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Research Cell
School of Interior Design, C.E.P.T.
Kasturbhai Lalbhai Campus
Centre for Environmental Planning and Technology
University Road, Navrangpura
Ahmedabad 380009
Gujarat
India
www.cept.ac.in
jaythakkar@naqshatra.com
ISBN 81-7525-285-5
Foreward
Most of the time, we have documentation or books on public buildings mainly The present research is done by Jay Thakkar of the School of Interior Design,
made of stone or concrete or even wood. Often the documents describe C.E.P.T done as a prerequisite for his final year thesis under the guidance
functions, spaces, forms and overall expression. of Director Prof. Krishna Shastri. This book is the most comprehensive
reference source on the art of wood carving of traditional houses of Gujarat.
There is another dimension that makes all the historical buildings. It is the It demonstrates that such craftsmanship visible in public architecture is not
detailing of those buildings. By detailing I don’t mean only the construction only restricted to public domain but is even further heightened in domestic
technology but also the way the elements are put together. The way materials architecture of the havelis and personal homes. And it is here that art, craft,
express themselves including the forces of stability. Yet there is another technology, connects to daily life and living. It is through the daily experience
dimension to these details, that is the moderation of their surfaces, the way of the detailing of the craftsmanship that the individual’s sensibility are
the craftsman has understood it and the way the craftsman is expressing heightened. Because of such experiences, this architecture has influenced
his cultural and personal understanding of his world. What he is trying to Gujarat’s crafts, music, food habits, clothing styles, etc.; colour, texture,
do is to discover and express the spirit of the material as he sees it. He, surface modulation, formal expressions are all part of this experience.
in short spiritualises the material (matter).
This book, exhaustive in its explorations of minute details has another
We find many examples of such works expressed through marble, stone, message in today’s context that of celebration of life.
brick, earth, wood etc. in regions predominant in that material. Gujarat
by its geographical location has prominently stone, brick or wood and the How do we add this spiritualising attitude to our present day life? How do
craftsman have explained these materials either singularly or in combination. we create several counterpoints to create a dynamic life, so much part of
Yet, when we see these, we look at these buildings in their overall form and our heritage and culture. How can we constantly experience the ‘smelling
often overlook the subtle craftsmanship shown in the articulation of their of flowers’ through observing our present day construction techniques as
combinations and expressions. well as detailing? And most important of all, how can we create homes out
of houses and shelters. Can we weave them as intricately and beautifully
We also find that the nuances of these expressions vary when cultural as all traditional domestic architecture? It is this that this document tries
influences overlap. For example, in Gujarat we discover that Islamic and to address.
Hindu motives are intermingled due to the rare combination of acceptance of
ideas by the user and the craftsman. As a result the combination discovered The following pages explores in microscopic detail our rich heritage in the
and expressed by the craftsman by combining cultural nuances has form of regional arts and crafts and will provide an inspiration to architects
heightened the quality and workmanship of these details. and designers in creating better built environment.
aimless errands...
perplexed visions...
austere calmness...
endless discoveries...
.....all – a part of an inquiry.
inquisite mind...
An inquiry into:
Part I
Co n t e n t s
1. history of ancient wood carving - 10
2. historical aspect of wood carving in Gujarat -15
3. craftsmen of ancient India - 27 artisans of Gujarat
4. trade Guilds (nigama, shreñis) - 29 classical texts related to wood carving
Part II
5. tools (upakarñas) - 35 wood – a technical overview
6. techniques - 39
a. relief carving technique
b. undercutting technique
c. incised carving technique
d. Sculpturesque carving technique
e. pierced carving technique
Part III
7. ornamentation (alamkara, mandana) - 49
8. motifs - 55
• figural motifs
• natural motifs
• geometric motifs
9. pattern - 73 pattern as a factor in perception
9.1. bands (patti, pattika) (one dimensional infinite patterns) - 75
9.2. santeens (two dimensional infinite patterns) - 91
• organic santeeens
• geometric santeens
10. organising principles - 103
a. translation
b. rotation
c. reflection
d. glide reflection
11. elements - 107
Part IV
12. ornaments as symbols ( pratika) - 141
13. styles (riti) - 147
• phase 1. Mid 16th to late 17th century (from 275 to 425 years)
• phase 2. Late 17th to early 19th century (from 150 to 275 years)
• phase 3. 19th to early 20th century (last 150 years)
a. composite style
b. eclectic style
c. art deco
• elements
• patterns
• motifs swastika
14. nexus - 179 continuity of prehistoric devices
a. the tree and its attendant genii spiral
b. cone & flower pattern
c. mythical composite beast – gajvyala
d. lotus
e. leaf & dart motif
Part V
15. transformations... a socio-cultural phenomena - 201
Appendix
IX
I
Navi mehta ni pol, Dariapur, Ahmedabad Hajira ni pol, Khadia, Ahmedabad Dhal ni pol, Khadia, Ahmedabad
X
VI
II
Dhal ni pol, Khadia, Ahmedabad Kuavali pol, Shahpur, Ahmedabad Saudagar ni pol, Khadia, Ahmedabad
VII
XI
III
Navi Vohra vas, Sidhpur Pakhali ni pol, Raipur, Ahmedabad Chipa pol, Dariapur, Ahmedabad
IV
XII
VIII
Koth ni pol, Raipur, Ahmedabad Chandaria, Patan Dhal ni pol, Khadia, Ahmedabad
introduction introduction
Transcending back in time while enquiring upon the roots of historical aesthetics, one recognizes the inherent beauty in the work of the ‘masters of the past’. They
thoroughly understood the fundamental principles within their surroundings and nature, and transformed them into a ‘physical reality’ - a reverential mirror reflecting the
plethora of customs, enigmatic rituals, deep-rooted dogmas and the ubiquitous belief-systems of society. This was accomplished by the process of creating indigenous
art and architectural forms - conceived in totality and in coherence with the cultural ethos. This was carried out collectively at a prodigious scale over generations.
