In the Rajasthani dialect, “Phad” carries the meaning of a fold. The smaller version of Phad painting is referred to as “Phadhye.” The intricate narratives and vibrant colours of Phad paintings contribute to the rich cultural tapestry of Rajasthan, showcasing the fusion of visual and performing arts in this traditional form.

Q What are other storytelling paintings in Rajasthan?

Apart from Phad painting, Kaavad, a mobile shrine, is a similar storytelling tradition where a storyteller "Bhat" narrates the story by opening doors of a wooden box. Pichwai painting is also considered a storytelling tradition, although its original purpose was as a backdrop.

Q What are the main subjects of Phad painting?

Story of Pabuji, Story of Devnarayan ji, Story of Narikunjar, Story of Panchtatva ka Ghoda, Story of Dhola-Maaru, Story of Gan-Gaur, Story of Hadi Rani, Story of Haldi Ghati, Story of Lord Krishna, Story of Lord Rama & Seeta, Story of Prithviraj Chauhan. Story of Rani Padmini, Story of Om banna ji.

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      Indian oral traditions have always been deeply rooted in our culture, spanning thousands of years. Storytelling plays a pivotal role in this process, conveying complex phenomena, historical events, life lessons, and scientific knowledge through narratives. These stories not only engage audiences but also make the lessons more memorable. Such customs are prevalent across the country.

      Phad painting, a traditional folk art form from the desert region of Rajasthan, exemplifies India’s rich cloth artistry. Rooted in the cultural landscape of Rajasthan, Phad paintings are typically created on large pieces of cloth or canvas and often depict stories related to local deities, historical figures, or epic tales. Artists meticulously craft these paintings, paying close attention to intricate details that enhance the storytelling experience.

      The Phad paintings are mainly used for following purpose.

      Religious Processions: Historically, Phad paintings served as portable shrines during religious processions. They were unrolled and used by the Bhopa community (a group of priests) to narrate traditional stories. Performances in front of a Phad were common, with the cloth symbolizing a sacred temple for devotees. For specific reasons people take “Manta”and invite Bhopa/Bhopi to conduct pujas for particular deities. For example, Goga ji may be called upon for issues related to cows, Tejaji for matters concerning snakes, and Om Banna Ji for sudden accidents. Bhopa/Bhopi carry different Phads depending on the type of performance, and the size of the Phad varies accordingly. For instance, the ‘Phad of Pabuji’ is approximately 15 feet long, while the ‘Phad of Devenarayan ji’ spans around 30 feet.

      Storytelling Tradition: Phad paintings are an integral part of Rajasthan’s storytelling tradition. These intricate narratives convey moral lessons, historical events, or mythological stories, enriching the cultural heritage of the region.

      Wall Decor: In contemporary times, Phad paintings are also used as wall decor. Artisans have adapted Phad paintings to meet urban needs, creating smaller versions on paper or fabric for decorative purposes.


      Dev Narayan Phad, Pabuji Phad, and Ramdevji Phad are among the most popular Phads, each serving as the istha devata (preferred deity) for different communities. Pabuji is revered as the tutelary deity of the Rabaris, a community of camel herders, while Dev Narayan is the patron deity of the Gujar community. Ramdevji, a widely venerated folk deity in western India, is the istha-devata of the leatherworking Meghwals and Regars.

      The term “ishta devata” in Hinduism refers to a worshipper’s personal preferred deity, derived from Sanskrit words meaning “desired” and “divinity.” The performance of Phad narratives typically involves a traditional storyteller and priest known as the Bhopa, usually from the Nayak community, who travels between villages. Accompanying the Bhopa is the Bhopi, his wife, who may have various roles in supporting his activities and community engagement.

      During the performance, the Bhopa dons distinctive attire, including a red baga (skirt), safa (turban), and a red bagatari (long skirt), along with anklets adorned with bells called Ghunghroo. As the Bhopa recounts portions of the epic or traditional stories, an assistant illuminates specific parts of the Phad painting with an oil lamp. This not only enhances the visual aspect of the storytelling but also highlights key elements of the narrative depicted in the artwork, contributing to the immersive nature of the performance. The main focus of the Bhopa’s performance is the tales of the isthadev. However, they may also incorporate stories from the Ramayana, Hanuman Chalisa, and other mythological narratives into their performance, enriching the cultural experience for the audience.

