Photo Gallery

A young woman from Jodhpur wearing traditional clothing and jewellery. A delicate, pink veil is loosely draped over her head. She has a bindi on her forehead, a traditional red dot adorned with a small gemstone. She wears a traditional necklace (often referred to as a thushi or timaniya) with small, gold-coloured pendants, as well as a simpler chain underneath. She wears numerous bangles on her forearms. – Sardar Market (or Girdikot) in Jodhpur – 1990

In the narrow streets of Jodhpur, below the monumental Mehrangarh Fort, street vendors like this and intricate murals are a familiar part of the everyday cityscape. The woman is stringing together fresh flowers, which in India are used for religious rituals (puja), temple visits and weddings. In the metal basin lie orange and yellow marigolds (Tagetes), which in Hindu culture symbolise purity and the divine. – 1990

A woman from the Rabari community is piling the grain she has winnowed into a heap. She is wearing many bangles, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made from materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

A woman is performing the ritual known as ‘threshing’, in which grain (such as millet or wheat) is thrown into the air so that the wind separates the lighter chaff from the heavier grains. The woman is wearing many bracelets, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made of materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

This young woman from the Jodhpur area is wearing the traditional jewellery and clothing characteristic of the nomadic communities in this region. The numerous white rings on her upper and lower arms are known as churas. In many Rajasthani tribes, married women wear this jewellery, which was traditionally made of ivory or bone and is now mostly made of plastic. Her facial jewellery includes a striking nose ring (nath) and an elaborate headband (matha patti). The heavy necklaces with green beads and large metal pendants are typical examples of the region’s tribal-style silver jewellery. – Jodhpur area – 1990

A woman is performing the ritual known as ‘threshing’, in which grain (such as millet or wheat) is thrown into the air so that the wind separates the lighter chaff from the heavier grains. The woman is wearing many bracelets, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made of materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

A woman from Khuri in Rajasthan. Her appearance is deeply rooted in the traditions of the local nomadic or semi-nomadic tribes. The yellow-green headscarf (odhani) protects her from the intense desert sun and is an essential part of the traditional women’s costume. The golden nose ring (nath) with small decorations is a classic feature of married women in rural areas of Rajasthan. She wears heavy, layered necklaces, including yellow pearl necklaces and silver amulets, which often serve as protective symbols. On her arms are the characteristic white bangles, traditionally made of ivory (nowadays mostly plastic). The red dot on her forehead has spiritual significance and often symbolises the ‘third eye’ or her married status. – 1990

A woman from Khuri in Rajasthan. Her appearance is deeply rooted in the traditions of the local nomadic or semi-nomadic tribes. The yellow-green headscarf (odhani) protects her from the intense desert sun and is an essential part of the traditional women’s costume. The golden nose ring (nath) with small decorations is a classic feature of married women in rural areas of Rajasthan. She wears heavy, layered necklaces, including yellow pearl necklaces and silver amulets, which often serve as protective symbols. The red dot on her forehead has spiritual significance and often symbolises the ‘third eye’ or her married status. – 1990

The woman is wearing a traditional odhni (veil/headscarf) over her clothes, which is typical of women in the Thar Desert (Rajasthan). The building is constructed of sun-dried mud bricks, finished with a mud plaster (kucha house). This traditional construction method provides excellent thermal insulation against the extreme heat of the desert regions. – Jaisalmer – 1990

The nomad Barbati in traditional, colourful festive dress. The striking pink veil covers her head and is often artfully draped over her shoulders. On her forearms she wears stacked, wide bangles in the traditional colours of white, red and blue, typically made from imitation ivory, plastic or glass. A delicate, traditional tattoo pattern can be seen on the back of her hand. – Jaisalmer – 1990

This portrait of the nomad Barbati is characterised by a wealth of symbolic and ornate jewellery: on her forehead, just beneath her veil, she wears a round, bell-shaped ornament. This piece of jewellery is typical of married women in Rajasthan. A large, delicately crafted nose ring, attached to the hair or behind the ear with a fine chain (often studded with pearls). It is traditionally regarded as a sign of marital status. – Jaisalmer – 1990

The bright pink veil worn by the nomad Barbati covers her hair and is typical of women from the region around Jaisalmer. It serves both as protection from the sun and as a sign of respect. The striking, round ornament on her forehead is a traditional hairpiece often worn by married women in Rajasthan. The large, elaborately decorated golden nose ring is connected to the earrings or her hair by a delicate chain. She wears a bindi on her forehead. Her neck is adorned with several heavy, traditional necklaces (some decorated with coins). – 1990

The bright pink veil worn by the nomad Barbati covers her hair and is typical of women from the region around Jaisalmer. It serves both as protection from the sun and as a sign of respect. The striking, round ornament on her forehead is a traditional hairpiece often worn by married women in Rajasthan. The large, elaborately decorated golden nose ring is connected to the earrings or her hair by a delicate chain. She wears a bindi on her forehead. – 1990

