Forts And Palaces

Moti Dungari

Jaigarh Fort

Nahargarh Fort

Amber Fort

Umaid Bhawan Palace

Mehrangarh Fort

City Palace

Fateh Prakash Palace

Sajjangarh Palace

Kumbhalgarh Fort

Chittorgarh Fort

Junagarh Fort

Cloud Palace At Junagarh Fort

Gajner Palace

Taragarh Fort

Man Mahal

Jaisalmer Fort

Sukh Niwas Palace

Taragarh Fort

The architecture is basically secular and draws a lot on stimulation from the Mughals, while later day architecture also embraces European interiors. These structures encompass mahals (palaces), zenanas (women’s quarters), diwan-I-aam (public audiences), diwan-I-khas (private audiences), sils (galleries), mandir (temples), bagh (garden) chatris and ramparts for display and parades.
Jaipur:

.Moti Dungari

.Jaigarh Fort

.Nahargarh Fort

.AmberCity Palace

Jodhpur:

.Umaid Bhawan Palace

.Mehrangarh Fort

Udaipur:

.City Palace

.Fateh Prakash Palace

.Sajjangarh

.Kumbhalgarh Fort

.Chittorgarh Fort

Bikaner:

.Junagarh Fort

.Lal Garh Palace

.Gajner palace

Ajmer:

.Taragarh Fort

.Man Mahal

Jaisalmer:

.Jaisalmer Fort

Bundi:

.Sukh Niwas Palaces

.Taragarh fort

Mount Abu:

.Achalgarh

Temples

Temples At Chittorgarh

Carved Ceiling Of The Temple

Kalika Mata Temple In The Chittorgarh Fort

Temples At Kiradu

Dilwara Temple At Mount Abu

Carved Pillars Of The Temple

Ranakpur Temple Near Udaipur

Beautifully Carved Ceilings Of The Temple

Pillared Walls Of The Temple

Wall Details

The great architectural movement which swept Rajasthan from the 8th to the 11th century was really a later flowering of the virile development inspired by the Guptas during the 4th, 5th and 6th centuries. The 8th and 9th century also saw new styles of temples emerging from the Gurjara Pratihara dynasty from Mandore. Temples built around this time also include temples at Chittorgarh and Osiyan in western Rajasthan. The familiar feature of these temples is single sikhara or spire and intricately carved outer chamber called the mandup before the inner sanctum. In many temples the main temple would be surrounded by series of small and finely carved temples. A good example of these are Kalika Mata Temple and Kumbha Shyam temples in the Chittorgarh fort. Temples at Kiradu in western Barmer known as Solanki style are known for sculptured frescos. The best example in this is the Someshvara Temple, which has fine sculptured fresco, and a multi tiered spire.
The 10th century saw the constructions of many splendid Jain Temple, notable amongst them are the Dilwara Temples at Mt Abu, Mahavira Temple at Ghanerao in southern Rajasthan and Ranakpur near Udaipur. At Ranakpur the Chomukha meaning four faced is the finest. It features a series of mandupas decorated with intricate carving giving a breath taking symmetry. A group of Jain Temples at Jaisalmer are also noteworthy.
A great deal of this fine architecture, however, was destroyed during the earlier Muslim invasions.

Havelis

The Merchants of Rajasthan built sumptuously decorated mansions as residences known as havelis. The merchants had commissioned artisans to ensure that they construct and decorate the havelis in a manner that befits the prosperity of the owner. Havelis are common everywhere in Rajasthan but havelis at Shekhawati and Jaisalmer are worth visiting.

Shekhawati Havelis

Beautifully Painted Havelis

Haveli At Night

Painted Walls Of The Haveli

Shekhawati as a region is known for its beautifully painted Havelis, that spreads over Jhunjhunu, Sikar and Churu districts in north-western Rajasthan. Built by rich Marwari merchants of the region, Shekhawati's magnificent mansions display a unique architectural style that evolved around the courtyards to ensure safety and privacy of the womenfolk and protection from the heat of the long and harsh summers.
Painted predominantly in blue, maroon, yellow, green and indigo, the Havelis of Shekhawati have beautiful frescoes that adorn their walls. Earlier wall paintings were largely based on the mythological themes, depicting gods, heroes, epics and local legends; animals, portraits of hunting and wrestling scenes and glimpses of every day life.
The turn of the 19th century saw the appearance of new motifs, an outcome of the British Raj's influence upon the Indian Culture. The paintings continued with the mythological themes, but the new entries included European oleographs, lithographs and photographs. Trains, cars, balloons, telephones, gramophones, English men in hunting attires and portraits of Haveli owners primly dressed were painted profusely.