      Though Phad painting doesn’t adhere to a specific school of art, it boasts a unique visual iconography inspired by traditional Rajasthani paintings. The visual depiction of folktales or stories in Phad paintings isn’t linear; instead, the space is divided according to epic geography, with the main characters highlighted at the center of the painting. For more details, refer to the design section.

      Beyond Phad painting, the performance of Phad narratives, known as Phadbanchana, is equally engaging and requires unique skills from the performer. One of the most common performances is the epic of Dev Pabuji ki Phad, which comprises 335 songs totaling nearly fifteen thousand lines. Narrating the complete text requires five full nights of 8-hour duration each. The narration follows a prosimetric style, with verses called “gavs” consisting of couplets known as “karis.” Bhopas undergo rigorous training from their guru, learning singing, dancing, playing instruments like the jantar, and performing these activities simultaneously. They must have a thorough understanding of the depicted figures and over 100 different scenes or episodes and their symbolic significance.

      Another quality of the Bhopa is their ability to spontaneously respond and alter the narration based on interactions with devotees, who may ask questions during the performance. Phad performances usually occur during winter nights, allowing for a broad temporal scope. The vibrations generated by the invocation create an atmosphere of love, peace, and healing, radiating in all directions. 

      Phad painting holds significant cultural importance in Rajasthan, representing not just art but also a belief system. It serves as a means to document history and visual memories. Over time, Phad artists have gained recognition worldwide, with government initiatives aimed at preserving and promoting this art form. While those directly involved in the tradition understand its value, outsiders may perceive it merely as art.


      Myths & Legends:

      Babuji Ji: Pabuji was a man of promise, a protector of religion, and a very powerful and brave person. Most historians agree that Pabuji was born in the 14th century. According to the kaavya “Pabu-Prakesh” and popular belief among the descendants of Pabuji and other people of Kolumand, Pabuji was born from the womb of an Apsara in a village called Juna in Khari Khabar, eight miles ahead of present Barmer.

      Legend has it that once, on the beautiful lake of Patan, Dhandhal encountered an Apsara camping on the shore of the lake. Later, the Apsara was cursed by Indra and was destined to live on earth. Dhandhal, captivated by her beauty, proposed marriage, but the Apsara set conditions. First, he must construct the Ikathambe Palace away from the village; second, he must not disclose her secret; and third, he must enter the palace by coughing.

      Dhandhal agreed and, after some time, Pabuji was born from the womb of the Apsara. However, one day, Queen Kamalade followed Dhandhal and discovered the truth about the Apsara. They were shocked to see that the apsara had transformed into a lioness and was breastfeeding the boy Pabu. The Apsara, angered by Dhandhal’s broken promise, returned to heaven, leaving Pabuji behind. Queen Kamalade, though initially angry, later treated Pabuji as her own son and promised to nurture and raise him.

      The Apsara instructed Pabuji to play and promised to make him play on her back. After her departure, she took rebirth as a horse named ‘Kesar Kalmi‘ so that Pabuji could sit on her and ride. Many legends surround Pabuji’s life and work, including the belief that he brought camels to the Barmer region from Sing. John Dargavel Smith, a former professor of Sanskrit at Cambridge, beautifully translated the story of Pabuji in his book.

      DevNarayan ji: Devnarayan Ji was a revered folk deity, renowned ruler, and valiant warrior of Rajasthan, with worship extending to regions in Haryana and Madhya Pradesh as well. Known for his mighty battles against oppressive rulers, Devnarayan Ji also ruled with great success and accomplishment. Over time, through his miraculous deeds, he ascended to the status of a deity, revered as an incarnation of Lord Vishnu.

      Every morning, Devnarayan Ji would oversee his vast herd of cows, totaling 98,000 in number. Whenever Rana Binayaka Rana threatened the safety of his cattle, Devnarayan Ji fearlessly confronted him, leading his army to protect and rescue the cows. His army included numerous cowherds, among whom were 1444 tasked with grazing and safeguarding the cows.