It generated culture-specific architecture - a repository of social and technological practices, integrated eco-solutions and value teachings. Its tangible evidences and
precepts are still in existence and are presented in a detailed manner in this book.
Introducing this book briefly, it start with the evolution of wood carving, a description of craftsmen and their guilds, their prevalent tools and their practiced techniques.
This is followed by detailed documentation and compilation on ornaments, motifs, patterns and elements. The next portion is a thoroughly investigated section dealing
with symbolism, influences of various cultures and times generating unique styles and is followed by the similarities/semblance observed in this art form with various
other arts of the world throughout the ages. The last section is a brief overview, interpretation and discussion on the various factors, which generated major
transformation in this art.
Naqsh is a humble tribute to the traditional art of wood carving of Gujarat and if at all the praise be sung then it seeks to honour those who had excelled in their art
and left behind for us a vast cultural treasure.
2
The wooden traditional houses of Gujarat – an urban phenomenon – conforms to a general character in their organisation and articulation – i.e. narrow frontage
representing composite wooden facade and sharing of common walls on longer sides; defined spatial components; bonding-timber construction; and densely
articulated within confined settlement pattern known as pols – an empirically evolved labyrinths [2.I-IV]. These characteristics were the product of cultural pattern
of time, caste division, male-female equation, exigences of joint family, social, and religious mores as well as contingent to climatic and structural requirement.
The primary spaces of the house were identified by particular names; not in conjunction with their allocated functions. Proceeding from the street-to-house level,
the entrance is defined by a narrow raised plinth with steps known as otla or otta – a prelude to the threshold of the house known as umro . Otla – a
communication zone between outsider and the house residents – encompasses a row of columns supporting the wooden facade which is worked out in
accordance with the length of wooden member is varied in terms of its treatment and its width subjected to the status of the owner. Its elemental nature was
highlighted by its carving which made it ornate and exquisite in beauty – as an image builder for the house. The otla leads to a buffer space mainly used as
reception room and thereby nominated as baithak , which was directly associated to the open-to-sky interior courtyard known as chowk – a nodal point linking
all the spaces together. The interior facade flanking the chowk were richly carved like the frontal facade, befitting the main centre of the house. The chowk was
attached to the rasodun (kitchen), paniyaro (place for storing drinking water), and the puja (prayer room) – all three being considered as sacred spaces. The
chowk , therefore apart from acting as transitional and functional focus, also represented the religious centre of the dwelling. Parsal was a semi-open space
connecting chowk and the living areas like ordo or ordoo , which was the last room, furthermost from the street and thus the most private room. They open in the
chhindi (a narrow rear streets) by the means of small windows that facilitated cross ventilation. The function of these rooms were for both storage and sleeping.
The need for privacy in the business transaction (mainly in North Gujarat) led to the development of divankhanu , on the upper floor, which ultimately became
sign of aristocratic and symbolized high status and wealth of the owner. The roof of these kind of houses were invariably sloping covered with naliyas (clay
tiles), but some areas were also left flat (known as agasi ) and are used for sleeping on summer nights and also for several domestic activities.
View of pols
3
Raja
stha
n
Pa kis ta n
Palanpur
RANN OF KUTCH
Radhanpur Sidhpur
Khavda Santalpur Patan
Himatnagar
Rapar Mehsana
Nakhatrana
Bhuj Bhachau
Anjar Ahmedabad
Mandvi Mundra
Gujarat Kapadvanj
p ra d e s h
Morbi Muli Surendranagar Godhra
Umreth
GULF OF KUTCH
Limbdi Vaso
Sayla
Khambhat
Madhya
Jamnagar Chotila
Rajkot
Baroda
Sankheda
Jasdan
GULF OF CAMBAY
Bhavnagar
Bharuch
Porbandar Amreli
Junagadh
Ar
ab
ian
Savarkundla
Keshod Surat
se
a
Rajula
Navsari
Ahwa
a
Diu
htr
(Goa, Daman, Diu)
ras
Daman
ha
(Goa, Daman, Diu)
Ma
India
roof ( chaidya )
lamberequins
window ( vatayana )
patta
masonry beam head ( bharotiyu ) beam ( mobh )
wall
todla /tolla
beam (mobh )
falna pichcha
bharanu beejoru
bracket ( madal )
kanda
shaft ( stambh )
7.I
7.I,II. Detail of bracket system and column.
Nagar vado, Patan
Visual nomenclature
wooden plate ( indhoni )
base ( kumbhi )
7.II