Linda Bell, Author at

Pendour Picks for Visiting Pushkar

One of the slightly more difficult places to get to in Rajasthan, Pushkar is definitely worth the journey!

This idyllic town is one of the most important sites of Hindu pilgrimage in India. Over 400 temples encircle the holy lake, or Sarovar, as delicate white ghats lead down to the water’s edge. The most important of these temples is the Brahma Temple, also known as Jagatpita Brahma Mandir. It is one of the very few Temples in India dedicated to the Creator-god Brahma.

The town’s laid back, alternative atmosphere caught Linda Bell’s curiosity – here are her top Pendour Picks for Pushkar!

EXPERIENCE THE SERENITY OF A BLESSING

There are 52 Ghats to choose from where you can receive a blessing in Pushkar though of course I’d advise going around the entire lake and visiting each one as it’s so beautiful!

You’ll have to leave your shoes at the top of the steps, or carry them with you when you enter the Ghats as this is holy ground. Feel connected to the Earth, to this sacred place through the very soles of your feet.

Just watch your footing – there are many steps, some quite sharp and of course like anywhere in India, there is rather a lot of cow dung! Although it’s an important religious symbol in India, it’s probably best to avoid pacing into… You may also find the steps and marble walkways get surprisingly warm underfoot due to the hot sun!

You will likely be approached by one of the priests who are watching out, often sitting crossed-legged nearby in meditation. Have a set figure in mind of how much each member of your group would like to donate in cash to the nearby Temple. In exchange for the donation, the priest will conduct a beautiful blessing. Incense, chanting and rejuvenation are all part of the rhythm at the water’s edge! You will be invited to cast flowers and/or rose petals into the lake. It’s a very uplifting and spiritual experience. I felt a deep connection to the sense of place, its timelessness and welcome to all who pass through, whatever they have faced in life.

Breathe in deeply and take a few moments to enjoy the tranquillity of the setting. The steep-sided, arid looking slopes of the Aravalli Mountain Range, sparsely coated in fuzzy-looking trees, punctuate the middle distance, the horizon blurs in a haze of heat and mist. The water slowly laps the decorated walkways and platforms of the ghats, whilst the spread of temples, havelis and bazaar-lined streets all radiate out from the glistening water, like a sparkling diamond set in a ring of opulent jewel stones.

The Sarovar is the beating heart of this majestic setting, where Lord Brahma is believed to have emerged from a lotus flower.

Be sure to secure your ‘Pushkar Pass’ from the Priest after your blessing. This fine piece of twine wrapped around your left wrist will enable you to wonder around the Ghats for the rest of your visit without need to make a further donation (unless you wish to of course!) I kept my bracelet for many months until it disintegrated, as I believed it would fulfil my wishes murmured at the edge of the lake!

Enjoy a tour of the nearest temple (if your donation was generous enough!) to take in its wonders and marvellous puff of incense. Study the shrines and deities in between posing for photographs for the local worshippers who may even present you with their babies to hold for the snap, it may all feel a little overwhelming, but everyone is very friendly – smile and say cheese!

SLEEP 'N STAY IN A HAVELI

There are many cheap places to stay, but for a little more, I’d recommend Inn Seventh Heaven all the way!

The moment you step off of the streets of Pushkar and into this beautifully restored, 100-year-old Haveli, you’ll feel instantly transported to another world! The welcoming courtyard, which is also the restaurant ‘Sixth Sense,’ is complete with a central fountain and provides adorable seating nooks half hidden behind palm leaves and ornate screens, where you can quietly read or contemplate all you have experienced in Rajasthan.

Climb up – towards the heavens! – for a relaxing night of slumber in one of the uniquely decorated cloud-white rooms. Incorporating hand carved antique chairs, tables fashioned out of wooden shutters and doors, the views from the windows are framed by gently floating drapes, all offering an elegant yet laid back Parisian-chic appeal.

We were lucky enough to stay in a room on the top floor with a huge glass ceiling dome, so we felt truly beneath the Heavens! The creeping plants growing over the green glass dome were silhouetted by the morning sunlight – all just magical and enchanting to wake up to along with the mesmerising sound of otherworldly singing coming from the Temple around the corner!

Just be sure to bolt your heavy wooden door at night and don’t leave your shoes out as monkeys do roam the town throughout the night!

This oasis is the perfect escape from the action and bustle of the vibrant bazaars. If you seek tranquillity and solace all at an affordable price, then Inn Seventh Heaven is your haven! Meanwhile, the Sixth Sense restaurant is a truly dreamy, sumptuous setting for the fragrant flavours of traditional Rajasthani cuisine!

Sit by the fountain and enjoy a Pushkar speciality – the delicate taste of rose lassi – it doesn’t get more romantic than this!

And don’t pass by on a massage in the downstairs suite, it’s more of a sports massage so you’ll feel extra loose for that yoga session in town!

ride the savitri mata ropeway

Go late afternoon, climb the 1100 steps to the top and take in the spectacular views before hitching a lift back down on the ropeway. Unfortunately, we left it a little too late to catch the Savitri Mata Temple at the top, but visiting this temple is a must, the setting is outstanding! Despite this we still took in the majestic bird’s eye view of Pushkar, surrounded by families of monkeys – just watch they don’t come too close and steal your bags!

There is a little café stall at the top, with water and soft drinks to quench your thirst on those hot days though it is a little more breezy at this elevated height than down at city level.

We really enjoyed the views on the way down, the sun set reflected in the lake far below. It was rather like being inside a Howard Hodgkin painting!

However, around half way down, the cart suddenly stopped for about 10-15 minutes. This was a little alarming, the other two couples in the cart did not seem to speak English and there was no way of knowing what had happened. We were left swinging in the wind for about 15 minutes until we started moving again. But I guess this just made the sunset soiree all the more memorable!

Note – there can sometimes be queues, make sure you’re prepared to wait a while when it gets busy!

feast in restaurants with unforgettable views

The town of Pushkar is a wonderful place to explore. There is so much to see and take in – but don’t forget to look up! Many restaurants are just a doorway at street level, with seating often sprayed out on balconies and viewing platforms on roofs, towers and terraces. It often feels like every elevated horizonal inch of Pushkar is put to good use so as to maximise the views of the lake and mountains. Start your day with a coffee and/or lassi overlooking the lake contemplating the beauty of this part of Rajasthan.

Many of the restaurants are vegan, you’d be hard pressed to find non-vegetarian ingredients, though you can take a trip to Ajmer if you need that protein kick . . . .

Pushkar is supposedly alcohol free too, but you’re sure to find a cheeky drink, served in the disguise of a thermos cup, if you ask around. . . .

The currys at the Laughing Buddha are excellent. However, be mindful if you order salad and pasta dishes (there is a Mediterranean style restaurant) but I’d recommend to stick to the traditional cuisine as the water used for cooking might not be drinkable.

There are lots of street food stalls too which are even cheaper than the restaurants! Go for the busiest ones, enjoy the flavours surrounded by the smells, cows, sights and sensuality of the streets lined with stalls and bejewelled by the town’s colourful inhabitants.

take in the magic of the bazaars

Shopping is a big thing here! You’ll find all sorts of mementos, souvenirs, gifts and treasures in the market stalls of Pushkar. It’s a wild and enchanting experience to roam the narrow streets lined with shops and stalls, overspilling with Rajasthani curios. From ornate padlocks to bangles, gracefully posed deities, handmade shoes and bags to even vinyl records the goodies are tantalising! Affordable saffron, quality Ashwagandha and ayurvedic treatments can also be found amongst the treasure troves of jewellery and statuettes!