      Om Banna Ji: Om Banna Ji is a relatively recent local deity with unique practices and beliefs. The temple dedicated to Om Banna Ji is situated near the highway in the village of Chotila, near Pali district, Jodhpur, Rajasthan. The temple attracts a daily influx of a thousand to two thousand believers, with the number steadily increasing. Om Banna Ji is worshipped in the form of his Royal Enfield motorbike.

      The story surrounding Om Banna Ji’s deification has multiple versions, but they unite on the events of December 2, 1989. According to police records, Om Banna Ji was traveling from Pali to Chotila when he lost control of his motorcycle and collided with a tree. Some sources suggest he faced a criminal charge for reckless driving, endangering his life and those around him. Different narratives include scenarios such as an accident due to fog lights from an approaching truck, sacrificing his life to save a cow, or driving under the influence of alcohol.

      The complexity of oral narratives has led to various versions of the incident. Inspired by these stories, Phad artist Prakash Joshi from Bhilwara, Rajasthan was commissioned to depict the tale of Om Banna in the traditional Phad art form.


      In India, oral tradition is an integral part of our lifestyle. We learn many things, such as medicine, food recipes, and religious practices, from our elders. It’s rare to see someone cooking local food by following a book, yet we still maintain the same flavors as in the past. These oral narratives are the symbolic language of the non-literate part of our culture. Rajasthan’s art is as old as human civilization, with enough evidence of wall paintings, block printing, and other art forms on terracotta.

      Tracing the main deities of phad paintings, Devnarayan ji was a medieval hero venerated as an “ishta devta.” According to legend, he incarnated in the year Vikram Samvat 968 (911 AD). In traditional phad, Devnarayan ji is the oldest deity, followed by Pabuji around the 14th century. Recently, phad painting has also been used for other compositions, including those for “new” deities, but its use has not spread beyond this.

      John Smith notes in his book, “The oldest surviving example known to me is in the collection of Rupayan Sansthan, the Rajasthan Institute of Folklore based in the village of Borunda. It is a Devnarayan par signed by the painters Surajmal and Bagtavarchand and dated Vikram Samvat 1924, that is, 1867 AD. The Josi painters insist that the par-painting tradition goes back far beyond this date.”  We may not have physical evidence of ancient phad paintings, but the question remains: did the paintings come first or the oral stories (Katha)? Considering Indian culture, we can confidently say that the “katha” (story) came first. Perhaps the Joshi community recently started painting the phad, or phad painting is as old as Devnarayanji or Pabuji.

      The origin of the phad painter is quite interesting. Painters are called ‘Joshi‘ within the Chipa caste, which is a community of printers. The name ‘Joshi’ is derived from “Jyotshi,” signifying Brahmin horoscope/calendar predictors. The tradition is believed to have originated with Chochu Bhat, a devoted follower of Lord Devnarayana. Impressed by the artwork, he granted the privilege to the “Joshi” caste to continue creating Phad paintings. Since then, the Joshi community has been actively engaged in this art form.

      The Joshi community traces its roots to Bharatpur, near Bhilwara city in Rajasthan. In the 16th century, they migrated to Shahpura. By the end of the 19th century, some Phad artists from Shahpura moved to Bhilwara, establishing a new center for Phad artists in the region. These artists currently reside in Shahpura and Bhilwara towns within the Bhilwara district of Rajasthan. The art of Phad painting thus carries forward a legacy within a specific community, showcasing the specialized skills and cultural heritage passed down through generations.

      In 1960, Shree Lal Joshi initiated the establishment of Chitrashala with the aim of safeguarding and promoting this traditional art form.


      The distinctive style of visual depiction in Phad paintings is unique to Phad artists. Unlike linear storytelling, the space in Phad paintings is divided according to the epic geography, creating a sort of ‘epic map.’ The direction and position of the characters depend on the sequence of events. Essentially, the entire Phad serves as a large storyboard. When a Bhopa describes a specific event, they use a handy oil lamp to point out the corresponding figure.

      In Phad painting, the Bhopa presents the full painting to devotees, while other traditions like Kaavad or Kaavadiya reveal doors one by one, culminating in the final darshan of gods and goddesses. The center of Phad paintings features the main character in a larger size, with other important characters slightly smaller and framed in a temple style. Around the main characters, the painter illustrates the story based on events, often repeating characters to depict different scenes. For example, in the Pabuji-ki-Phad, a large image of Pabuji is in the center, and during his marriage event, he is illustrated again on a horse with other significant characters or objects.

