Poised in the middle of the Majestic land of Rajasthan, the little known district town of Nagaur can be best described as a place where many historic eras coexist. 

This 12th Century fortress of stone, with the surviving Rajput – Mughal architecture from the 17th and 18th centuries within, has come under comprehensive conservation since early 1993 under the management of the Mehrangarh Museum Trust.

The Sufi Festival will mark the conclusion of the project, which has been handsomely supported by the Getty Foundation U.S.A., The Helen Hamlyn Trust U.K., and Friends of Nagaur from all corners of the world. Our work has been recognized by the UNESCO Asia-Pacific with awards of Excellence and Distinction for Heritage Conservation at both Ahhichatragarh and the Mehrangarh Fort at Jodhpur.

The Trust is dedicated to the preservation and promotion of the unique heritage of this region – its architecture as well as the living and vibrant manifestations of its culture, arts, music, dance and the oral traditions.

A Magical History
The Ahichhatragarh Fort

The magical fort of Nagaur, conveniently situated between Jodhpur, Bikaner, Jaisalmer and Jaipur is also known as Ahichhatragarh. This impressive fort, at the edge of the Indian Thar desert, was created over a period of 800 years. 


From a mud fort in the 4th century to a stone structure in the 12th century, to dilapidation in the 20th century, the Naguar fort has weathered all the adversities of time, history, romance, ambition, and much more. Today after the completion of the architectural conservation work carried out by Mehrangarh Museum Trust over two decades, the fort has reconnected with the magnificent grandeur of the medieval past.

A rich history and the distinct Rajput-Mughal architecture give the Ahhichatragarh a very special importance amongst India's heritage sites. The architectural significance of the complex lies in its spatial organization and the variety of spaces. The plastered stone buildings in Rajput style have interesting architectural elements like protecting jharokhas, cusped bracket arches, carved stone jaalies, wall paintings of excellent quality and mirror work. The juxtaposition of open, semi-open and enclosed spaces of the palaces and Baradaris are interwoven with flow and stored water systems. Various levels of terraces and strategic viewpoints brilliantly combine security with aesthetics.

Climatic considerations govern the placement of solid and open spaces, which are oriented to the northwest and southeast, offering cool summer breezes and the warm winter sun. The expressions of water in the form of aqueducts, wells, step-wells, underground storages, Hamams or Turkish Baths and Kunds or tanks, are all carefully positioned to enhance the aesthetic and environmental value of adjacent buildings and the intensity of the water system here in unique.

The concept of an individual composite Haveli or apartment for each of the queens in the Ranwas is another interesting feature and the very central role of the Zenana is evidenced in the placement of the Hadi Rani's palace.

The outer defensive walls encircle a raised mound of approximately 370m x 400m. The central royal complex is spread over 200m x 220 m and with the main water tanks and gardens the total built up area is of approximately 53,144 Sqm. The palaces and service buildings are positioned in the middle of the enclosure, approximately six meters higher than the surrounding area of the gates and walls. The battlements are placed well away from the palace complex and do not impose upon them. The palaces have open spaces on all four sides and the water system, gardens, water tanks and open courtyards link the buildings.

Most of the surviving structures in the central complex have been built in the seventeenth and eighteenth centuries, a period of intense inter-action between the Rathores and the Mughals. Consequently, while they are predominantly Rajput style, they are distinctly influenced by Islamic architecture. The palaces are mainly double storied except for the Hadi Rani Palace, which is three-tiered. The composite support structure is of load bearing walls and columns at 2.4m to 2.5m on centers; openings are made with cusped-bracketed arches and windows are decorated as jharokhas. Extensive wall painting in the Abha and Hadi Rani Mahals or palaces and the mirror work in Akbari Mahal are important embellishments.

Though evidence suggests that the Palace Complex emerged building by building there is a clearly visible harmony between each and the whole; built in the same stone they now even appear similarly aged.

After the Merger of the State in 1949, additions and modifications occurred, when the complex was used by the District Administration and later by the para-military Border Security Force. Many of the large royal spaces were sub-divided or enclosed with temporary partitions and secured with doors and windows. These twentieth century additions and modifications called " later additions" or "interventions" in conservation terminology are going to be removed while implementing the Conservation Project.

Every fortress has its own destiny in which glory and despair alternate. So too with Ahhichatragarh, which has been veiled in obscurity for so many years. Nagaur and the Fort are now being looked at with new perceptions. Instead of their strategic importance as military strong-holds, they have significance in terms of tourism and as a center for the crafts, that will lead to the re-generation of the economy and a greater awareness of the cultural heritage of this region. Whereas the Fort was earlier sought after as a dependable foothold on the trunk routes of Sindh and Multan into the Gangetic plain and Gujarat, it is today a vital link in the desert triangle of Jaisalmer, Bikaner and Jodhpur. The Rajasthan Government Tourism Department have established a nucleus Tourism Complex at Nagaur and are vigorously promoting the ancient Nagaur Cattle Fair, an immensely important and rich cultural event, alongside the better-known Pushkar Fair.