Hazaribagh I’ve got a meet-up with Adam Iman, a guide and painter. He picks me up from the hotel at 10 AM. Another traveler from Bangalore is supposed to join us, but while we wait for him to arrive, Adam takes me to see the paintings his mother and sister created at Hazaribagh station. The town became famous thanks to these murals, which can also be found in several surrounding villages. This art form has earned recognition and is now protected, a sign of its cultural importance. Once the visit is over, we go to pick up the other traveler and then head to our first village: Belwara, where Sohrai art is practiced. At the entrance, a sign proudly announces that we’re entering an artists’ village, where this art is created by women organized into micro-enterprises. Some even offer workshops for those who’d like to learn this tradition.
Sohrai art is tied to the harvest season, from October to mid-November. The motifs, in natural colors, celebrate fertility and abundance. The artists use pigments from the earth: red oxides, ochre, white kaolin, and black manganese. On the walls, you’ll see animals, fish, birds—all symbols of life and prosperity. As I look closer at the murals, I start to realize that each motif tells a story. Large animals like cows or bulls often take center stage. Their bodies are filled with intricate, almost hypnotic patterns. They symbolize wealth and prosperity for the household, as well as the deep respect for cattle, which are essential to daily life. On some facades, elephants stand out—massive and decorated with the same precision. They evoke quiet strength and protection. But it’s when I stop in front of one of the houses that I really take the time to look. The wall, a soft ochre, is entirely covered in murals. Two large animals stretch out on either side of the door, their elongated bodies fitting the length of the wall. Their silhouettes are filled with geometric patterns and incredibly fine curved lines, as if every space was patiently filled. Around them, stylized plants, flowers, and small decorative elements fill every gap. The door, dark and worn, becomes almost the silent center of the composition, framed by these living, protective forms. To the right, a more colorful motif catches the eye—a flower or a stylized lamp—like a touch of light on the earth. The whole thing gives an impression of perfect balance, between the rigor of the patterns and the freedom of the gesture.
Elsewhere, birds and freer forms bring movement. Peacocks, recognizable by their stylized silhouettes, embody beauty and vitality, while fish symbolize water, fertility, and the continuity of life.
On some paintings, the scenes become almost narrative: you can make out figures, everyday gestures, like a memory of the village inscribed in the walls. The decorative frames around the doors aren’t left to chance either—they symbolically protect the house, like a boundary between the inside and the outside world.
During the Sohrai festival, cattle are led into the jungle in the morning. Meanwhile, the women finish the *aripans*—these floor paintings—and continue the wall murals. Around noon, the animals return to the village, and the bulls’ horns are anointed with oil and vermilion in a gesture of gratitude, amid the vibrant colors adorning the houses. We visit several artists, including Parvat Devi, a well-known woman who has received many awards. Her arms are adorned with intriguing tattoos, which I’ll talk about in more detail later.
On another wall, the style changes completely. Here, no massive animals—just birds occupying the space, light and graceful, as if caught in mid-movement. Two silhouettes face each other, their long necks arched almost like mirrors, while their outstretched wings seem to vibrate with the patterns that compose them.
The design is more graphic, almost airy. The lines are smoother, more fluid, as if drawn in one confident stroke. The birds’ bodies aren’t solid—they’re filled with repetitive motifs like scales, stylized feathers, and spirals, giving a sense of continuous movement. Around them, everything comes to life: flowers burst open, arabesques swirl, and even the simplest shapes seem alive. What strikes me here is the sense of lightness. Where the large animals evoked stability and grounding, these birds bring something freer, almost joyful. They seem to embody movement, the circulation of life, like a breath flowing through the village.
The colors remain the same—deep reds, intense blacks, and chalky white—but the rhythm is different. Faster, more spontaneous. As if each wall had its own personality, while still speaking the same language.
That’s probably why I’m so moved. I’d heard about these paintings from my friend Raja, and last year, I saw an exhibition in a village near my home. That first encounter made me want to come here. But seeing them in person is a whole different experience. These paintings are unique. This ancient art is passed down from mother to daughter, or mother-in-law to daughter-in-law, in a quiet, deeply living continuity. At first glance, it might seem almost childlike in its simplicity and pared-down forms. And yet, everything is thought out, balanced, mastered. Nothing is left to chance.
That apparent simplicity, combined with such rich symbolism, touches me deeply. There’s something sincere and essential in these walls—and that’s what moves me.
The arches, weathered by time with their yellow-orange hues, support a structure topped by a small temple whose whitewashed sacred part contrasts with the darkened domes crowned with red flags.