The stall owners are always very friendly and not too pressurising, they tend to understand if you prefer to come back later, when it’s less hot or when you’ve had a chance to get more cash!

It may be a little risky using the ATMs in Pushkar, but there is a good bank. You’ll be shown inside and be able to sit while you wait, as obtaining cash can take a while!

Purchase anklets from the wondering women, parading through the streets with their wares. You’ll come across all sorts of characters, from beggars and priests to hippies and bohemians maintaining the Pushkar vibe from the 70s to the 20s!

visit the musuem in ajmer

If you want a little break from the sights and scenes of Pushkar, I’d recommended a trip beyond the hilltop pass, over Snake Mountain or Nag Parbat, a little further afield to Ajmer. Most likely you arrived by train in Ajmer in order to get to Pushkar, but there is much more than just a train station in this town!

You can book a taxi through your accommodation, or hail a Tuktuk for the journey of about 10km which takes roughly 30 – 40 minutes with stunning views of the Avalli Mountain Range. Distinctly Muslim in feel due to rule by Delhi Sultans since the late twelfth century, Ajmer is still an important site of Islamic pilgrimage today. Set around the Ana Sagar Lake, the city’s hustle and bustle is quite different in feel to Pushkar’s alternate vibe – it’s worth a trip to have a look around!

We prioritised visiting the museum in Ajmer and it’s a real surprise, a wonderful hidden gem! To start, we decided to savour the taste of a refreshing masala chai, served from a stall in the museum’s garden area. Of course this was served in wonderful handcrafted terracotta cups – no paper and plastic coated ones here!

(I wish I had taken a photo of all the masala chai stalls I came across in India, with their towers of charming terracotta vessels! They are so beautiful in their simplicity and of course tea tastes better when served like this!)

Energised from the sugary, cardamom-infused elixir, we entered the museum and proceeded to the main courtyard repletely lined with upstanding cypress trees, echoing the uniformity of the surrounding pillars.

Commissioned by Emperor Akbar, with construction commencing in 1570, the museum not only holds an important position in Ajmer but in historic relations between India and Britain. Originally known as Akbari Fort, the complex honoured the Sufi Saint Khwaja Moin-ud-din Christi.

Within the honey coloured Garden pavilion is a display of mannequins, depicting Sir Thomas Roe in a tricorne hat and curly wig presenting a charter to the regally dressed and magnificently serene Mughal Emperor Nur-ud-din Salim Jahangir (1605 – 1627). Roe was sent to India on behalf of James I of England to this very Pavilion in order to secure permission for the East India Company to enter into a trade agreement with India and to establish the first factories in Surat.

We proceeded to look at the collection of painted miniatures in the museum, then onto the artillery collection – and my what an assembly! There were cannons, bayonets and guns from Topider to Donali and warrior helmets, all impressively displayed. Swords from Kaatar to Farsa and Jagnol demonstrated Medieval weapons of warfare. A very enthusiastic museum guard wanted to name and explain every piece to us in broken English; he did not want us to miss anything. It wasn’t all quite up my street (hence no photos!) but his enthusiasm for our benefit was contagious!

Next we took in the spellbinding presence of some of the Museum’s incredible collection of over 600 stone sculptures. Arranged in an orderly manner along several corridors and in quiet, reflective alcoves with space to breathe between each one, an awe-inspired reverie commenced. Striking both familiar poses and unexpected meditative positions, it felt as though these pieces were living and breathing, quietly observing us through the centuries in complete stillness and eternal silence.

It would be impossible to not feel moved by the quiet majesty and enthralling calm of this assortment of carvings. The whole experience was mesmerising and completely unforgettable – a real highlight of my little adventure to India!

With so much to take in and learn, and so many stories about Rajasthan and the history of India, be sure to add the museum to your Pushkar list – don’t miss this special experience!

catch sight of the camels!

In search of a new way to get around? You’ll come across many camels in Pushkar and this part of Rajasthan! These magnificent creatures process around the wider backstreets of the town, drawing their passengers in decadent carriages, just like something from an Indian Miniature painting! Of course you can hitch a ride, or even go on an arranged camel safari, but it is just marvellous to see how these beasts are a staple of the Pushkar province.

If you’re lucky enough to visit Pushkar between October and November be sure to check out the Pushkar Camel Fair. This spectacular week long festival is held on the Kartic Moon of the Hindu Astrological calendar and also goes by the local names of Kartik Mela or Pushkar Ka Mela. According to mythology, this phase of the moon is also the time when Lord Brahma created the lake at Pushkar, the perfect reason to celebrate!

Camels from all over Rajasthan and even further afield are brought to the festival to be bought, sold and traded. Many are bedecked in pom-poms and colourful adornments for the beauty contests!

This spectacle brings about 40,000 visitors to the area so it’s advisable to book accommodation and transportation well in advance so as to join in with all the fun of the fair! With Ferris wheels, performances, fortune tellers, magic shows and music, bazaars of artisanal handiwork and food vendors all adding a buzzy flair to the festival, games of cricket and musical chairs offer a competitive edge! There is also the longest moustache competition! And wonderful opportunities for photographs. This fascinating tradition is certainly on my bucket list for my next trip to India!

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Juntar Muntar

No visit to Jaipur would be complete without stopping off to take in the perplexing, the impressive and almost surreal array of astronomical instruments that is Juntar Mantar!

Feel like a tiny Polly Pocket as you wind your way between towering walls of mathematical precision, silent discs of yellow stain and pink hued ramps stretching up to the heavens, akin to some kind of megalithic metropolis. Watch shadows gracefully progress around the markings etched on the world’s largest gnomon sundial, the Vrihat Samat Yantra, meaning ‘King of All Instruments,’ as the passage of the sun is measured in time. Stelae-like slabs of marble, hovering circles of bronze and inverted cupolas in the ground further the ethereal, prehistoric feel of the site.

Gaze in wonder at lofty edges of parabolas arcing upwards towards the celestial plains. Ponder at the staircase to nowhere, stretching upwards for a rendezvous with the cow that jumped over the moon . . .

The 19 instruments of Juntar Muntar mark the passage of the constellations in the dreamy night sky; the occurrence of eclipses and zeniths; the speed, motion and passing of time of the firmament’s astral beings.

Almost like the preserved remains of an ancient civilisation, it’s magical and intimidating all at the same time. A little like finding yourself in a Giant’s tool kit (if Giants do DIY that is?) or stumbling onto the film set of some sort of inter-galactic sci-fi blockbuster. . .

Despite this otherworldly appeal, Juntar Mantar was built between 1724 and 1734. Commissioned by Jai Singh II (r. 1699 – 1727) the instruments were used up until the 1940s to track Jaipur’s solar time and to calculate the passage of the solar system’s planets. During the British Raj the observatory fell into a state of decay until it was restored by Maharaja Madho Singh II in 1901.

Jaipur’s Juntar Muntar is the largest and best kept of Jai Singh II’s five observatories. The oldest one is in Delhi, (built between 1724 and 1727) with its impressive symmetrical Misra Yantra, shaped rather like a colossal fruit-bearing flower. The other observatories are located in Varanasi, Mathura and Ujjan, where the special instruments of bone white sit on the Tropic of Cancer, governing India’s time meridian.

Jaipur’s instruments are accurate to the naked eye to within three seconds, the colossal scale also serving as a reminder of the endless expanse of the heavens and the perplexing divinations used to record and measure something as transient as time. Be prepared to be amazed by the human vision and ingenuity of Rajasthan!

