Published by

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
2004 Research Cell, S.I.D, C.E.P.T. and Jay Thakkar
Book Design by Jay Thakkar
jaythakkar@naqshatra.com
All rights reserved. No part of this publication may be reproduced, stored in a
retrieval system, or transmitted, any form or by any means including photocopying
and word processing, or distributed in return for the payment or by public lending
without the prior written permission of the copyright owner and publisher and subject
to copyright laws.
ISBN 81-7525-285-5
Published in India in 2004.
Processed and printed by Mayank Bhatt, India.
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Most of the time, we have documentation or books on public buildings mainly
made of stone or concrete or even wood. Often the documents describe
functions, spaces, forms and overall expression.
There is another dimension that makes all the historical buildings. It is the
detailing of those buildings. By detailing I dont mean only the construction
technology but also the way the elements are put together. The way materials
express themselves including the forces of stability. Yet there is another
dimension to these details, that is the moderation of their surfaces, the way
the craftsman has understood it and the way the craftsman is expressing
his cultural and personal understanding of his world. What he is trying to
do is to discover and express the spirit of the material as he sees it. He,
in short spiritualises the material (matter).
We nd many examples of such works expressed through marble, stone,
brick, earth, wood etc. in regions predominant in that material. Gujarat
by its geographical location has prominently stone, brick or wood and the
craftsman have explained these materials either singularly or in combination.
Yet, when we see these, we look at these buildings in their overall form and
often overlook the subtle craftsmanship shown in the articulation of their
combinations and expressions.
We also nd that the nuances of these expressions vary when cultural
inuences overlap. For example, in Gujarat we discover that Islamic and
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
and expressed by the craftsman by combining cultural nuances has
heightened the quality and workmanship of these details.
As a result, the unique stylistic expression of Gujarat has made architecture
of Gujarat unique. Its rich wooden architecture is hardly documented and
researched. Government of Gujarats Gazette on woodcarving was an
authentic source of reference on the subject, however, it is outdated and is
out of print since years.
Haveli was next attempt at documenting the vernacular dwelling type of
Gujarat.
The present research is done by Jay Thakkar of the School of Interior Design,
C.E.P.T done as a prerequisite for his nal year thesis under the guidance
of Director Prof. Krishna Shastri. This book is the most comprehensive
reference source on the art of wood carving of traditional houses of Gujarat.
It demonstrates that such craftsmanship visible in public architecture is not
only restricted to public domain but is even further heightened in domestic
architecture of the havelis and personal homes. And it is here that art, craft,
technology, connects to daily life and living. It is through the daily experience
of the detailing of the craftsmanship that the individuals sensibility are
heightened. Because of such experiences, this architecture has inuenced
Gujarats crafts, music, food habits, clothing styles, etc.; colour, texture,
surface modulation, formal expressions are all part of this experience.
This book, exhaustive in its explorations of minute details has another
message in todays context that of celebration of life.
How do we add this spiritualising attitude to our present day life? How do
we create several counterpoints to create a dynamic life, so much part of
our heritage and culture. How can we constantly experience the smelling
of owers through observing our present day construction techniques as
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
as all traditional domestic architecture? It is this that this document tries
to address.
The following pages explores in microscopic detail our rich heritage in the
form of regional arts and crafts and will provide an inspiration to architects
and designers in creating better built environment.
Balkrishna Doshi
Architect
Dean Emritus C.E.P.T
Foreward
blinding heat...
inherited hospitality...
meandering lanes...
cultural expressions...
curious eyes...
enchanting surfaces...
projecting symbols...
chaotic order...
monotonous blabberings...
unanswered questions...
territorial invasions...
tectonic endeavours...
inner search...
addictive solitude...
predictable acts...
parallel ends...
timeless structures...
mass beautification...
stale empathies...
fake pretensions...
revealing forms...
exhilerated thoughts...
conscious arrogance...
dying values...
stinking alleys...
hidden truths...
relative references...
burning feet...
organic evolution...
beholden histories...
dramatic encounters...
aimless errands...
revolutionary insights...
longing oblivion...
inquisite mind...
endless discoveries...
austere calmness...
stagnant movements...
perplexed visions...
.....all a part of an inquiry.
An inquiry into:
...a process which made mass communication possible.
...a process that expressed religious & cultural phenomenons.
