The village of Barwa in southwest Haryana transcends a simple rural settlement, becoming a living heritage site with its havelis, murals, ponds, and folk memories. Its architectural tradition reflects layers of folk art, social history, Rajasthani influences, and rural prosperity, giving it a unique place on Haryana’s cultural map.
Barwa village, nestled in the dry, scorching land of south-west Haryana, is not just a rural settlement but a living document of memories, architecture, folk art and social history, preserved even today by its mansions, ponds, wells, umbrellas and murals. Located in the Siwani area of Bhiwani district, this village, with its historical buildings and painted walls, can be counted among those rare heritage settlements where the buildings are not just structures of brick and stone but become silent witnesses telling the story of time.
Barwa’s most prominent landmark is its old mansions. Nearly a dozen historic mansions are considered particularly noteworthy, though local estimates suggest even higher numbers. The mansions associated with Seth Parshuram, Seth Hukumchand, Lala Sohanlal, and Seth Lakshmichand hold particular architectural and mural significance. These buildings showcase the use of lakhori bricks, lime, wood, heavy and sturdy doors, carved windows, interior courtyards, and chhatris. Their architectural language reflects the shared cultural traditions of Haryana and Rajasthan.
The Thakur’s Garhi, also known as Bransa Bhawan, is considered a key center of Barwa’s historical identity. According to local tradition, the ancestors of Thakur Bagh Singh, belonging to the Tanwar Rajput clan, migrated from the Jeetpura region of Rajputana approximately six centuries ago and established their social roots in the region. Local accounts place the construction of the current Garhi around 1938. According to a popular local legend, construction was initiated during a period of rainfall shortage and agricultural crisis, providing employment to the villagers. In this sense, the Garhi may have been not only a symbol of power, prosperity, and social prestige, but also a structure integral to the local economy of the time.
The fort’s massive main gate, sturdy iron plates, wooden structures, large living quarters, storage spaces, and elephant stables reflect its grandeur. Despite the ravages of time, its structure still offers glimpses of Barwa’s past architectural prowess and feudal lifestyle.
The true uniqueness of these mansions is reflected in the murals adorning their walls and ceilings. These paintings depict the Radha-Krishna Rasleela, Vishnu-Lakshmi, Sherawali Mata, kings and queens, horsemen, elephants, chariots, soldiers, animals, birds, and numerous scenes from folk life. Some exhibit Shekhawati-style decoration, others Rajasthani and Kota influences, while others reflect Mughal and Nathdwara traditions. The blend of these styles points to the cultural exchange that occurred within the region.
The paintings in Seth Parashuram’s mansion are particularly noteworthy. According to local accounts, artisans were brought from Pilani to decorate it. Along with religious narratives, scenes depicting kings and queens, chariot processions, music, animals, birds, and social life are also found here. The red, yellow, blue, and green colors used in these paintings reveal the color sensibility and aesthetic sense of the artists of the time. These paintings are not merely decorative elements, but visual documents of the religious consciousness, social structure, and cultural imagination of that era.
The depiction of an elephant, a king, and a queen at the main entrance of Seth Hukumchand-Lala Sohanlal’s mansion is a particular attraction. The elephant is depicted in a decorated state, and scenes from royal life are engraved on it. Paintings depicting Vishnu-Lakshmi, Sherawali Mata, and Radha-Krishna are also found in the mansion. These paintings reflect influences of Rajasthani, Mughal, and Kota styles.
Lakshmichand’s paintings at Kathare are also significant for their breadth of subject matter. They depict scenes of chariot processions, maids, horsemen, and gods and goddesses. One depicts Lord Krishna braiding Radha’s hair. This scene connects religious narratives with human empathy, love, and folk beauty. The paintings display a blend of Rajasthani and Mughal influences in the depiction of clothing, jewelry, crowns, and vehicles.
An important aspect of Barwa’s pictorial language is its time-sensitivity. Not only are gods and goddesses and mythological events depicted, but scenes from the British era, including trains, postmen, soldiers, and the British era, also appear on the walls. The train’s depiction includes the engine, coaches, passengers, and even a signalman. This suggests that local artists were also documenting the changing technology and social order around them through their paintings. Thus, Barwa’s mural tradition also documents the dialogue between tradition and modernity.
Kesar Talab is an important center of Barwa’s cultural heritage. According to local folklore, social circumstances surrounding Seth Parshuram’s sister Kesar inspired the pond to be paved and made available for public use. Over time, the pond became more than just a water source, but also a part of local memory and community life. The umbrellas and painted structures surrounding the pond clearly illustrate the connection between water culture and folk life. The paintings depicting Radha-Krishna’s Raasleela, musical instruments, peacocks, parrots, and other birds reflect the rich tradition of folk art.
Barwa’s cultural identity has also been linked to Haryanvi folk cinema. According to available accounts, some scenes from the famous Haryanvi films “Chandrawal” and “Bairi” were filmed in the village’s ponds, wells, and traditional surroundings. This reveals the visual uniqueness of Barwa’s architecture and rural surroundings. Cinema also indirectly played a role in bringing this heritage to wider recognition.
The contributions of Dr. Satyawan Saurabh and Dr. Priyanka Saurabh, a renowned researcher and literary couple, to the study and documentation of Barwa’s heritage are noteworthy. For the past two decades, they have been continuously writing and collecting information on the village’s mansions, murals, ponds, wells, architectural remains, and folk memories. They have not only viewed these structures as old buildings, but have also attempted to understand the social, cultural, and economic history hidden within them.
Dr. Satyawan Saurabh and Dr. Priyanka Saurabh’s articles on Barwa’s mansions and cultural heritage are also cited as reference material by several PhD researchers. This indicates that their writings on local history and folk heritage are providing useful material for academic study. The significance of their efforts is further enhanced by their efforts in not limiting Barwa’s heritage to mere local memory but embedding it within literary, cultural, and research discourse.
Today, Barwa’s greatest challenge is the preservation of these historic structures. Due to humidity, smoke, weather, neglect, and the ravages of time, many murals are fading. Some havelis are falling into disrepair. If scientific surveys, photodocumentation, and digital archiving are not undertaken in a timely manner, future generations may lose a significant portion of this visible history. Conservation efforts should involve the assistance of experts, while preserving traditional construction techniques, local materials, and original architectural forms.
Barwa also has vast potential for heritage tourism. A systematic heritage walk could be developed, connecting the havelis, Thakur’s fort, Kesar Talab, wells, and murals. Information boards, local guides, a digital museum, cultural maps, and research-based tourism materials could be developed. New employment opportunities could also be created by engaging local youth in heritage conservation and tourism.
The havelis of Barwa remind us that history doesn’t reside solely in palaces, forts, and large cities. It also breathes in the walls, wells, ponds, umbrellas, and courtyards of villages. The paintings here are the visual language of a bygone society, and the havelis bear witness to the labor, art, faith, social relationships, and changing times of many generations.
If the administration, universities, heritage experts, local communities, and the heirs of the havelis jointly take concrete steps toward conservation, Barwa could be developed into an important rural heritage site in Haryana. The long-standing writings and documentation of local researchers like Dr. Satyawan Saurabh and Dr. Priyanka Saurabh can serve as the foundation for this effort. Saving the havelis of Barwa is not just about preserving old buildings; it is about preserving a collective memory, folk art, and history that must be passed on to future generations.
(Dr. Satyawan Saurabh, PhD (Political Science), is a poet and social thinker.)