Although you may imagine running up a curving beam, climbing up the steep staircase or sliding down a pitched slope, (a playground for adults) the instruments make for better photo opportunities! Go at sunrise or sunset for spectacular Instagram pics with dynamic angles and light and shadow effects. Just don’t feel tempted to actually clamber over this magnificent UNESCO world heritage site!

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Hawa Mahal, Palace of the Winds

'' I want something in which even if a piece of stone falls after 100 years, people will come here from all the world to see.''

– Maharaja Sawai Pratap Singh

The Hawa Mahal, or ‘Palace of the Winds’ was envisioned by Maharaja Sawai Pratap Singh, the grandson of Maharaja Sawai Jai Sing who founded the city of Jaipur. In 1799 Maharaja Sawai Pratap Singh commissioned a well known architect of the time, Lal Chand Usta, to create a viewing gallery as a safe and respectable place for his wife, the Maharani Jaiwanta Bai, to observe the city’s ebb and flow whilst she and her ladies-in-waiting were confined to Purdah.

And oh want an elaborate display!

This ethereal masterpiece sits like a lotus flower about to bloom, enticing and seducing the onlooker or passer-by with its domed canopies, intricate filigree, sweeping balconies and cascade of arches. Tiny little windows with green wooden shutters add an element of mystery, opening and closing at random as visitors explore the inside of the Palace and look out to the city and crowds below them!

Blushed with the customary pink hue of Jaipur which symbolises hospitality, every inch of this façade is encrusted with finials, radiantly patterned jaali screens of chuna lime and showy niches, a marvellous mix of Rajputana and Mughal styles. Many of the lace-fine details are highlighted in white, suggestive of the delicate veins found in flower petals.

Towering five storeys high, this rosey-tinged opulence appears almost like an optical illusion from the ground as the top three layers taper in a pyramidal form to just one room thick. The Hawa Mahal is supposedly the world’s tallest building without a foundation and is built on a curve at an angle of 87 degrees for stability!

A devotee of Lord Krishna, Maharaja Sawai Pratap Singh wished the palace to be reminiscent of the crown worn by Krishna. The peacock holds special symbolism in Indian Culture and Lord Krishna’s crown is often depicted as being fashioned from peacock feathers.

This ethereal, architectural wonder echoes the forms and patterns found in the outspread plumage of a peacock’s train – an extravagant and recognisable landmark very fitting for a Queen!

how to get there

Located near the Badi Chaupar Square, Hawal Mahal is about 12 km from Jaipur airport and 4.5km from the train station, just around the corner from the Jaipur City Palace.

Head across the square and up the staircases to the Café of the Winds opposite for unbeatable views of the palace’s delicate pink altitudes.

For an experience on the inside turn right from the square and then right again into the little alleyway to the side of the Palace. The main entrance gate is Anandpoli, surrounded by five sculptures of different gods. Follow through to the courtyard beyond where the tinkle of a water fountain sets the scene.

pause within whilst peeping out

Climb up through the layers of this building, each one like a different flavoured tier of an elaborate wedding cake!

There are few steps – the building is designed around a series of ramps. And why is this? Well the Queen and her friends wore bejewelled sarees laden with heavy materials, often weighting several kilograms. As such, the women could sit in carts and be wheeled around by attendants! Imagine racing from the very top, go-kart style down the ramps and to the ground floor – just the thought is enough to make you feel dizzy!

Pendour Pro-Tip

With gently sloping ramps all the way to the top, you can take your time on the climb up, progressing layer by layer, or run up to the top and take in all the details more slowly on your descent.

The ground floor, known as Sharad Mandir relates to the season of Autumn when many festivals would have been held. Just image the Palace filled with the sight of Jaipur’s most elegant women celebrating these Autumnal rites from the privacy of the Hawal Mahal.

Ascend to the second floor, the Ratan Mandir. The word Ratan translates to ‘precious stones’ and here there are a sprinkling of small stained glass windows capturing the glint of the sun and projecting beautiful colours onto the inside walls!

In contrast to the terracotta pink of the outside, the interior is a beautiful shade of light buttery yellow. Long galleries are punctuated by graceful arches, just crying out for a game of hide-and-seek!

And look out for the breathtaking doorways! These ornate portals are so mesmerising with their gorgeous patterns and materials, which often seem reminiscent of the colour, pattern, shape and even the iridescent sheen of peacock feathers, continuing the outdoor architectural theme in the palace’s interior.

Continue your ascent towards the summit of the building, passing the Vichitra Mandir, or ‘Unknown’ floor. These rooms, many of which are still closed off today, were reserved for the Maharaja Sawai Pratap Singh, who used this space as an escape from the City Palace, to retreat and compose poetry in honour of Lord Krishna.

From here the ramp begins to get a bit narrow and dark. We recommend wearing flat shoes to avoid slipping and to bring a torch if you’re a little claustrophobic, or nervous in the dark!

Prakash Mendir is the name of level four. You’re almost at the top! Prakash refers to light and on this level there are many balconies with spectacular views of Jaipur. Little cupola domes offer some shelter and photo opportunities (hopefully better than mine!)

You can just imagine the ladies coming up to this platform to take in the sunlight and enjoy the views!

As you go, don’t forget to pause and peek out of the some of the jharokhas – the little shuttered windows! There are 953 windows to peer out of, all offering cropped views of the cafes opposite and the frenzy of traffic below and the spread of the pink city, stretching out to the horizon.

The effective design of the building enabled the royal ladies to look out at the everyday street scenes and festivals of Jaipur whilst not being seen themselves. This enabled them to feel connected to the people of Jaipur whilst in Purdah. Of course the view now is all cars, mopeds, tuk-tuks and bicycles, but the Temple of the Winds still retains its elegant demeanour from a bygone age. The view may have dramatically changed since the eighteenth century, but the spirit of this place certainly has not!

It’s rather like being inside of a giant Christmas Advent Calendar, which window will open? Who, or what surprise will be concealed within? Yet this towering array of windows are full of the elegance and rhythm and hum that is only India!

Ahh the fifth floor! Finally the apex of the building known as ‘Hawa Mandir’ and for good reason – it’s breezy! Although often crowded at the top, it’s a good opportunity to take in the whole experience of this magnificent pink palace, before beginning the descent!

Pendour Pro-Tip

Hawa Mahal may be busy with locals, who might be just as interested in photographing you as they are the palace! Some may even hand you their young children and babies to hold for taking photos! Smile – you’re in India! (And probably all over someone’s facebook!)

easy breezy

The Hawa Mahal is on an east-west axis, matching the natural air flow in this area. The moving air picks up moisture from the main courtyard’s fountain, where it rises and the cooler air falls. Sweeping through the pierced little openings of the lacy screens and the shuttered windows, the air pressure drops, but the speed increases to generate a refreshing breeze. No need for electricity-hungry Air Conditioners here! Known as the Ventri effect, the idea supposedly came from the arches of the Khetri Mahal palace in Neemka Thana (also in Rajashan) where ramps enabled access to the top floors on horseback!

The jharokhas of the Hawa Mahal, which are different sizes and shapes on each floor can be closed and opened to control the movement of air depending on the weather and particular seasonal use of the room within.

The Hawa Mahal is not only a delectable feast for the eyes, but a climate responsive masterpiece that we can learn a lot from today in the context of the climate crisis. Perhaps we can use the principle of harnessing the movement of air to future proof the architecture of today? A hotel with 1,000 windows anyone?!