The bright pink veil worn by the nomad Barbati covers her hair and is typical of women from the region around Jaisalmer. It serves both as protection from the sun and as a sign of respect. The striking, round ornament on her forehead is a traditional hairpiece often worn by married women in Rajasthan. The large, elaborately decorated golden nose ring is connected to the earrings or her hair by a delicate chain. She wears a bindi on her forehead. – 1990

The bright pink veil worn by the nomad Barbati covers her hair and is typical of women from the region around Jaisalmer. It serves both as protection from the sun and as a sign of respect. The striking, round ornament on her forehead is a traditional hairpiece often worn by married women in Rajasthan. The large, elaborately decorated golden nose ring is connected to the earrings or her hair by a delicate chain. She wears a bindi on her forehead. – 1990

Barbati, a nomad from the Thar Desert, makes chapati, the flatbread known in various forms throughout the Near East. She kneads flour, salt and water into a smooth dough, which she shapes into a round disc between her hands, much like a pizza chef, and then cooks in a pan, turning it several times. – 1990

Barbati, a nomad from the Thar Desert, makes chapati, the flatbread known in various forms throughout the Near East. She kneads flour, salt and water into a smooth dough, which she shapes into a round disc between her hands, much like a pizza chef, and then cooks in a pan, turning it several times. – 1990

Barbati, a nomad from the Thar Desert, makes chapati, the flatbread known in various forms throughout the Near East. She kneads flour, salt and water into a smooth dough, which she shapes into a round disc between her hands, much like a pizza chef, and then cooks in a pan, turning it several times. – 1990

Barbati, a nomad, is preparing dough outdoors whilst wearing her traditional Indian attire. She is dressed in a colourful ensemble consisting of a dark top and skirt with a floral pattern, as well as a bright pink veil (dupatta or odhni) covering her head. Her jewellery is very striking and includes several necklaces (including one with coin pendants), bangles on both wrists, earrings and traditional headdresses. In front of her stands a clay bowl containing dough, and she is currently shaping a ball of dough with her hands. Next to the bowl is a small bottle of oil. – Jaisalmer region – 1990

Barbati, a nomad, is preparing dough outdoors whilst wearing her traditional Indian attire. She is dressed in a colourful ensemble consisting of a dark top and skirt with a floral pattern, as well as a bright pink veil (dupatta or odhni) covering her head. Her jewellery is very striking and includes several necklaces (including one with coin pendants), bangles on both wrists, earrings and traditional headdresses. In front of her stands a clay bowl containing dough, and she is currently shaping a chapati with her hands. Next to the bowl is a small bottle of oil. – Jaisalmer region – 1990

Making dough for flatbreads is a daily ritual in almost every Indian household. The everyday, unleavened flatbread chapati is made from whole wheat flour (atta) and water. Preparation: Flour and water are mixed in a shallow bowl (often made of clay, brass, or wood, called a parat) and kneaded vigorously until a smooth dough forms. This is divided into small, uniform balls and rolled between the palms of the hands. The balls are either rolled flat with a rolling pin (belan) or flattened by hand. The bread is baked directly in the embers. – Jaisalmer region – 1990

Making dough for flatbreads is a daily ritual in almost every Indian household. The everyday, unleavened flatbread chapati is made from whole wheat flour (atta) and water. Preparation: Flour and water are mixed in a shallow bowl (often made of clay, brass, or wood, called a parat) and kneaded vigorously until a smooth dough forms. This is divided into small, uniform balls and rolled between the palms of the hands. The balls are either rolled flat with a rolling pin (belan) or flattened by hand. The bread is baked directly in the embers. – Jaisalmer region – 1990

Making dough for flatbreads is a daily ritual in almost every Indian household. The everyday, unleavened flatbread chapati is made from whole wheat flour (atta) and water. Preparation: Flour and water are mixed in a shallow bowl (often made of clay, brass, or wood, called a parat) and kneaded vigorously until a smooth dough forms. This is divided into small, uniform balls and rolled between the palms of the hands. The balls are either rolled flat with a rolling pin (belan) or flattened by hand. The bread is baked directly in the embers. – Jaisalmer region – 1990

Making dough for flatbreads is a daily ritual in almost every Indian household. The everyday, unleavened flatbread chapati is made from whole wheat flour (atta) and water. Preparation: Flour and water are mixed in a shallow bowl (often made of clay, brass, or wood, called a parat) and kneaded vigorously until a smooth dough forms. This is divided into small, uniform balls and rolled between the palms of the hands. The balls are either rolled flat with a rolling pin (belan) or flattened by hand. The bread is baked directly in the embers. – Jaisalmer region – 1990

Portrait of a young Indian woman in traditional clothing from the Jaisalmer region. Her style of dress and jewelry reflect India’s rural culture. She wears a striped top (choli) paired with a red, patterned skirt (ghaghra) and a matching headscarf (odhni or dupatta). On her wrist, she wears numerous light green glass bangles as well as a wide silver bracelet. Her face is adorned with traditional earrings (jhumkas) and a delicate nose ring (nath). – 1990