Naqsh Brief-Overview Intro

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Published by

Research Cell

School of Interior Design, C.E.P.T.

Kasturbhai Lalbhai CampusCentre 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

[email protected]

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.



n a q s h



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 don’t 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 find 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 find that the nuances of these expressions vary when cultural

influences 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 Gujarat’s 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 final 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 individual’s sensibility are

heightened. Because of such experiences, this architecture has influenced

Gujarat’s 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 today’s 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 flowers’ through observing our present day construction techniques as

well as detailing? And most important of all, how can we create homes outof 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 Carv ing Wood Carv ing Wood Carv ing Wood Carv ing Wood Carv ing

i , like a wanderer, travelled through those “cities of cities”.. ..



patternas a factorin perception

C o n t e n t s

artisans of Gujarat

classical texts related to wood carving

note fortransliteration and terminologies

introduction - 1

traditional houses – a brief overview - 2

Part I

1. history of ancient wood carving - 10

2. historical aspectof wood carving in Gujarat -15

3. craftsmen of ancient India - 27

4. trade Guilds ( nigama , shre ñis ) - 29

Part II

5. tools (upakar ña s) - 35

6. techniques - 39

a. r eliefcarving technique

b. undercutting technique

c. incised carving technique

d. Sculpturesque carving technique

e. pierced carving technique

Part III

7. ornamentation ( alam k ara, ma nd an a) - 49

8. motifs- 55

• f igural motifs

• naturalmotifs

• geometricmotifs9. pattern - 73

9.1. bands( patti, pattik a) (one dimensional infinite patterns) - 75

9.2. santeens (two dimensional infinite patterns) - 91

• organic santeeens

• geometric santeens

10. organising principles - 103

a. translation

b. r otation

c. r eflection

d. glide reflection

11. elements- 107

wood – a technical overview



continuity of prehistoric devices

Part IV

12. ornaments as symbols ( pra t ika) - 141

13. styles (ri t i ) - 147

• phase 1. Mid 16 th 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

14. nexus - 179

a. the tree andits attendantgenii

b. cone & flower pattern

c. mythical composite beast – gajvy a l a

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

illustrationacknowledgments - 221

bibliography - 222

spiral

swastika



D h a l n i p o l , K h a d i a ,

A h m e d a b a d


A h m e d a b a d


A h m e d a b a d

K o t h

n i p o l , R a i p u r ,

A h m e d a b a d

C h a n d a r i a ,

P a t a n

V

XIXIX

VIIIVIIVI

I

XII

II IVIII

P a k h a l i n i p o l , R a i p u r , A h m e d a b a d

K u a v a l i p o l , S h a h p u r ,

A h m e d a b a d

N a v i m e h t a

n i p o l , D a r i a p u r ,

A h m e d a b a d

N a v i V o h r a v a s ,

S i d h p u r

C h i p a

p o l ,

D a r i a p u r ,

A h m e d a b a d

S a u d a g a r n i p o l , K h a d i a ,

A h m e d a b a d

H a j i r a

n i p o l , K h a d i a ,

A h m e d a b a d



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 traditionalart of wood carving of Gujarat encompassed in itself - the historical profiles, cultural varieties, mythological fables, religious

beliefs, social sensitivities, inherited tradition, proficient techniques, man’s 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.

introductionintroduction

2



View of pols pols pols pols pols

2

traditional houseThe 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 inaccordance 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 i t 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


A h m e d a b a d

N

a g a r v a d o ,

P a t a n

traditional house (Gujarati house)

2.II

P a k h a l i n i p o l , R

a i p u r , A h m e d a b a d

K o t h

n i p o l , R

a i p u r , A h m e d a b a d

3



3

Pa k is tan

Mehsana

Palanpur

Patan

Radhanpur

Himatnagar

Ahmedabad

R a j a s t h a n

M a h a r

a s h t r a

M a d h

y a

p r a d

e s

h

A r a b i a n s e a

Baroda

Kapadvanj

Godhra

Sankheda

Bharuch

Surat

Ahwa

Daman(Goa, Daman, Diu)

Diu(Goa, Daman, Diu)

Bhavnagar

SurendranagarMuli

Limbdi

Sayla

ChotilaRajkot

Jamnagar

Porbandar

Santalpur

Junagadh

Amreli

Savarkundla

Rajula

Keshod

Anjar

Nakhatrana

Bhuj

Mandvi

Bhachau

Mundra

Rapar

Khavda

RANN OF KUTCH

GULF OF KUTCH

G U L F

O F

C A

M B A Y

Morbi

Jasdan

Sidhpur

Navsari

Khambhat

Vaso

Umreth

Gujarat

India

L a k h a

p a t e l n i p o l , K h a d i a ,

A h m e d a b a d

3.I 3.II 3.III

D w a r k a d h i s h

n i h a v e l i , R

a i p u r ,

A h m e d a b a d

H a j a

p a t e l n i p o l , K h a d i a ,

A h m e d a b a d

6



door (dvara )

todla /tolla

l intel (uttaranga )

door frame (dvara sakha )

base ( pada )

beam (mobh )

column head (shara, shirsa, sharu )

column (stambh )

second floor column (kakasasana stambh )

second floor bracket (kakasasana madal )

window (v a t a y a n a )

arch (ta q )spandrel

cypress column ( sarw -andam sutun )

roof (chaidya )

lamberequins

beam head (bharotiyu )

entablature

baluster panel

threshold (umbaro )

joist beam

masonry

wall

patta

bracket (madal )

Wall section Part front elevation

Detail of a traditional house

7



Typical bracket junction and column

V i s u a l n o m e n c l a t u r e

base (kumbhi )

shaft (stambh )

k a n d a

b h a r a n u

column capital (bharni )

fa lna

knobs (lumbika, tundika )

wooden plate (indhoni )

bracket (madal )

spanning member (bharot )

connecting member (nirvyuh )

beam head (bharotiyu, sundhya )

pichcha

kalika

b e e j o r u

beam (mobh )

ceiling (vitana )

patta

D w a r k

a d h i s h

n i h a v e l i , R a i p u r ,

A h m e d a b a d

7.I,II. Detail of bracket system and column.

7.I

7.II

N a g a r v a d o ,

P a t a n

Naqsh Brief-Overview Intro

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