Even with a few cracks and the addition of structural supports here and there, the Hawa Mahal has certainly stood the test of time and remains a landmark masterpiece not just in Rajasthan, but in India. As Maharaja Sawai Pratap Singh intended, the Hawa Mahal continues to draw in crowds from all over the world more than 100 years since its conception!

pendour pro-tip

There is a little hut in the main courtyard selling snacks and masala chai, with benches to sit on nearby, enjoy some refreshments as you enter or leave – or both(!) – in the presence of this magnificent wonder!

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City Palace Museum, Jaipur

The City Palace is a unique and special complex featuring temples, fountain-flecked courtyards, tranquil gardens, cafes, elegant restaurants and is the residence of Jaipur’s current royal family.

Artefacts, miniature paintings, riches and clothing owned by the Maharajas are housed within the Palace’s collections and delicately decorated pavilions. You will feel transported to a regal wonderland of unrivalled splendour as soon as you enter through one of the enchanting archways!

Petit Past - A Little History

In 1727 Kachwaha Clan ruler Jai Singh II (r. 1699 – 1744) moved residence from the Amber Fort to a newly built city 11km away due to a surge in population and an ensuing water shortage. He wanted to establish a new kind of city, open to diverse settlers and fruitful trade opportunities. Straddling the Ajmer-Agra highway, Jai Singh II implemented a grid-formation on this site for the new city of Jaipur.

Inspired by the formal qualities of Hindu architecture, the wide streets and grand crossroads enable easy navigation around the bustling crowds and brash traffic of today.

Under the thoughtful architectural design of Vidyadhar Bhattacharya, a well known architect of the time, the City Palace and much of the Old City of Jaipur were completed by 1732.

Arts, crafts and jewellery making flourished under the reign of Maharaja Sawai Pratap (r. 1778-1803) who commissioned the astonishing Hawal Mahal, or ‘Palace of the Winds’, one of Jaipur’s – and India’s – most fabulously stylised and globally recognised masterpieces.

Jaipur became an important city for the East India Company of Great Britain in the early 19th century and during the British Raj in India Jaipur positioned itself as one of the leading autonomous ‘Princely’ states. The Maharajas and their ministers continued their reigns from the splendour of the City Palace.

It was during the reign of Maharaja Ram Singh that the city was painted in the iconic pink shade in honour of Prince Albert’s visit, the eldest son of Queen Victoria, and became known as the ‘Pink City’.

Following Independence and the Second World War, Jaipur City Palace welcomed its first public guests in 1952. At this time it was compulsory to wear a turban when visiting.

Today, the City Palace is a popular tourist attraction and remains an important cultural and historic landmark in Rajasthan. Turbans are no longer required – but be prepared to be blown away by the Romantic feel, pink-kissed tint and serene ambience of this stately setting!

How to Get There

The city palace is located between the markets Badi Chopar and Choto Chopar, about 12 km from Jaipur airport and 4.5 km from the railway station. Next door is the spectacular Juntar Mantar and the palace complex is just few minutes walk to the Hawal Mahal, or ‘Palace of the Winds’.

Take a taxi or rickshaw, or walk through the alleyways off of the main Jhotwara Road.

There are three entrance gates, although the Tripolia Gate is reserved solely for the Royal family’s access. Visitors may enter the complex through either the Viendra Pol or Udai Pol gates.

The Viendra Pol is near the spectacular Juntar Muntar and leads visitors to the sun-filled Mubrak Mahal, or ‘Welcome Place’ courtyard, the heart of the Palace complex. Here, a buttery yellow haveli takes centre stage, surrounded by cute manicured gardens replete with fountains and flowers.

Meanwhile, the Udai Pol gate leads to a series of internal corridors before visitors emerge in the pinkburst haven of the Diwan-I-Khas.

This regal wonderland is a far far cry from the thunder of hectic life out on the streets of Jaipur beyond the Palace gates!

Mubarak mahal

The very heart of the City Palace complex, this sun-filled courtyard features gorgeous doors dotted around the edge, leading to the Museum Galleries, restaurant and Atelier.

Symmetrical from all four sides, the central Pavilion was constructed with overhanging balconies of white Andhi marble in 1900 as a sumptuous space for receiving guests.

Today the building houses offices, a library and the Textile gallery. Marvel at a rare Pashmina carpet from 1650 and the decadent outfits of some of Jaipur’s Maharajas. Also on view are the Polo cups and outfits belonging to Maharaja Sawai Man Singh II, who is a very accomplished sports player.

Due to the delicate nature of many of the artefacts in this pavilion, photography is not allowed.

Rajenda pol

Two beautiful elephants flank either side of this ornate gate. Replete with dainty, overhanging balconies and delicately carved details, it’s a delight to enter!

. . . . Follow through the wonderous marble and arrive at the courtyard of the Diwan-i-Khas beyond.

Diwan-i-khas

After passing through the Rajenda Pol Gate, or if you entered the palace complex via the Udai Pol gateway, you will come to the Diwan-i-khas, a pink infused courtyard with steps leading up to an ornately designed, open-sided hall.

This private audience gathering space has been the site of coronations and regal appearances, a place of living history and a fusion between private and public duty for the Maharajas. And no wonder, with its decadent feel and columns of stone pillars, this pavilion offers a captivating sense of grandeur and majesty. It’s sure to delight and enthral.

Elaborate chandeliers hold sway above the delicately scalloped archways and marble floor. Enveloped by pastel-coloured hues echoing the rosy pink of the city beyond the palace gates and frothy white highlights in the Mughal style, it’s a sublime treat for the eyes! Prance and dance your way through the chambers for those impressive photo opportunities!

Silver So Good

Marvel at the two Gangesjalis (Ganges water urns), the largest single pieces of silver in the world! Fashioned from 14,000 melted coins, with no soldering, the urns are 1.6 m high and weigh a whopping 340kg, even when empty. With a capacity of 400l, the urns were specially made for Madho Singh II who ruled from 1880 – 1920 for storing holy drinking water from the Ganges during his visit to Britain for the coronation of King Edward III.

And whilst you’re admiring the resplendent architecture of the Diwan-i-kas, and imagining you’re a member of the royal enterage, have your photo taken with the guards, hansomely dressed in their spotless white uniforms replete with golden buttons and contrasting scarlet turbans!

The clocktower

Stepping out of the audience hall and back (to the real world) don’t miss views of the Palace clocktower. A more recent addition to the Palace, the clock by Black and Murray and Co. of Culcutta was introduced in 1873 to an existing tower to bring a little European essence and perhaps increased punctuality to court proceedings!

Pritam Niwas chowk

Expect this courtyard to be busy, and for good reason!

Pritam Niwas Chowk translates to ‘Courtyard of the Beloved’ and it’s certainly a picture perfect view! Four deliciously adorned brass doors, known as Rhidi Sidhi Pol, grace this stately cloister. Grandiosely bedecked with complex patterns and alluring kaleidoscopic colours, it’s enough to make you wish you’d brought a watercolour painting set with you! Each of the stunning doors honours a Hindu god and one of the four seasons, determining which door the Maharaja uses to enter the Chandra Mahal, for example, entering by the Lotus, or Summer Gate during the Summer months.

Take care not to damage these wonderful doors so that many more visitors can enjoy this experience in future and to ensure Maharajas can continue this Seasonal tradition for many years to come!

chandra mahal

The Chandra Mahal, or ‘Moon’ Palace is the official residence of the Jaipur royal family. Split across seven levels, it offers further opportunities to experience fairy-tale splendour! Indeed, the ticket type to perceive all this inspiring architecture is called ‘Royal Splendour’ – be prepared for a considerably higher ticket price!

