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.

n a q s h
         
   

 

 
   
Foreward
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 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
i
, like a wanderer, travelled through those “cities of cities”....
beholden histories...
dramatic encounters...
meandering lanes... relative references...
cultural expressions...
mass beautification...
blinding heat...
dying values...
inherited hospitality...

timeless structures... inner search...

tectonic endeavours...
revealing forms... curious eyes...
projecting symbols...
unanswered questions...
addictive solitude...
enchanting surfaces...
chaotic order... territorial invasions...
predictable acts... stale empathies...
parallel ends...
monotonous blabberings...
burning feet...
fake pretensions... exhilerated thoughts...

stagnant movements... stinking alleys...

hidden truths...
conscious arrogance...
organic evolution...
revolutionary insights... longing oblivion...

aimless errands...
perplexed visions...
austere calmness...
endless discoveries...
.....all – a part of an inquiry.
inquisite mind...
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 Carving

note for transliteration and terminologies
introduction - 1
traditional houses – a brief overview - 2

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

appendix – chip carving - 215

glossary - 216
sources of illustrations - 220
illustration acknowledgments - 221
bibliography - 222
 V

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.

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, 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.
2

traditional house traditional house (Gujarati 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.

Koth ni pol, Raipur, Ahmedabad

Dhal ni pol, Khadia, Ahmedabad

Pakhali ni pol, Raipur, Ahmedabad

Nagar vado, Patan

2.I 2.II 2.III 2.IV

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

Haja patel ni pol, Khadia, Ahmedabad

Lakha patel ni pol, Khadia, Ahmedabad

Dwarkadhish ni haveli, Raipur, Ahmedabad

3.I 3.II 3.III
6

roof ( chaidya )

lamberequins

spandrel arch ( taq )

cypress column ( sarw-andam sutun )

second floor bracket ( kakasasana madal )

window ( vatayana )

second floor column ( kakasasana stambh )

joist beam baluster panel

entablature

patta
masonry beam head ( bharotiyu ) beam ( mobh )
wall
todla /tolla

column head ( shara, shirsa, sharu )

bracket ( madal ) lintel ( uttaranga )

door ( dvara )

column ( stambh ) door frame ( dvara sakha )

threshold ( umbaro ) base ( pada )

Wall section Part front elevation

Detail of a traditional house

 7

Dwarkadhish ni haveli, Raipur, Ahmedabad

ceiling ( vitana )

patta spanning member ( bharot )

beam (mobh )

beam head ( bharotiyu, sundhya )

knobs ( lumbika, tundika )

connecting member ( nirvyuh )

falna pichcha

column capital ( bharni ) kalika

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

Typical bracket junction and column