Echoes of history in the mansions of Barwa village
By: Dr. Satyawan Saurabh
On the sandy land of south-west Haryana, where the heat of the sun is capable of burning even the sand particles, lies Barwa, a village that still preserves the memories of its past in the walls of mansions, the depths of ponds and the colours of paintings.
This village is located in Bhiwani district, 25 km south of Hisar, on the Rajgarh-Bikaner highway. It is not just known as a normal rural settlement, but as a living museum, which contains all the colors of architecture, art, culture and social history.
The fortress of Thakurs: The soul of Barwa
The first historical structure that comes to mind when we mention Barwa is the Garhi of Thakurs. This Garhi is built on a sandy mound located in the north-west of the village, which is also known as Bransa Bhawan. It was constructed in 1938 – at a time when the monsoon failed and famine conditions arose in the village. Then Thakur Bagh Singh Tanwar saw it as an employment opportunity and engaged his men in construction work.
The huge entrance of the fort is still decorated with thick iron plates and strong wood. As soon as we enter inside, it feels like we are entering a medieval tale. Rows of rooms made for storage, huge habitable halls, and the arrangement of elephant houses still testify to its grandeur.
The legacy of the Tanwars: From Rajasthan to Haryana
Barwa village was founded by the Tanwar Rajputs who came here from Jeetpura in Rajasthan about 600 years ago. The ancestors of Thakur Brijbhushan Singh, who is the heir to the fort today, took over 14,000 bighas of land here and gradually transformed it into a prosperous estate.
During the Mughal period, the Tanwars adopted peace and trade instead of conflict, and created a strong social and political position for themselves in the Bhiwani region.
Village Havelis: Where the walls speak
There are about a dozen historical havelis in Barwa, of which the havelis of Seth Parshuram, Seth Hukumchand, Lala Sohanlal and Seth Laxmichand are the most noteworthy. The architectural style, paintings and religious and cultural images on the walls of these havelis are reminiscent of the Kota and Kishangarh styles of Rajasthan.
Seth Parshuram’s Haveli: This Haveli was decorated by artisans brought from Pilani. Every corner of the Haveli has intricately carved paintings depicting Krishna-Radha’s Raasleela, love dialogues between the king and queen and religious stories.
Seth Hukum Chand Ki Haveli: The elephant figure on the main gate, with the king and queen seated on it, shows how the royal life was brought to life in these paintings. The walls show the paintings of Vishnu Lakshmi, Sherawali Mata and the love story of Radha-Krishna made in Kota style.
Lakshmichand ka Katahra: At this place, one can find paintings of chariot processions, maids, and guards on the roofs. In one scene, Sri Krishna is seen braiding Radha’s hair – this painting reflects the depth of familial closeness, aesthetic sense and expression of love of that period.
Kesar Talab and ‘Muktidham’
The identity of Barwa village is also associated with Kesar Talab, which was built by Seth Parshuram in the memory of his sister Kesar. The story says that when the women of the village used to pick cow dung, this act was considered humiliating for the upper castes and wealthy families. To save his sister from humiliation, the Seth built a huge concrete pond there, which was named Kesar Talab.
There is a deep pool near this pond, which is called Muktidham, because unhappy women jumped here to commit suicide. The walls of the chhatris built on its banks have paintings of Radha-Krishna’s Raasleela, which also have pictures of musical instruments like dholak, nagada, flute, harmonium.
Red, yellow and blue colours have been used in these paintings. Shri Krishna has been painted in blue and Radha in white colour. Figures of animals and birds – peacock, parrot, birds – can also be seen in it.
Village of films: The land of ‘Chandrawal’ and ‘Bairi’
The cultural richness of Barwa has been so ancient and impressive that even Haryanvi cinema has not remained untouched by it. Some scenes of the famous films Chandrawal and Bairi were shot near the Rushada Johad and wells of this village. Even today, those paanghats, where ‘Chandro’ used to come to fetch water, are a matter of memory and pride for the villagers.
Recognizing the present in the lap of the past
Barwa is not just a village but a living example of the rural glory of Haryana. Its havelis, paintings, ponds, religious heritage and social stories – all together make it a heritage site.
Today, when the cultural character of villages is being lost in the blind race of development, villages like Barwa teach us that if we preserve our past, it not only strengthens our identity but also becomes a source of inspiration for future generations.
(The author Dr. Satyavan Saurabh is a freelance columnist and writes on history and culture topics. This article is based on his visit to the historical Barwa village and local research)