Visitors can take in the magical Sukh Niwas with its cool blue scrolling patterns across the walls and ceilings; the mirrored room of Rang Mandir and even the unforgettable views from the rooftop, where flags are flown to symbolise the presence of the Maharaja.

Custodians of the Royal Palace and its collections, Her Highness Rajmata Padmini Devi lives with her daughter, the Princess Diya Kumari in the Chandra Mahal. A member of parliament since 2019 and a business woman with a portfolio of exclusive hotels, the Princess Diya Kumari’s charitable Foundation strives to empower and engage deprived communities in Rajasthan. With a focus on sustainable programmes, the Foundation particularly supports the enrichment of women’s lives at a grass-roots level.

The Princess Diya Kumari is joined by her children, His Highness Maharaja Sawai Padmanabh of Jaipur, Princess Gauravi Kumari and His Highness Maharaja Lakshraj Prakash of Sirmour, who are all very much involved in a range of high profile charitable projects dedicated to improving the lives of the people of Rajasthan.

Whilst celebrating and maintaining the heritage of the City Palace, the Royal Family have also taken on projects such as the Baradari Restaurant and have developed a range of products in the Palace Atelier to engage local and traditional artisans and architects so as to future proof the legacy of the Palace.

Baradari REstaurant

Meaning ‘pavilion with 12 doors’ in Urdu, this renovated architectural gem boasts an impeccable dining scene, perfect for a palace!

This 2016 reimagining of a café area in a somewhat forgotten corner of the palace complex was designed by Delhi-based architect Ambrish Arora and his Studio Lotus team. They previously worked on the Mehrangarh fort and designed Raas Jodhpur boutique hotel; Baradari is no exception to their visionary approach.

Fringed with elegant water pools, a sculptural fountain cascade, palm fronds and decked out with stylish tables and chairs, this fine-dining destination is a place to meet-up and chill out from the heat during your visit!

Rest those aching feet weary from exploring the city upon the chevron inlay floor – a impressive modern twist on the traditional Rajasthani leheriya, a repetitive hand dyed stripy pattern – and a response to the craftmanship and architectural expression of the region.

Sip a cocktail as you take in the age-old masonry, once hidden behind layers of concrete plaster and now since painstakingly restored with use of traditional lime mortar. The organic nature of this centuries-old courtyard is truly celebrated by the reinterpretation of the palace’s historic legacy.

In addition to being accessible from within the place gates, Baradani also has an entrance direct from the city, so that it acts as a connective point between the palace and Jaipur. With seating for up to 200 and a separate lounge and private dining room, the whole space is centred around an impressive glass pavilion. Its contemporary, minimal lines open up the narrow courtyard visually whilst acting as a focal point anchoring the intimate dining alcoves along either side. The whole feel is dynamic and effortless, a seamless interplay between echoes of the past and design tastes of the present.

Marble and glass, brass and steel provide a classy sophisticated tone to the detailing, from the lighting to the door handles, complimenting and contrasting the rustic character and charm of the courtyard. Age old techniques meet contemporary design from the mirrored walls to the Thikri patterns found on the ceilings, archways, ceilings and age-worn niches.

Even the menu celebrates the traditional colours and flavours of Rajashtani cuisine, with an up-market, street food inspired spin. Where else can you sample Aloo Pyaz within one of India’s Palaces? Italian dishes and snacks can also be enjoyed for a kick of international seasoning, a reinvention of food, going hand in hand with how traditional craftmanship meets contemporary design in these surroundings.

Baradari is more than just a restaurant in a city attraction, it is a prime example of how a historical building and traditional craftmanship can be adapted for use in contemporary times.

pendour pro-tip

Stop by the palace atelier to purchase some exotic sarees, table linen, hand fans, cushions, perfume and even chests of drawers all made by hand using traditional techniques. The Queen is a strong supporter of hand made goods and keen to inspire her visitors with the handiwork of (especially the women) of Jaipur!

You may even be able to find your own Gangajali! The royal family have put their own contemporary spin on some of the products, with polo themed gifts and momentos and educational children’s books, toys and puzzles.

There is also a small bookshop selling postcards and a whole range of books on subjects ranging from arts and crafts, the history of Jaipur to food, yoga and the royal family. But if you’re travelling light, you may like to pick up a CD (Walkmans rule!) from the shop to remind you of your pink palace experience and time in Jaipur!

pendour picks

Pink Paradise : A Quick Guide for Visiting Jaipur

Linda Bell

Juntar Muntar

Linda Bell

Hawa Mahal, Palace of the Winds

Linda Bell

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25 - 02 - 2406 - 08 - 24

Heath Hearn : ‘By this River’

From the Tamar to the Thames

Flanked by a church at either end, the Putney Bridge offers open views of the ebb and flow of the river Thames; its mud larkers scouring the banks for history’s hidden gems; the back and forth motion of the coxes preparing for the Championship course and an array of different coloured boats in mooring, swaying in time to the gentle lull of the water. The towers, cranes and traffic of London seem to recede into the distance, replaced by views of open sky, clouds and passing aeroplanes – all reflected in the ripples of water below. It’s almost as though you’re not in the city at all.

Just a few strides from the Putney Embankment, situated not far from one of Alan Thornhill’s Sculpture Trail artworks, can be found The Russell Gallery with its expansive windows, piquing the gaze of all who pass by.

Established as a predominately figurative gallery specialising in Modern British Art (think tasteful naïve-style still lives and gorgeous, tactile hand-scale bronzes) the abstract paintings of renown Cornwall based artist Heath Hearn and his partner Katy Brown are frequently on view. Currently hosting ‘By this River’, an impressive solo exhibition of Heath’s captivating work, the gallery glows from within as the energy of the Tamar river is brought close to the tidal flow of the Thames.

Swathes of colour, from bright piping hot cadmiums to dusty buffs and effervescent pale blues exude a charming calm and vapourish essence. Stepping into the Gallery you are instantly drawn to the fresh palette enfolding, like a meandering river, around deeper rusts and steely English green-greys.

Working from a studio which was once the cricketers’ tea room on the Mt Edgecombe estate on the Rame peninsula in south east Cornwall, Heath has a vantage point overlooking the Tamar estuary. Caught at the mid-point where salty tides meet the Tamar’s rush of fresh, peat-rich water flowing for some 60 miles from the granite-stippled, fearn-filled, lichen-specked Bodmin Moor, the Riverine watercourse is captured in the feel and tone of the exhibited paintings.

The airy pink pastels of ‘Veiled Landscape’ coat the compositional forms in velvet. Evoking the early morning dew little clouds of vapour lift like a mist exhaled from the flowing river, seeping across the formal parklands of Mt Edgcumbe. The central area of ‘River Blossom’ – a blurred amass of white, a little like lamb’s wool – appears laden with water droplets, the delicate blooms of spring rendered as though they have been exposed to the river’s chilly flicks of spray.

In works such as ‘Port Wrinkle’ the central frenzy of white brushstrokes is reminiscent of the frothy white caps whipped up by the ferocious of waves – you can almost feel the sea-spray settling on your face. The trailing rush of deep warm blue elopes around a current of white in ‘Warm River Breeze’. Heat and humidity coalesce as the river breathes its summer course.