      The size of the Phad painting depends on the number of stories to be presented. Traditionally, the Devnarayan Ji Phad is 35 feet long, and the Pabuji-ki-Phad is 15 feet long. The height of the Phad is around 4-5 feet, matching the size of available muslin cotton fabric. In the past, the width of the Phad might have been less than 5 feet, as 5-foot width handloom fabric was uncommon.

      In earlier times, the Phads depicted the stories of heroes such as Goga Chauhan, Prithviraj Chauhan, Amar Singh Rathore, Teja Ji, and many others. However, in contemporary Phad paintings, the focus has shifted, and the stories from the lives of Pabuji and Devnarayandevji are prominently depicted. Here are some of the traditional stories depicted in Phad paintings: Story of Pabuji, Story of Devnarayan ji, Story of Narikunjar, Story of Panchtatva ka Ghoda, Story of Dhola-Maaru, Story of Gan-Gaur, Story of Hadi Rani, Story of Haldi Ghati, Story of Lord Krishna, Story of Lord Rama & Seeta, Story of Prithviraj Chauhan. Story of Rani Padmini

      The Phad painting style is intricately connected to the three major regions of Rajasthan, namely Marwar, Mewar, and Shekhawati. The famous folktales of Pabuji and Dev Narayan Ji are particularly well-known in the Marwar region. However, Phad paintings are exclusively crafted in the Bhilwara region of Mewar. Interestingly, despite its origin in Mewar, the motifs and figures in Phad paintings exhibit similarities with the Shekhawati style. One notable resemblance is the round face structure, a characteristic feature shared with the Shekhawati style. This fusion of influences from different regions contributes to the unique and distinctive qualities of Phad painting, showcasing a synthesis of artistic elements from Marwar, Mewar, and Shekhawati in this traditional Rajasthani art form.

      In the depiction of landscapes within Phad paintings, vegetation is intricately drawn to represent a forest setting. Various animals, including elephants, horses, camels, peacocks, and snakes, are also featured in the artwork. The attire in Phad paintings draws inspiration from regional clothing. Men are depicted wearing angrakha, dhoti, turbans with kalangi, and traditional shoes. Women, on the other hand, are adorned in choli, ghaaghra, odhni, and other regional garments. The figures in the paintings are adorned with traditional jewelry such as kadas, bangles, arm-cuffs, earrings, and maang-tika for women. The paintings are completed with a floral border, and a thick red border is added to give them a cohesive and finished appearance. This unique art form of Phad is a harmonious amalgamation of literature and art, capturing the essence of folk narratives through vibrant and visually engaging compositions.

      Initially, Phad paintings exclusively employed vegetable and mineral colors, known for their lasting and vibrant qualities that remained vivid for extended periods. However, the scarcity of these natural colors posed a challenge, potentially hindering the evolution of the craft. In response, artists were compelled to innovate, leading to the adoption of waterproof earthen colors. These colors are created by grinding natural earthen pigments with gum, water, and indigo. While this adaptation allowed for the continuation of the art form, it’s worth noting that in contemporary times, synthetic colors have also gained prominence in Phad paintings, reflecting the dynamic nature of the craft and its adaptation to changing materials and preferences.


      Privacy within the Joshi Community: The art of Phad painting has been closely guarded within the Joshi community, and the techniques were not disclosed to people outside the community. Daughters within the community were not taught the art to prevent the style from being leaked when they married.

      Size and Accessibility of Original Paintings: Original Phad paintings are often too large to be carried or purchased by common people.

      Decreased interest in Phad performances has led Bopas to take up other occupations. This decline in enthusiasm has resulted in a reduced production of original Phad paintings.Some Bopas, in an attempt to save money, may try to create Phad paintings on their own, potentially affecting the quality and reputation of the art.

      Impact of New Artists: New artists who learned from the original artisans may interpret and paint the style in their own way, sometimes lacking proper training and originality.

      Limited Market Reach: Phad paintings have not reached mainstream markets or households due to their sacred meaning, and they are primarily purchased by art curators and admirers.

