Rising perpendicular and impregnable from a rocky hill that itself stands 120m above Jodhpur’s skyline, Mehrangarh is one of the most magnificent forts in India. The battlements are 6m to 36m high, and as the building materials were chiselled from the rock on which the fort stands, the structure merges with its base. Still run by the Jodhpur royal family, Mehrangarh is packed with history and legend. You don’t need a ticket to enter the fort itself, only the museum section.

Mehrangarh’s main entrance is at the northeast gate, Jai Pol ( MAP GOOGLE MAP ). It’s about a 300m walk up from the old city to the entrance, or you can take a winding 5km autorickshaw ride (around ₹120).

Jai Pol was built by Maharaja Man Singh in 1808 following his defeat of invading forces from Jaipur. Past the museum ticket office ( GOOGLE MAP ) and a small cafe, the 16th-century Dodh Kangra Pol was an external gate before Jai Pol was built, and still bears the scars of 1808 cannonball hits. Through here, the main route heads up to the left through the 16th-century Imritia Pol and then Loha Pol, the fort’s original entrance, with iron spikes to deter enemy elephants. Just inside the gate are two sets of small hand prints, the sati (self-immolation) marks of royal widows who threw themselves on their maharajas’ funeral pyres – the last to do so were Maharaja Man Singh’s widows in 1843.

Past Loha Pol you’ll find a restaurant and Suraj Pol, which gives access to the museum. Once you’ve visited the museum, continue on from here to the panoramic ramparts, which are lined with impressive antique artillery. The ramparts were fenced off in 2016 after a fatal selfie accident. Hopefully a temporary measure, as the views are spectacular.

Also worth exploring is the right turn from Jai Pol, where a path winds down to the Chokelao Bagh ( MAP GOOGLE MAP ), a restored and gorgeously planted 18th-century Rajput garden (you could lose an afternoon here lolling under shady trees reading a book), and the Fateh Pol (Victory Gate; MAP GOOGLE MAP ). You can exit here into the old city quarter of Navchokiya.

The fort's museum encompasses the fort’s former palace, and is a superb example of Rajput architecture. The network of courtyards and halls features stone-lattice work so finely carved that it often looks more like sandalwood than sandstone. The galleries around Shringar Chowk (Anointment Courtyard) display India’s best collection of elephant howdahs and Jodhpur’s royal palanquin collection. The superb audio guide (available in 11 languages) is included with the museum ticket, but bring ID or a credit card as deposit.

One of the two galleries off Daulat Khana Chowk displays textiles, paintings, manuscripts, headgear and the curved sword of the Mughal emperor Akbar; the other gallery is the armoury. Upstairs is a fabulous gallery of miniature paintings from the sophisticated Marwar school and the beautiful 18th-century Phul Mahal (Flower Palace), with 19th-century wall paintings depicting the 36 moods of classical ragas as well as royal portraits; the artist took 10 years to create them using a curious concoction of gold leaf, glue and cow’s urine.

Takhat Vilas was the bedchamber of Maharaja Takhat Singh (r 1843–73), who had just 30 maharanis and numerous concubines. Its beautiful ceiling is covered with Christmas baubles. You then enter the extensive zenana, the lovely latticed windows of which are said to feature over 250 different designs (and through which the women could watch the goings-on in the courtyards). Here you’ll find the Cradle Gallery, exhibiting the elaborate cradles of infant princes, and the 17th-century Moti Mahal (Pearl Palace), which was the palace’s main durbar hall (royal reception hall) for official meetings and receptions, with gorgeously colourful stained glass.

This 72-hectare park – and model of ecotourism – sits in the lee of Mehrangarh. It has been lovingly restored and planted with native species to show the natural diversity of the region. The park is criss-crossed with walking trails that take you up to the city walls, around Devkund Lake, spotting local birds, butterflies and reptiles. For an extra insight into the area’s native flora and fauna, take along one of the excellent local guides.

Walks here are the perfect restorative if the Indian hustle has left you in need of breathing space. Visit in the early morning or late afternoon for the most pleasant temperatures. The visitors centre is thoughtfully put together, and there’s a small cafe, too.

This milky-white marble memorial to Maharaja Jaswant Singh II, sitting above a small lake 1km northeast of Mehrangarh, is an array of whimsical domes. It’s a welcome, peaceful spot after the hubbub of the city, and the views across to the fort and over the city are superb. Built in 1899, the cenotaph has some beautiful jalis (carved-marble lattice screens) and is hung with portraits of Rathore rulers going back to the 13th century.

Look out for the memorial to a peacock that flew into a funeral pyre.

Take an autorickshaw to this hilltop palace, 3km southeast of the old city. The royal incumbent, Gaj Singh II, still lives in part of the building. Built in 1929, the 365-room edifice was designed by the British architect Henry Lanchester for Maharaja Umaid Singh. It took more than 3000 workers 15 years to complete, at a cost of around ₹11 million.