The sizzling hue of ‘Cadmium Watermark’, offers a heightened impression of the heat of summer, the lighter pink tones tumbling downwards almost like a waterfall nearer the source of the waterway. A fine delicate line folds upwards in contrast to the lighter tone spilling forth, resonating with Robert Motherwell’s (1915 – 1991) ‘Open’ series.

The diagonal line splitting the central rectangle in in ‘Shoreline (RD)’ along with the sloping interlocking forms of ‘Canal and Flyover (RD)’ pay homage to Richard Diebenkorn’s ‘Ocean Park Series’ of the 1960 and 70s. Heath imbues scenes of Cornish river life with the diffused, glowing light of California transposing a sense of glamour borrowed from mid-century Santa Monica. Heath revisits Diebenkorn’s balanced compositions to reimagine the Tamar under the spell of the tradition of colour field Abstract Expressionism. And in ‘Morning Light’ Diebenkorn’s cityline along the Pacific Ocean is almost transported across place and time to an English estuary on a slightly overcast day with added echoes of the St Ives School.

This play of dialogue and style continues in the piece ‘Locked Gate’. Whilst the title suggests closure and curiosity about a forbidden area, the soft watery feel of the layers of paint and central slant of blue convey delicacy and wonderment. Time is required to see, look and fully appreciate the seductive subtleties in Heath’s work.

Having been involved in the Bay Area Figurative Movement, painting scenes of interiors, landscapes and still life, Diebenkorn returned to Abstraction in the 1960s. Unafraid to fulfil his own creative impulses, Heath also switches with dexterous fluidity between Figuration and Abstraction, shifting masterfully between the extremities of these two ranges so as to distil and capture the essence of his subjects.

With somewhat ambiguous titles such as ‘Tacking the River’ and ‘Penninsula and Cove’ many of Heath’s quasi-figurative works offer poetic descriptions of the riverine view and waterside activity, rather than providing specific locations and explanations.

Several works in the show echo one another. We observe how the curious elliptical shapes in ‘3 Boats’ almost form a painting within a painting and appear again in ‘3 Boats and a Bridge,’ their long narrow forms encouraging us to look at this scene once more so as to observe something different at the water’s edge – such as the introduction of the bridge shape in the background. Brunel’s Royal Albert Bridge spanning the Tamar is simplified, the symmetrically arched lenticular forms reimagined and translated into a symbol of a bridge, itself repeated in the eye-catching dart of canary yellow in ‘Water Under the Bridge’.

Gracing stage right in ‘Camping and Glamping,’ a quaint blue caravan makes a further entrance in ‘Camping and Glamping (in Plein Air).’ Both titles suggest that the camping and glamping is happening here and now; the Romance of the British holiday scene spilling out from the stately parkland of Mt Edgcumbe and combining with the London Arts Scene – from the banks of one river to another.

Heath’s honest and direct style is often linked to that of Ivor Hitchens (1893 – 1979) who fled Hampstead during the Blitz of the Second World War to the sanctity of a caravan pitched within 6-acres of woodland on Lavington Common, Surrey. Whilst the woodland provided much inspiration for Hitchens, we can almost imagine him feeling very much at home in Heath’s semi-abstract ‘Camping and Glamping’ caravan on the banks of the Tamar!

The thick blue brushstrokes worked into a grid-like pattern to denotate doors and windows contrast with the looser, more playful patches of colour reminiscent of the pools of yellow and purple in Hitchen’s own painting ‘Trees with Caravan.’ Yet in Heath’s painting, we are exposed to imaginary narratives of camping and Glamping (whatever the weather), rather than the holiday abodes acting as features within a landscape setting.

In ‘Shifting Sands’, which took centre stage upon an easel in the middle of The Russell Gallery on the day of my visit, the texture and application of paint echoes the very fluctuations in layers and levels of saturated sand falling and rising with the tidal surges at the river’s mouth. See that little seductive flash of yellow, to the right of the collapsing dune? Perhaps a child’s beach spade, or a glint of buried treasure?

As I break from my reverie on the banks of the Tamar and the coast of the Rame Peninsula to resume my route back across the Putney Bridge above the rushing rust-toned Thames below, I realise that in light of the current politicisation of the art world it has been restorative to see a London based gallery supporting an artist who has for the most part worked on the outside of the establishment. It is particularly refreshing to experience paintings conveying the joy and freedom of painting and the privilege of being alive and receptive to the beauty of light and nature and water. As much about the riverine environment and its many guises – industrial and pleasure based – this exhibition is a renewal of what painting has oftentimes been about, the very act of painting.

‘By This River’ continues at The Russell Gallery until the end of next weekend – be sure not to miss this tranquil daydream to Cornwall and a chance to purchase one of Heath’s expressive pieces on the banks of one river inspired by another!

You can view the e-book to the exhibition here:

Blurb Books

Heath Hearn’s website: Heath Hearn

The Russell Gallery Address:

12 Lower Richmond Road, Putney, London, SW15 1JP

Tel: 0208 780 5228

Email: ru************@*ol.com

Website: The Russell Gallery

PENDOUR PICKS

The Healing Artworks of the April Sampson Cancer Centre

Linda Bell, 06-08-24

Pendour Picks for Visiting Pushkar

Linda Bell

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11 - 02 - 2406 - 07 - 24

Who were the St Ives School Artists?

W

hat better way to kick-off our cultural section than with a review of ‘The St Ives Artists A Biography of Place and Time’ by Michael Bird?!

Pendour Cove, the inspiration behind one of Barbara Hepworth’s sculptures and the name of our blog is a beautiful scenic walk along the coastline from St Ives.

With detailed colour plate reproductions demonstrating the width and breadth of the artists’ individual styles, this new edition features photographs from the artists’ personal collections and excerpts from letters that have never been published before. All of this helps to shine a brighter light on what drew these artists to St Ives and the surrounding Penwith Moors.

Bird masterfully places us at the crux of what this biography of time and place is about from the very start of the Introduction. We join him sipping a cappuccino in the St Ives Tate cafe, overlooking the surfing activity on Porthmeor beach below. Having inconclusively searched for reasons why a ‘wonky’ nude by Roger Hilton is exhibited alongside a painting of a ship by Alfred Wallis, Bird goes on to conjure a fission in time and space where past meets present. Through the careful study of each of his chosen artists, Bird transports us from the Tate Museum’s gift shop offering mugs decorated with Wallis’ seascapes and Barbara Hepworth themed colouring in sheets for children to descriptions of POW camps, service duties in North Africa, rationing, the space race, beatniks, parenthood and 60s glamour.

With titles such as ‘Landscape with Wild Men’ and ‘Connecting Circles: a detour via Hampstead’ each chapter focuses on a different artist or theme whilst referencing painterly inspirations and forms. We learn how St Ives, although historically difficult to travel to by road was well connected and even cosmopolitan in feel due to its seafaring heritage. We flit from an account of the shipwreck of the Alba, which inspired one of Wallis’ works, to the Spanish Civil War and Picasso’s Guernica. Readers meet the young Terry Frost, catching the train to St Ives past the ruins of Birmingham, Exeter and Plymouth. Gabo’s description of Plymouth burning during the Blitz is interlaced with in-depth study of his constructivist concerns and Perspex maquettes. Bernard Leach’s role in the unfolding development is not overlooked, his Shirakaba expertise placing him as ‘Messenger from the East’, both in St Ives and later on at Dartington Hall in Devon, a further indication of St Ives’ status as a location of cultural fusion and of Bird’s own thorough lines of enquiry.