      Lack of Experimentation on Apparel: Unlike other art forms like Madhubani, Phad paintings are not experimented with on apparel, as they are deeply rooted in the folklore of local Gods or heroes.

      Introduction Process:

      Beginning with a ritualistic blessing of the canvas, artists draw intricate outlines, followed by the gradual filling of vibrant natural or acrylic colours. Each colour is meticulously applied, reflecting the rich tales of folklore and mythology. The final touches include a distinctive black outline, completing the captivating narrative depicted on the traditional cloth canvas.

      Raw Materials:

      Cloth or Canvas: Traditional Phad artists work on long scrolls made of cloth or canvas. Before painting, they prepare the surface by hardening the cloth using a mixture of tamarind seed powder and Arabic gum.

      Natural Dyes or Acrylic Colors: Today, some artists use ready-made colors, but traditionally, the colors are prepared with powdered minerals mixed with tree gum. This method gives a dazzling brilliance and permanence to the paintings.

      Light Yellow (Hardal): Made from yellow orpiment and used for sketching figures and structures.

      Orange (Kesriya): Created by mixing red lead oxide (sindur) with the same yellow powder (orpimat hartal) used for light yellow and used to apply paint faces and skin.

      Green (Hara): Made from verdigris (jangal), which is acetate of copper is used for depicting trees and vegetation.

      Brown (Geru): Purchased in powder form from the market.

      Vermilion (Lal): Made by pulverizing cinnabar (mercury sulfide) is typically used prominently in dress elements.

      Black – Obtained either by burning coconut or oil.

      Indigo – Indigo plant.

      Gold or Silver Paint: Phad paintings are renowned for their vibrant colors and often incorporate gold or silver paint for highlights, adding to the overall richness of the artwork.

      Tools & Tech:

      Brushes: Artists use various sizes of brushes for distinct purposes, including drawing outlines, filling spaces, and detailing intricate elements.

      Big Utensils: Large pots are used to boil flour with gum, a key ingredient in traditional painting preparation.

      Grinding Stone: A large stone is used to grind natural minerals into fine powder, a labor-intensive process essential for traditional colors.

      Surface Flattening Tool: After applying flour paste (Kalap), the fabric is pressed and rubbed to create a smooth surface.

      Water Bowls: Essential for cleaning brushes during the painting process.

      Colour Palette: Phad artists use a conch shell palette with compartments to mix and blend colors for their paintings.

      Pencil, Ruler, Compass, and Eraser: Basic sketching is done with a pencil, and accurate measurements are ensured using a ruler and compass.



      Before commencing the painting process, Phad painters observe a ritual that involves a significant tradition. In this ritual, an unmarried daughter of the artist’s family is tasked with drawing a “swastika” on the canvas. Upon completion of this ritualistic act, the painter awards a prize to the unmarried daughter, signifying a gesture of appreciation or acknowledgment. Following this ritual, the painter is then permitted to begin the intricate and detailed process of creating a Phad painting. This ritual not only holds cultural significance but also adds a ceremonial and auspicious beginning to the artistic endeavour.

      Certainly, here are the steps in the Phad painting process:

      Selection of Cloth: Choose a hand-woven cloth known as “rezi ka kapda” as the canvas for the Phad painting.

      Soaking the Cloth: Immerse the chosen cloth in water, allowing it to soak for a duration of 12-13 hours.

      Starching with Rice or Flour: After soaking, Wheat or barley is mixed with water and gum and then boiled. After applying the coat on the fabric, it is put under the sun to dry. To make the canvas surface smooth, a unique tool is used, rubbed with a smooth stone to make it smooth and shiny.

      Drawing Outline: Begin by drawing an outline of the painting using yellow paint.

      Filling Colors: Fill one color at a time, starting with orange for the face and body parts (“moondo bharno”). Proceed to fill yellow, green, brown, blue, and red colors sequentially.

      Final Details: Fill black color wherever required to add final details. Complete the painting with a black outline.

      Border Design: Craft the border of the painting in the required color and design.

      Character’s Eye: After completing all elements, create the eye of the main character. It is believed that the eye brings life to the painting.

      Final Touch: Once the eye is done, the painting is considered finished, and no further work can be done.