...a process of embellishment a social desire.
a process a medium: Wood Carvi ng Wood Carvi ng Wood Carvi ng Wood Carvi ng Wood Carvi ng
i, like a wanderer, travelled through those cities of cities....
pattern as a factor in perception
Cont ent s
artisans of Gujarat
classical texts related to wood carving
note for transliteration and terminologies
introduction - 1
traditional houses a brief overview - 2
Part I
1. history of ancient wood carving - 10
2. historical aspect of wood carving in Gujarat -15
3. craftsmen of ancient India - 27
4. trade Guilds (nigama, shreis) - 29
Part II
5. tools (upakaras) - 35
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
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
wood a technical overview
continuity of prehistoric devices
Part IV
12. ornaments as symbols ( pratika) - 141
13. styles (riti) - 147
phase 1. Mid 16
th
to late 17
th
century (from 275 to 425 years)
phase 2. Late 17
th
to early 19
th
century (from 150 to 275 years)
phase 3. 19
th
to early 20
th
century (last 150 years)
a. composite style
b. eclectic style
c. art deco
elements
patterns
motifs
14. nexus - 179
a. the tree and its attendant genii
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
appendix chip carving - 215
glossary - 216
sources of illustrations - 220
illustration acknowledgments - 221
bibliography - 222
spiral
swastika
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V
XI X IX
VIII VII VI
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XII
II IV III
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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.
Naqsh an epitome, presents a thorough study on architecture the wooden traditional
houses of Gujarat by focusing on the process wood carving in reference to its
aesthetics Gujarati ornamentation.
Wooden architecture in Gujarat evolved organically portraying a complex picture of various
lifestyles leaving behind an eloquent history demonstrating the elegance of prevalent cultures taking
shape under the influences of different rulers and religion. From the creation of grand palaces and temples
to the formation of the local dwellings, wooden architecture displayed itself as a common denominator used
effectively for different purposes. This is where wood carving as a unique cultural entity had its origin. The traditional
art of wood carving of Gujarat encompassed in itself - the historical profiles, cultural varieties, mythological fables, religious
beliefs, social sensitivities, inherited tradition, proficient techniques, mans interpretation and expression of nature and much
much more. Elemental and eternal wood carving through newer forms and applications has carved a niche for its intrinsic versatility and value as one of the major
art forms of Gujarat. This traditional art flourished in magnitude mainly the urban centres of Gujarat, where it became an integral part of the life of people of Gujarat.
Among these there existed a community solely dedicated to artistic pursuits. These were the master builders and skilled craftsmen having the grace and the magic
to create, express and depict the essence of nature, society or religion into awe inspiring forms. Therein lies the birth and the formation of the wide and spectacular
ornamentation brought about by the wood carvers of Gujarat. Defying the phenomenon of individuality, though created by the individuals and driven by the intangible
forces of culture, this visually enchanting art is a projection of society, which was made possible through the repertory of vast ornamental forms. Encountering time,
these forms underwent subtle change and are silent witnesses to the history. This book explores and analyzes this forms and designs to understand and investigate
the relationship between art, artist and society.
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.
introduction
introduction
View of pol s pol s pol s pol s pol s
2
traditional house
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.
2.I 2.III 2.IV
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traditional house (Gujarati house)
2.II
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3
Pakistan
Mehsana
Palanpur
Patan
Radhanpur
Himatnagar
Ahmedabad
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Baroda
Kapadvanj
Godhra
Sankheda
Bharuch
Surat
Ahwa
Daman
(Goa, Daman, Diu)
Di u
(Goa, Daman, Diu)
Bhavnagar
Surendranagar
Muli
Limbdi
Sayla
Chotila
Rajkot
Jamnagar
Porbandar
Santalpur
Junagadh
Amreli
Savarkundla
Rajula
Keshod
Anjar
Nakhatrana
Bhuj
Mandvi
Bhachau
Mundra
Rapar
Khavda
RANN OF KUTCH
GULF OF KUTCH
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Morbi
Jasdan
Sidhpur
Navsari
Khambhat
Vaso
Umreth
Gujarat
India
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3.I 3.II 3.III
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6
door (dvar a)
todla /tolla
l i ntel (ut t aranga)
door frame (dvara sakha)
base (pada)
beam (mobh)
column head (shara, shirsa, sharu)
col umn (st ambh)
second floor column (kakasasana st ambh)
second floor bracket (kakasasana madal )
wi ndow ( v at ay ana)
arch (taq) spandrel
cypress col umn (s ar w- andam s ut un)
roof (chaidya)
l amberequi ns
beam head (bharot i yu)
entablature
baluster panel
threshol d (umbar o)
joist beam
masonr y
wal l
patta
bracket (madal )
Wall section Part front elevation
Detail of a traditional house
7
Typical bracket junction and column
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base (kumbhi )
shaft (stambh)
k a n d a
b h a r a n u
column capital (bharni )
f al na
knobs (l umbi ka, t undi ka)
wooden plate (i ndhoni )
bracket (madal )
spanning member (bharot )
connecting member (ni rvyuh)
beam head (bharot i yu, sundhya)
pichcha
kal i ka
b e e j o r u
beam (mobh)
cei l i ng (vi t ana)
patta
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7.I,II. Detail of bracket system and column.
7.I
7.II
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