We learn of Peter Lanyon’s wild side antics, his personal mythology of landscape from his time spent up in the clouds; we read about Nicholson and Hepworth ‘Mondrianising’ their first home in Carbis Bay and christening their next ‘Sky-and-Cherries,’ an amusing take on the Cornish ‘Chy-an-Kerris’. Heron’s thoughts on Cornwall’s luminescent light are revealed and we share in Frost’s relief of the disguise provided by dust-coated overalls, enabling him to pose as a builder when strolling home through the narrow streets. We hang out with Trevor Bell and Bryan Wynter, whose name Bird explains was changed from Winterbottom, a charming photograph dated summer 1933 shows his family enjoying the prehistoric dolmens and wild nature of Lanyon Quoit.

Bird invites us in….

We feel a part of the excitement as the artists hang their 7 & 5 exhibitions and establish the Penrith Society of Arts in Cornwall in 1949. We seemingly float into the audience clapping in anticipation of Wallace Nichol’s Festival of Britain drama performed at the St Ives Guildhall. Such tales are brought back to life and into the present through Bird’s storytelling expertise, with each chapter progressing chronologically, almost mirroring the structure of separate Acts in a dramatic performance or play.

Many of these anecdotes come across as a little humorous perhaps, taking the form of urban legends about the mystique and mastery of the artists. But all of these stories do more than this; they help to focus on the artist’s identities and individual choices for being in St Ives. Through the retelling of such antics, Bird reveals the personalities of these artists beyond their practices whilst revealing a different St Ives to the one we think of today. We are drawn in to the drama and excitement of a St Ives bursting with community spirit, creative energy and ambition in the search for artistic excellence, caught on the tide between ‘ceaseless modernisation’ and Cornwall’s ‘ageless’ charm.

The timeless appeal of the Cornish coastal landscape is noted, Bird claiming its unchanging continuity reassured both artists and the public in the face of war. Projected as a quaint, unthreatening paradise, guidebooks of the time suggested that Cornwall was somewhat ‘sealed-off’ from the after-effects of war, even claiming it had retained a ‘Prehistoric’ identity. However, Bird’s descriptions of Cornwall’s industrial activities, from shipbuilding to mining and farming contradict this utopic mirage. Bird links the Levant Mine Disaster of 1919 by way of Lanyon’s 1950s paintings to disturbing photographic images of the Dauchau and Belson concentration camps. In doing so, Bird provides a record of local Cornish History as much as a timeline of world events, leaning on the artists to offer a summary of the cultural, political and even technological developments of the twentieth century. Even the invention of the washing machine is compared to Hilton’s thoughts about the necessity for an Abstract painting displayed in each and every home in the chapter ‘Spaced Out: Into the 1960s’.

We see the important contribution of female artists, especially in the later chapter ‘Home Ground: Women in St Ives.’ Bird goes on to focus on Wilhelmina Barns-Graham, Sandra Blow as well as Hepworth, at one point listing all of the wives whose husbands are considered to be of the St Ives ‘School’. The women portrayed within these pages are more than supportive house wives – Bird demonstrates how many were artists in their own right, with exhibitions, contacts and collectors of their own. There is a suggestion that the location and energy of St Ives possibly contributed to their independent mindsets and ability to pursue the need to make art at a time when the ‘role’ of women in society was being reconsidered in the aftermath of the Second World War.

Bird expresses how there is a unique narrative and much legacy to consider before evaluating this band of artists as a school just because they happened to be in the same place at the same time. They did not always get on with one another. Bird demonstrates the friction between Lanyon, Nicholson and Heron by referencing magazine articles and suggests that their differences possibly reach an apex when one excludes the other from the excitement of Clement Greenberg’s and then Mark Rothko’s visits – which helped establish the ‘St Ives/New York art axis’. Time and time again, we observe how Bird’s delightfully detailed magnifying glass enlarges the dramas of the St Ives scene to scale up with social, cultural and political attitudes of the time.

The ‘newcomers’ from London were sometimes considered ‘unwelcomed cuckoos’ in Cornwall. If not born and bred in Cornwall, can Hepworth, Frost and Nicholson even be considered part of the ‘St Ives School’? Is it not these very artists that help to bring swathes of visitors to the seaside town every summer? Although such questions remain diplomatically unanswered by Bird, what is clear from his research is that had the artists not found freedom and safety in St Ives, this reactionary group would never have achieved such an immense contribution to the making art in the twentieth century.

A number of reviews have perhaps criticised Bird’s account, claiming it lacks essential inclusion of critical discourse. However, we find many inclusions of quotes by contemporary critics of the time, ranging from Berger to Songtag, highlighting how Bird has taken in different points of view and crafted his narrative of time and place based on established art historical and philosophical analysis.

What we do perhaps discover is that Bird only provides fairly brief descriptions of referenced artworks. Deeper consideration as to the process and significance of particular sculptures and paintings could have been further developed, but this this of course would greatly extend the length of the book!

Bird offers not so much a ‘critique’ on the artist’s oeuvres, nor discusses any individual painting or sculpture at great length to provide a new perspective, argument, or to push a series of thoughts into new territory, but positively provides us with all the information required for us to arrive at our own conclusions. It is only by connecting the individual accounts of these artists, their successes, failures, challenges and achievements in the framework of each other and historic contextualisation that the narrative of the St Ives ‘school’ is finally picked apart and considered as a narrative in its own right.

Perhaps it is fair to say that the artists Bird focuses on were bound together more by their experiences of a particular place and time, rather than their support and commitment to one another or even a single agreement of what it is to be an artist, or what in fact art is and could have been in the mid twentieth century.

In the final scenes we join Hilton and Heron in their cold damp cottages, as they write letters to each other. The very abrupt ending of this biography, with the sudden deaths of Wynter, Hilton and Hepworth within a short time of one another, combined with Lanyon’s tragic glider accident, possibly reflects the sudden ending of St Ives as a major player in the art world, as reflected in the title of this chapter, ‘Terrible Times Together: The Poetry of Departures’. The focus on Graham’s poetry at this point reminds us of the storytelling nature of these misty kingdoms of salty, damp cottages, mermaids and wild, windy moors.

Through his careful research, Bird leaves no pebble on this shoreline unturned in search for answers as to why this group of artists with seemingly little in common are classified as an established group. If you are at all a little curious as to why St Ives played such a major role in the development of mid-century British culture, or if you wish to make the most of your upcoming visit to St Ives, then this biography of time and place is an absolute must for you!!

And if you’ve already experienced the pleasure of reading this book, let us know your thoughts in the comments below!

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08 - 10 - 2327 - 04 - 24

Ayur Ayur Ayurvedic Retreat

Negombo, Sri Lanka

Pendour Perfection * * * *

My partner and I felt so welcome by the hotel’s friendly staff, a cold drink and the gorgeous architecture!

Boasting a touch of Frank Lloyd Wright, an array of topaz blue pools provide a sense of serendipitous tranquility – you have arrived!

This watery affiliation reflects the overhanging balconies above, teeming with tropical ferns and floating walkway bridges connecting different sections of the hotel. Ayur Ayur is a real oasis from the frenzied rush of Columbo and Negumbo.

From your afternoon welcome drink to the laid back, leisurely breakfast, enjoy the symphonic sound of exotic bird song, staged from within the luscious gardens of carefully tended plants. It’s so calming and relaxing – easy to forget you are just off the main road of a big city!