      Painting Materials: Unused or leftover natural dyes, acrylic colors, and pigments. Residues from brushes and tools used in the painting process.

      Canvas Preparation: Trimmings or excess material from the cloth or canvas used for Phad paintings. Residues from the tamarind seed powder, Arabic gum, or other substances used to prepare the canvas.


      Cluster Name: Bhilwara-Bhilwara


      Bhilwara is a city and administrative headquarters in Bhilwara district of the Mewar region of Rajasthan, India. It has been termed as 'Textile city.

      District / State
      Bhilwara-Bhilwara / Rajasthan
      359483 (total): 186931- males; 172552- females
      Marwari, Hindi, English
      Best time to visit
      Stay at
      Local hotels
      How to reach
      Jaipur-Bhilwara, Udaipur-Bhilwara
      Local travel
      Bus, Auto-rickshaw, Cycle-rickshaw, Taxi
      Must eat
      Rajasthani thali, Daal baati choorma


      The Bhilwara and Bundi districts in the state of Rajasthan have yielded Stone Age tools dating from 5,012 to 200,000 years. Subsequently, the present-day city of Bhilwara had a mint where coins called 'Bhiladi' were produced, leading to the nomenclature of the district. Another narrative suggests that the Adivasi tribe known as Bheel, who assisted Maharana Pratap in his war against Mughal Empire king Akbar, inhabited the Bhilwara region. This connection supposedly gave rise to the name "Bheel+Bada," signifying Bheel's area, ultimately becoming Bhilwara. Over time, Bhilwara has evolved into one of the major cities in Rajasthan, particularly renowned as the textile city of the country.

      The oldest section of the town, now known as Purana Bhilwara (encompassing areas like Patwari Mohalla, Junawas, Manikya Nagar, Malikhera), was established in the 11th century with the construction of the Krishna Radha temple, still extant and referred to as the Bada Mandir. Myth logically, there is a reference to Arjuna having fought in this region during the Mahabharata period.

      Historical records indicate that the town of Mandal, in proximity to Bhilwara, served as a military camp for the Mughals during their conquest of Chittorgarh. The remnants of this campsite, including a watchtower built on a small mound in Mandal, now exist as a Devi temple.


      Bhilwara is situated at coordinates 25.359854°N latitude and 74.652791°E longitude, with an average elevation of 421 meters (1381 feet). Positioned between the districts of Ajmer in the north and Chittorgarh and Udaipur in the south, Bhilwara is characterized by its geographical location.

      Several major rivers flow through the district, including Banas, Bedach, Kothari, Khari, Mansi, Menali, Chandrabhaga, and Nagdi. Although there is no natural lake in the district, it boasts numerous ponds and dams, making it the most irrigated region in the state of Rajasthan. A notable man-made pond, Mansarovar Jheel (Pond), is located near Azad Nagar and is a popular attraction, drawing crowds particularly on weekends.


      The district has an area of 10,455 sq. km, and a population of 2,009,516 (2001 census), which increased 26.14% from 1991 to 2001. Known for its textile Industries. It is bounded on the north by Ajmer District, on the east by Bundi District, on the south by Chittorgarh District, and on the west by Rajsamand District. State Highway (Jaipur-Udaipur) passes through the district, as does a broad gauge railway line measuring 84 km and connecting Ajmer with Khandwa in Madhya Pradesh. The nearest airport is at Udaipur(171 km).The prevailing climate in Bhilwara is known as a local steppe climate. There is not much rainfall in Bhilwara all year long. The Kopen-Geiger climate classification is BSh. The temperature here averages 25.4 °C. About 606 mm of precipitation falls annually.


      Roads: Well-connected by National Highway No. 79 (part of the Golden Quadrilateral) and National Highway No. 76 (part of the East-West Corridor). Additional routes include NH 758 (Kota-Ladpura-Bhilwara-Gangapur-Rajsamand-Udaipur) and NH 148D (Bhim-Gulabpura-Uniara). Extensive road network totaling 3,883 km as of March 31, 2000. Convenient bus services link Bhilwara to key cities in Rajasthan and beyond, with a 253 km distance to Jaipur.