The building is mortarless, and incorporates 100 wagon loads of Makrana marble and Burmese teak in the interior. Apparently its construction began as a royal job-creation program during a time of severe drought. Much of the building has been turned into a suitably grand hotel.

Casual visitors are not welcome at either the royal residence or the hotel, but you can visit the museum, housed in one side of the building. It includes photos showing the elegant art-deco design of the palace interior, plus an eccentric collection of elaborate clocks. Don’t miss the maharaja’s highly polished classic cars, displayed in front of the museum, by the entrance gate.

This geometrically handsome step-well (also known as a baori or wav) has been rejuvenated after decades as a rubbish dump. It's clean lines and clear, fish-filled water will leave you mesmerised. It's a great place to just sit and watch, but the attached cafe adds further incentive for a visit.

The century-old clock tower is an old city landmark surrounded by the vibrant sounds, sights and smells of Sardar Market, which is marked by triple gateways at its northern and southern ends. The narrow, winding lanes of the old city spread out in all directions from here. Westward, you plunge into the old city’s commercial heart, with crowded alleys and bazaars selling vegetables, spices, sweets, silver and handicrafts.

This circuit of six zip lines flies back and forth over walls, bastions and lakes on the northern side of Mehrangarh. A brief training session is given before you start and safety standards are good: 'awesome' is the verdict of most who dare. Flying Fox has a desk near the main ticket office and its starting point is in the Chokelao Bagh. Tours last up to 1½ hours, depending on the group size. Book online for a discount on the walk-up price.

Jaisalmer’s fort is a living urban centre, with about 3000 people residing within its walls. It is honeycombed with narrow winding lanes, lined with houses and temples – along with a large number of handicraft shops, guesthouses and restaurants. You enter the fort from the east, near Gopa Chowk, and pass through four massive gates on the zigzagging route to the upper section. The final gate opens into the square that forms the fort’s centre, Dashera Chowk.

Founded in 1156 by the Rajput ruler Jaisal and reinforced by subsequent rulers, Jaisalmer Fort was the focus of a number of battles between the Bhatis, the Mughals of Delhi and the Rathores of Jodhpur. In recent years, the fabric of the fort has faced increasing conservation problems due to unrestricted water use caused, in the most part, by high tourist numbers.

Towering over the fort’s main square, and partly built on top of the Hawa Pol (the fourth fort gate), is the former rulers’ elegant seven-storey palace. Highlights of the tour include the mirrored and painted Rang Mahal (the bedroom of the 18th-century ruler Mulraj II), a gallery of finely wrought 15th-century sculptures donated to the rulers by the builders of the fort’s temples, and the spectacular 360-degree views from the rooftop.

One room contains an intriguing display of stamps from the former Rajput states. On the eastern wall of the palace is a sculpted pavilion-style balcony. Here drummers raised the alarm when the fort was under siege. You can also see numerous round rocks piled on top of the battlements, ready to be rolled onto advancing enemies. Much of the palace is open to the public – floor upon floor of small rooms provide a fascinating sense of how such buildings were designed for spying on the outside world. The doorways connecting the rooms of the palace are quite low. This isn’t a reflection on the stature of the Rajputs, but was a means of forcing people to adopt a humble, stooped position in case the room they were entering contained the maharawal.

The last part of the tour moves from the king’s palace (Raja-ka-Mahal) into the queen’s palace (Rani-ka-Mahal), which contains an interesting section on Jaisalmer’s annual Gangaur processions in spring. The worthwhile 1½-hour audio-guide tour (available in six languages) is included with the entry fee, but you must leave a ₹2000 deposit, or your passport, driver’s licence or credit card.

Within the fort walls is a maze-like, interconnecting treasure trove of seven beautiful yellow sandstone Jain temples, dating from the 15th and 16th centuries. Opening times have a habit of changing, so check with the caretakers. The intricate carving rivals that of the marble Jain temples in Ranakpur and Mt Abu, and has an extraordinary quality because of the soft, warm stone. Shoes and all leather items must be removed before entering the temples.

Chandraprabhu is the first temple you come to, and you’ll find the ticket stand here. Dedicated to the eighth tirthankar, whose symbol is the moon, it was built in 1509 and features fine sculpture in the mandapa, the intensely sculpted pillars of which form a series of toranas. To the right of Chandraprabhu is the tranquil Rikhabdev temple, with fine sculptures around the walls, protected by glass cabinets, and pillars beautifully sculpted with apsaras and gods.

Behind Chandraprabhu is Parasnath, which you enter through a beautifully carved torana culminating in an image of the Jain tirthankar at its apex. A door to the south leads to small Shitalnath, dedicated to the 10th tirthankar, whose image is composed of eight precious metals. A door in the northern wall leads to the enchanting, dim chamber of Sambhavanth – in the front courtyard, Jain priests grind sandalwood in mortars for devotional use. Steps lead down to the Gyan Bhandar, a fascinating tiny underground library founded in 1500, which houses priceless ancient illustrated manuscripts. The remaining two temples, Shantinath and Kunthunath, were built in 1536 and feature plenty of sensual carving. Note, the restrictive visiting times are for non-Jains. The temples are open all day for worshippers.

The Hindu Laxminarayan Temple, in the centre of the fort, is simpler than the Jain temples here and has a brightly decorated dome. Devotees offer grain, which is distributed before the temple. The inner sanctum has a repoussé silver architrave around its entrance, and a heavily garlanded image enshrined within.

The biggest fish in the haveli pond is Patwa-ki-Haveli, which towers over a narrow lane, its intricate stonework like honey-coloured lace. Divided into five sections, it was built between 1800 and 1860 by five Jain brothers who made their fortunes in brocade and jewellery. It’s all very impressive from the outside; however, the first of the five sections, the privately owned Kothari’s Patwa-ki-Haveli Museum ( MAP GOOGLE MAP ; Indian/foreigner ₹100/250; h9am-6pm), richly evokes 19th-century life and is the only one worth paying entry for.

Other sections include two largely empty government-owned 'museums' and two private sections containing shops.

This late-19th-century haveli, once used as the prime minister’s house, is still partly inhabited. It has an extraordinary exterior, dripping with carvings, and the 1st floor has some beautiful paintings using 1.5kg of gold leaf. The left and right wings were the work of two brothers, whose competitive spirits apparently produced this virtuoso work – the two sides are similar, but not identical. Sandstone elephants guard the entrance.

This interesting little museum tells the history of Rajasthan’s princely states and has exhibits on traditional Rajasthani culture. Features include Rajasthani music (with video), textiles, a kavad mobile temple, and a phad scroll painting depicting the story of the Rajasthani folk hero Pabuji, used by travelling singers as they recite Pabuji’s epic exploits. It also hosts nightly half-hour puppet shows with English commentary. The ticket includes admission to the Jaisalmer Folklore Museum.

This private museum has an intriguing assortment of Jaisalmer artefacts, from turbans, musical instruments, fossils and kitchen equipment to displays on birth, marriage, death and opium customs. It’s brought alive by the guided tour you’ll get from its founder, local historian and folklorist LN Khatri. Look for the snakes and ladders game that acts as a teaching guide to Hinduism’s spiritual journey. If the door is locked you’ll find Mr Khatri at his shop, Desert Handicrafts Emporium, nearby on Court Rd.

This most impressive fort was constructed between 1589 and 1593 by Raja Rai Singh, ruler of Bikaner and a general in the army of the Mughal emperor Akbar. You enter through the Karan Prole ( MAP GOOGLE MAP ) gate on the east side and pass through three more gates before the ticket office for the palace museum. An audio guide (requiring an identity document as a deposit), is available in English, French, German and Hindi, and is very informative.

The beautifully decorated Karan Mahal was the palace’s Diwan-i-Am (Hall of Public Audience), built in the 17th and 18th centuries. Anup Mahal Chowk has lovely carved jarokhas (balcony windows) and jali screens, and was commissioned in the late 17th century by Maharaja Anup Mahal. Rooms off here include the sumptuous Anup Mahal, a hall of private audience with walls lacquered in red and gold, and the Badal Mahal (Cloud Palace), the walls of which are beautifully painted with blue cloud motifs and red and gold lightning.

The Gaj Mandir, the suite of Maharaja Gaj Singh (r 1745–87) and his two top wives, is a fantastic symphony of gold paint, colourful murals, sandalwood, ivory, mirrors, niches and stained glass. From here you head up to the palace roof to enjoy the views and then down eventually to the superb Ganga Durbar Hall of 1896, with its pink stone walls covered in fascinating relief carvings. You then move into Maharaja Ganga Singh’s office and finally into the Vikram Vilas Durbar Hall, where pride of place goes to a WWI De Havilland DH-9 biplane bomber: General Maharaja Sir Ganga Singh commanded the Bikaner Camel Corps during WWI and was the only non-white member of Britain’s Imperial War Cabinet during the conflict.

Across the fort’s main courtyard from the palace entrance, this museum is fascinating and well labelled. It focuses on the Western influence on the Bikaner royals before Independence, including crockery from England and France and menu cards from 1936, as well as some exquisite costumes, jewellery and textiles, and exhibits on contemporary Bikaner crafts.

The old city still has a medieval feel despite the motorbikes and autorickshaws. This labyrinth of narrow, winding streets conceals a number of fine havelis, and a couple of notable Jain temples just inside the southern wall, 1.5km southwest of Bikaner Junction train station. It makes for an interesting wander – we guarantee you’ll get lost at least once. The old city is encircled by a 7km-long, 18th-century wall with five entrance gates, the main entrance being the triple-arched Kothe Gate.

Of Bikaner’s two Jain temples, Bhandasar is particularly beautiful, with yellow-stone carving and vibrant paintings. The interior of the temple is stunning. The pillars bear floral arabesques and depictions of the lives of the 24 tirthankars (great Jain teachers). It’s said that 40,000kg of ghee was used instead of water in the mortar, which locals insist seeps through the floor on hot days. The priest may ask for a donation for entry, although a trust pays for the temple upkeep.