bhawan, into my grandmother’s lap. She was the central figure of the house, surrounded by a constant buzz of activity—it was a multifaceted world where women were the decision-makers, surrounded by textile merchants from Benaras, jewellers from across India, perfumers with their delicate bottles, and waves of ladies who would come to pay respects to her, not only since she was married into the Jodhpur family, but also because she was the sister of the Maharaja of Jaipur.
From here, I would find my way to my mother’s chambers, where she would let me muddle my hands with paints and canvas that she put to good use during her time in purdah, while training me how to sketch and draw. In contrast, the mardana (men’s) section on the ground floor level had a strong sense of masculinity both in atmosphere and architecture, a contrast to the delicately-designed upper floor.
This story is from the December 2020 edition of Harper's Bazaar India.
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This story is from the December 2020 edition of Harper's Bazaar India.
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