      Railways: Bhilwara railway station is a hub for broad gauge trains connecting to various destinations.

      Railway line links Ajmer, Jodhpur, Jaipur, and cities further afield. Kota, 160 km away, is a major railway station for southern state connectivity. Ajmer, 130 km away, provides access to cities like Delhi and Ahmedabad.

      Air Travel: The nearest airports are Dabok - Udaipur (165 km) and Jaipur (251 km). Kishangarh Airport, near Ajmer (130 km), enhances air connectivity in the region.

      Bhilwara is home to several educational institutions, including an autonomous engineering college under the Government of Rajasthan, MLV Textile and Engineering College. This institution offers engineering courses, with a focus on textile engineering. Additionally, there is a private university named Sangam University in the city. Bhilwara also houses a medical college, Rajmata Vijaya Raje Scindia Medical College. The educational landscape includes numerous schools and colleges, covering disciplines such as engineering and medicine.

      The city is recognized for its coaching centers, particularly those offering preparation for competitive exams like IIT-JEE and NEET.

      Bhilwara district is administratively divided into 7 sub-divisions, each comprising several Tehsils and Panachayat Samitis:


      Bhilwara, Shahpura, Gangapur, Gulabpura, Asind, Mandalgarh, Jahazpur

      Tehsils and Panachayat Samitis:

      Bhilwara, Banera, Mandal, Mandalgarh, Beejoliya, Kotri, Hurda, Shahpura, Jahazpur, Sahada, Asind, Raipur

      Sub Tehsils:

      Bagor (Mandal), Badnor (Asind), Hamirgarh, Puliakalan (Shahpura)

      This administrative structure reflects the organization of the district into various sub-divisions and Tehsils, each with its own Panachayat Samiti, contributing to effective governance and local administration.


      Bhilwara, a city steeped in history and cultural richness, boasts a collection of prominent attractions that showcase its heritage and natural beauty.

      Badnore Fort: A historical fort that reflects the city's rich heritage.

      Harni Mahadev Temple: A sacred site dedicated to Lord Shiva.

      Smriti Van: A memorial park or garden.

      Mansarovar Lake: A man-made pond, Mansarovar Jheel, near Azad Nagar, known for its scenic beauty.

      Joganiya Mata Temple: A temple dedicated to Joganiya Mata, a revered deity.

      Kyara Ke Balaji: A religious site with cultural significance.

      Sanganer Fort: A fort showcasing architectural and historical significance.

      Meja Dam: A dam contributing to the region's water resources.

      Pur Udan Chatri: A site with cultural and historical importance.


      Bhilwara's rich cultural heritage is further emphasized by the celebration of various festivals and fairs throughout the year like Gangaur, Holi, Diwali and Teej. The Gangaur festival, celebrated in March and April, is a major highlight dedicated to the Hindu goddess Parvati, marked by grand festivities.

      Bhilwara, with its textile industry, tourist attractions, and educational institutions, stands as an important city in Rajasthan and India, offering a blend of history, culture, and tradition.


      As of 2011 India census Bhilwara has a population of 359,483. Males constitute 52% of the population and females 48%. About 13% of the population is under 6 years of age. Hindus constitute the majority of the population with around 79.50% followers with Muslims (at 14.23%) and Jains (5.47%) occupying second and third respectively.

      Famous For:

      Bhilwara has earned the name "Textile City of India" due to its significant role in the textile industry. The city boasts a robust presence in this sector, housing numerous textile mills and factories within its vicinity. Renowned for producing high-quality fabrics, including cotton, silk, and woolens, Bhilwara's textile products are exported to various regions across the globe. Beyond textiles, the city is also recognized for its contributions to the mining and agriculture industries, showcasing a diverse economic landscape.

      Bhilwara is home to numerous majestic forts, such as Mandalgarh Fort and Badnore Fort, which offer breathtaking views of the city.


      List of craftsmen.

      Documentation by:

      Team Gaatha, Images Kalyan Joshi

      Process Reference:

      Look Devta – Pabuji by Beena Jain
      Pabuji: John D Smith
      Phad painting of Bhilwara, Rajasthan, RUPALI RAJVANSHI AND MEENU SRIVASTAVA
      Interview: Kalyan Joshi

      Cluster Reference: