The Shekhawati, known as the open-air art gallery of Rajasthan, lies in the roughly triangular area between Delhi, Jaipur, and Bikaner, and encompasses the districts of Jhunjhunun, Sikar, and Churu. Its largely semi-desert, wide-open (uninhabited) spaces offer a peaceful respite from the cities.But the primary drawing card is its remarkable art collection -- unusual for the unique painting styles and for the fact that the exhibition space consists of the exterior and interior walls of literally hundreds of havelis, temples, cenotaphs, wells, and forts in the region. The trend for decorating walls in this way would have been imported from the courts of Amber and Jaipur, where the Rajput princes in turn were inspired by the Mughal emperors' patronage of the miniature-mural artform. The Shekhawati's patronage would have been funded by duties imposed on merchandise carried across that section of the Spice Route that traversed their region (cleverly, the local barons here ensured that their duties were lower than those of the house of Jaipur, thereby diverting trade), or by raids across the borders, but patronage truly flourished during the British Raj, a period when the Shekhawati merchants, renowned for their business acumen, moved to the ports of Calcutta, Madras, and Bombay to capitalize on the growing trade in these new centers. There they made small fortunes and celebrated their wealth by adorning their mansions -- an age-old urge, but the result here is a great deal more interesting than anything Martha Stewart might have suggested.

The demand was such that skilled artists could not paint fast enough. Even local masons tried their hand, injecting a wonderful naiveté into many of the paintings. Subject matters vary tremendously, from religious stories to local legends of battles and hunts; but perhaps the most amusing are copies of British photographs featuring hot-air balloons, trains, and cars -- objects most of the painters had never set their eyes on but faithfully rendered according to the descriptions and prints supplied by their employers, most of whom continued to send money back to their family homes until the 1930s.

Today there are some 30 "painted towns" in the region, but the most essential to include in a first-time itinerary are Ramgarh (the town with the most painted buildings), Nawalgarh (2nd in number, but with a superior selection, some better preserved than Ramgarh, particularly the restored Anandi Lal Poddar Haveli), Fatehpur (together with Juhunjhunu, this is Shekhawati's oldest town, featuring murals that predate any others in the region), and Mandawa. Mandawa, a quaint town with a number of beautiful painted buildings, is centrally located with the best accommodations options in the area.

Armed with a good map and a car, it is relatively easy to explore the surrounds on your own -- not least because of the usual army of small kids eager to accompany you and point out the relevant sights. But to know more about the history of the buildings, the artisans, and the area, you may wish to hire the services of a guide through the hotels listed below. Most of the buildings are still inhabited and are accessible for a small fee -- navigating payment (and whether you should offer to pay at all) is where a guide comes in handy. (Remember that, as is the case in all temples, you will need to remove your shoes to enter the inhabited havelis.)

Although the region evokes real passion in some and has resulted in a number of excellent books, it must be said that many of the murals are mere shadows of their former selves, either defaced by human indifference -- posters and graffiti mar many of the walls -- or faded by the increased water supply to the region, the rise in the water table creating damper conditions. Including this in your itinerary can be tricky as well, unless you are intent on traveling the long haul through Bikaner to Jaisalmer, which means many hours spent on the road.