A cannon is displayed near the building, imposing with its tier, a reminder of the power and prestige of the place.
Other panels show scenes from daily life: people at work, musicians, animals, and even battle scenes. These small sculptures are true archives of 18th-century Bengali society.
The rooms are furnished with Victorian furniture, the walls adorned with trophies, and heavy Belgian glass chandeliers hang from the ceiling. All the furniture is covered with clear plastic sheets, giving the whole place a strange, almost frozen atmosphere.
My mind is elsewhere. I think, without even meaning to, I’m already reflecting on these six weeks that flew by in the blink of an eye.
Images come back in waves: Bishnupur, a place where I felt something special and where I’d love to return; the warm welcome in Naya and the stunning Patachitra paintings; the many markets I passed through over the days; the houses decorated with Sohrai paintings in the villages of Jharkhand; Santiniketan and my bike rides, including that infamous flat tire I won’t soon forget; Murshidabad, with its palaces and fascinating history; and finally, Kalna, with its temples that provided such a beautiful conclusion to the trip.
These six weeks were rich, varied, sometimes surprising, sometimes more challenging, but always filled with discovery. So many encounters, landscapes, architectural gems, and unexpected moments… I almost have a tear in my eye.
I decide to leave the museum pretty quickly and head to New Market.
On the right, the "welcome marker"—those dates offered everywhere as a sign of hospitality. On the left, a tribute to those stunning doors worn by time, admired all over the old quarters, including the abandoned ones.
Hospitality will often lead you to accept a small coffee, an "Omani coffee," very light, subtly flavored with cardamom, maybe a touch of saffron, and occasionally rosewater.
Here, I’ve depicted a man in the common everyday attire of Omanis: the dishdasha, mostly white (during the week and daytime; colors are more common in the evening or on Fridays and Saturdays). While you’ll see some men dressed in Western clothes, they’re very few. The white dishdasha is truly the shared attire of all men. The dishdasha, which has no hood, is distinguished by a small pom-pom attached to the collar, the furakha, which is soaked in perfume. And believe me, Omanis go overboard with it! "It smells like the pom-pom" is an expression that’s now part of our shared language, my husband and I.
Another must of men’s attire is the kuma, a small round head covering, usually white with brightly colored patterns. The keffiyeh is also worn (but without the cord called an agal in Arab countries), and it’s mostly worn by those with roots in the desert, from what I understood.
And what about the women, you might ask? Some are veiled, some in full black (but not a burka—more like a chador + abaya), due to the influence of Saudi Arabia and the United Arab Emirates, whereas the traditional outfit used to be a layering of very colorful dresses. Most of the women we saw wore neutral clothing, a plain veil over their hair, but with their faces uncovered. We also saw many saris and colorful veils—don’t forget that 40% of the population consists of Indian, Nepalese, and Bangladeshi immigrants, who work a lot in tourism, hospitality, restaurants, services, and construction.
Just to clarify, as a tourist, there’s no pressure to wear a veil, and never any disapproving looks. Of course, you’ll save the mini shorts, plunging necklines, bare shoulders, and midriffs for the hotel terrace—but I’d say that’s the same for men and women, and with the sun being strong, it’s better for your skin too.
Here’s the introduction! In the next post, I’ll tell you about my itinerary, and we can dive in!
The large solidified magma massifs that shape the heart of the island have created a large depression more protected from the sun at its center, allowing the growth of a vast laurel forest, today grouped within the Garajonay National Park, La Gomera’s green lung, which has earned it the status of a World Biosphere Reserve. Its completely European appearance contrasts sharply with the rocky and tropical landscapes of the rest of the island. Thus, the climate varies greatly from one point to another on the island: in summer, you can quickly go from a dry and sunny valley at 35°C to a humid forest area at altitude at 18°C.
Last October, we landed in Marrakech to spend a few days with family exploring Morocco’s roads.
Transport: a rented Dacia.
Accommodations: small guesthouses.
Come along, I'm taking you to this country where it's so nice to wander and slow down...
I’m inviting you on a stroll through my drawings—a completely subjective, far from exhaustive, and totally personal take, since it’s based on my own sketches. I put this travel journal together after returning in late 2024, mostly using felt-tip pens and pencils, with a few collages thrown in. I worked from our personal photos.
And in Kyoto, Nishiki Market:
Roundabouts are particularly interesting because they feature emblems of Turkmen culture, like the dog, a carpet, the Ahal Teke horse, or Muslim symbols, even though the presence of Islamic artifacts is quite limited.
A little sneak peek?
The karst site:
(In the heart of Albergheria, on a street every visitor walks down—lovely message from an unidentified artist)