The furniture in the bedroom is so tasteful, high quality towels and linens making a haven for sleep with the plaster textured walls and sensitive lighting. Great ceiling fans and AC, rooms come with delightful balconies and bathrooms are completed to a really high standard. Although in plastic, all guest toiletries are made of natural ingredients – no sulphates to be seen, in keeping with the Aryuvedic atmosphere!

I couldn’t resist and booked in a massage in the Spa and this is the real thing! And very well priced, so don’t deny yourself a well deserved and relaxing experience! The Spa doctor also made a special appointment to look at my partner’s hand which never really healed after surgery and offered an Aryuvedic treatment suggestion. This just goes to show the level of care, dedication and hospitality this hotel provides for its guests, and how much staff want to help you!

Yes… There are mosquitoes about. But this hotel is located along a historic canal, once used to transport spices and nuts to the port. It’s nice how the hotel reception and dining area open out onto the water, rather than just offering this fifteenth century feat of brilliant engineering their behind! Check out the framed drawings explaining this in the welcome area.

Left: Early History: King of Kotte Vera Parakramabahu III (1477 – 1495) constructed a network of canals connecting outlaying villages with Colombo and Negombo for the transport of produce such as cloves, cardamom, pepper and cinnamon to the seaport at Negombo.

Right: Middle History: Around the 18th century, the Dutch commenced the construction of a series of structures, dams and canals using and enhancing the original system of waterways forming a continuous line of waterways between ports and the remote section of territory.

It’s wonderful to savour a touch from the past, so beautifully complimenting the contemporary feel of the hotel. Besides, Ayur Ayur has a lovely boutique shop selling a natural citronella deterrent along with many other wonderful creams and soaps and staff carefully use smoke to manage the bugs. They are only really noticeable at dusk and early morning.

The railway runs parallel to the canal and it’s great fun to hear the trains rumbling past in the distance.

So much luscious greenery all around, look out for colourful butteries by the railway tracks!

All in all an absolutely wonderful experience – I just wish we could have stayed longer . . . can’t wait until next time!!

01 - 10 - 2306 - 07 - 24

Pink Paradise : A Quick Guide For Visiting Jaipur

Famed for its iconic shade of pink – everywhere you look all the buildings and walls are a rosy shade – the hustle and bustle of Jaipur has so much to offer!

From historic sites, ornate palaces, to trendy rooftop bars and museums brimming with treasures, Jaipur also provides endless eye-opening cultural encounters with its manic traffic, colourfully dressed crowds and exhuberently brash attitude to city life!

Breathe in the scent of wafting incense mixed with fiery curry in the city’s famed bazaars teeming with shiny souvenirs, marigold garlands and the occasional holy cow. The ancient and modern worlds collide in an intense whorl of spellbinding palaces, lavish city gates and dreamy havelis against a backdrop of cell phone towers, rubbish heaps, clamorous traffic, crumbing facades and calls of the fruit-cart sellers, wheeling their wares through the city’s hive-like hubbub . The whole experience is intense and perhaps a little alarming at first, though peace can be sought in quiet corners of the City’s palaces and landmark attractions.

places to Pause & perceive

There’s so much to take in just navigating and experiencing a city like Jaipur but if you want to do some sightseeing, here are our top Pendour Picks, a few suggestions to get you on your way, though we’re sure you’ll find your own special places too!

P) City Palace

P) Hawa Mahal

P) Juntar Muntar

P) Amber Palace

pendour pick - a place to perch :

Jai Niwas Garden Hotel

Pendour Preferred **

LOCATION:

3, Jalupura Scheme, Gopinath Marg, M.I. Road, JAIPUR – 302001

EMAIL: ch****@******as.com

It was a delight to stay in this clean and fresh-feeling family-run hotel. The staff are friendly and attentive and the whole place has a real homely charm.

The bedrooms have recently been remodelled with beautiful floor tiling, cosy beds and comfy chairs/furniture and new curtains. Great ceiling fans too! Most rooms face the garden or inner courtyard green, which is lovely to wake up to, sit out on the terrace and enjoy the open space.

Although simple in design, the garden really promotes a sense of peace and expansive space in this bustling city! The balconies and pretty railings are a real feature of this classic hotel, located not too far away from the train station.

Clean drinking water is provided from an outside tap with pitchers to fill and take to your room so no need for plastic water bottles to ruin the vibe. There is a very nice breakfast buffet, but don’t arrive too late as it gets busy!

The evening food in the hotel’s little restaurant is fantastic value! Very tasty, homecooked food and miles better than anywhere else nearby!

Pendour Passages - Getting around Jaipur :

Whilst the Jai Niwas Garden Hotel will happily arrange a trustworthy taxi service so you can explore this large bustling city, you may fancy your chances with Jaipur’s Tuktuks! The talented drivers can not only navigate this seemingly endless city, but the crazy driving style!

Hold on to your hat!

There are few rules of the road here; namely if you are ‘beeped!’ – get out of the way! Just be careful however, as the Tuktuk drivers will always take a detour to treat you to an unexpected visit at their cousin’s friend’s uncle’s sister’s husband’s silk clothing shop or fabric printing studio, where you will feel obliged to fill your boots (or perhaps travel case)! The drivers are of course enthusiastic to introduce you and show you their favourite places from elephant reserves to the best masala chai for a financial incentive, even if you’ve already agreed on a set route/itinerary. But hey. Their charismatic personalities and even the opportunity to get in the driving seat for a few moments all adds to the experience! When in India. . . .

Catching the train in India is like nothing else! Be prepared to have your photo taken again and again by crowds of locals as you await your ride! The train station is a real hub of life, with family groups picnicking, sleeping and lazing around on the platforms, people everywhere, laid out on blankets and patterned saris. Awaiting a train is a main event! Thankfully there are lots of snack stalls going up and down the platforms, and you can even grab a tasty curry plate on your travels as trains will sometimes stop for a while at different stations. The sounds, smells, noise, sweat and companionship is like nowhere else . . . intense, overwhelming and undescribable – so enjoy the ride as the scenery flashes by!!

The Pink Paradise

Despite its sometimes rough appearance and the crumbling nature of many of the buildings, the strangely beautiful dusty pink shade of Jaipur offers a mystical appeal. This uniform aesthetic is possibly part of a grand story dating back to 1876. Maharaja Sawai Ram Singh I wanted to put on a show for the visit of Queen Victoria’s son, Prince Albert of Wales (who later became Edward VII) to not only spruce the streets up a bit but to indicate the kindness and warmth of the people of Jaipur. He decreed the city to be painted this particular gorgeous hue of rosy pink which at the time symbolised hospitality and welcome. This led Prince Albert to affectionally refer to Jaipur as ‘The Pink City’ but if you look closely, you will notice some variations in all the pink, from teracotta, slightly orange shades to bronze-y browns!

(However, at least one leading historian has asserted that Jaipur was always pink to disguise the low quality of the materials used in its construction.)

In 1877 after the Queen of Jaipur declared she was a fan of the pink paradise the city had lately become, the Maharaja passed a law stating that any further buildings in Jaipur also had to be pink! This law has endured meaning that all new buildings, from temples to bazaars and accomadation are obliged to contribute to the city’s requisite pink haze! Love, friendship and hospitality all thread together in the unparalleled, iconic pinkness of Jaipur today.

Although Jai Niwas Hotel is a creamy, buttery shade of yellow and I’m not sure how this one slipped by? If you have any information on this, please add to the comments at the bottom!

Pendour Pro-tip :

Take a bar of soap with you! Many toilets/communal street sinks do not provide this, so I’d recommend you pack your own for any day trips and especially when on the train.

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