TAMBEKAR WADA - A Lost Glory

TAMBEKAR WADA A LOST GLORY BY ASTHA SINGH

COMMUNICATION DESIGN

MUGDHAA RANADE MOVING IMAGES

GUIDE AVANI VARIA

TRUPTI JAIN

COMMUNICATION DESIGN

Craft Documentation of Students For private circulation only.

B.Des. Communication Design 2017 B.Des. Moving Images 2017 5th Semester Maharaja Ranjitsinh Institute of Design Vadodara, Gujarat, India

TAMBEKAR WADA

Text Mugdhaa Ranade Astha Singh

A Lost Glory

Publication November 2017 Design Astha Singh Trupti Jain Guided by Avani Varia

All rights reserved under MRID

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MRID

MAHARAJA RANJITSINH INSTITUTE OF DESIGN

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ACKNOWLEDGEMENT

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For the purpose of assignment encompassing craft documentation

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Photohgraph by Astha Singh

on Tambekar Wada at Vadodara we feel great hounour in expressing our gratitude and appreciation to all the respected persons who have been a help and guiding light to our project.

First of all we are very grateful to our course instructor Ms. Avani Varia for guiding us throughout the entire process and for being extremely patient with us. She has been instrumental in outling the frame work of the various steps we needed to follow, and in giving shape to our project.

We are very thankful to our institute, MRID, MSU, for providing us with the opportunity to learn under Avani Ma’am, and for their constant support.

The Archaelogical Survey of India (ASI) has been most helpful in providing us with assistance: Mr. Anil K Tiwari, the Superintendent and Mr. Arun Malik, Deputy Superintendent, extented their support not only by providing us with books to use as reference, but also imparted their vast knowledge on this subject. We also cannot thank Mr. Gautam, the ASI Officer stationed at Tambekar Wada, enough. He most kindly guided us around the technicalities of obtaining permission and all necessary paper work.

The staff at Tambekar Wada, gave us a tour around the premises of Tambekar Wada and were most helpful at all times.

We feel highly privileged to have made the acquintance of Mr. Chandrashekar Patil, the researcher cum conservator cum restorer of Tambekar Wada. He has been researching on Tambekar Wada for the past 12 years, and imparted his knowledge to us Our heartiest thanks goes to the Photographer at ASI, Mr. Mitesh Shah, who gave us valuable photos of Tambekar Wada.

We are also thankful to Chintan Thakor, the audio editor who helped us with sound synchronisation. We would also like to express our gratitude to all those who have directly and indirectly helped in our project.

We would like to extend our thanks to MS. Manisha Singh, Astha Singh’s mother who helped & guided us in writing the documentation.

CONTENTS

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Purpose of Craft Documentation Vadodara :

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History of Vadodara

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Wada Culture

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The Style of Wada Settlement 1

Paintings & Murals Styles

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Miniature Tempera Secco

Tambekar Wada :

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Photohgraph by Mugdhaa Ranade

History of Tambekar Wada Structure, Architecture, Influences Paintings & Murals

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Motifs in Tambekar Wada

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Tambekar Wada at present

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Suggestions

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Conclusion

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Team Members

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Esssentials

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Terms Used

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References

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PURPOSE

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OF CRAFT DOCUMENTATION Craft Documentation is a process of recording, categorizing and dissemination of information, through both graphic and written mediums.

The process documents and explains the significant characteristics of a craft; the materials, process, tools and techniques involved in creating it; as well as the applications (Interior Architecture elements, Furniture, Objects and Accessories) of the Traditional and Vernacular Crafts.The recording process initiates with gathering information through literature study, followed by 11

recording through field drawings and photographic documentation, which would later take form of a document, report or plate, depending upon the number of stages involved in order to carry out a particular craft.

The purpose of Documentation is to preserve its identity and to communicate its details to the audience. It is also helpful for further research activities by encouraging researchers who are willing to contribute in the areas of craft studies traditional knowledge conservation and preservation of indigenous technologies, design research etc.

Our instructor advised to find out details about all the existing crafts prevalent in Vadodara. Once the crafts were shortlisted, we were assigned Tambekar Wada to research on.

The reason why we chose Tambekar Wada is that it holds a significant place in the area of craft, and is also an important heritage site in Vadodara. It is sad to see that due to negligence, the place at present is in a dilapidated state inspite of once being an important part of the history of Vadodara. We strive to revive it in order to bring forth its splendour to the world.

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Photohgraph by Astha Singh

TAMBEKAR WADA : A Lost Glory

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VADODARA

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Situated on the banks of River Vishwamitri- in central Gujarat is Vadodara, the third largest city in the State.

Vadodara City (Lat. 22째18' N/22.30째 N, Long. 73째11' E/73.19째 E) has a semi-arid climate, and is "situated in the coastal band of the alluvium formed by the detrital deposits of all the rivers, which drain the plain of Gujarat, Malwa and Southern Rajaputana."

(Bendapudi S., "Baroda Through The Ages", 1953, p.3) 11

According to the Census 2011 India evaluation, Vadodara had a population of 1,670,806. Along with Gujaratis and Marathis, many Bengalis and Rajasthanis too have settled here. While the

Mandvi Gate

official language of Gujarat is Gujarati, Hindi, Marathi and English are also widely used in Vadodara.

The city has the railway line connecting Delhi and Mumbai, as well as the National Highway No. 8 passing through the city.

Vadodara is known as Sanskari Nagari, that is, Cultured City. People from all over the world come to the city to experience the Navratri festival and the Garba dance, which Vadodara is immensely popular and famous for. Vadodara is also an important industrial, educational, and cultural hub of western India, and has several institutions of national and regional importance.

Its major industries include petrochemicals,

Maharaja Sayajirao University of Vadodara

engineering, chemicals, pharmaceuticals, plastics, IT and foreign exchange services.

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TAMBEKAR WADA : A Lost Glory

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History of Baroda

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Vadodara was initially known as Chandanvati, or the City of Sandalwood.

“In 2nd century BC, Raja Chandan of Dor clan of Rajputs wrested power from the Jains. The city's name was then changed to 'Viravati' or 'abode of warriors' and later to Vatpatra or 'leaf of banyan tree' perhaps from its fancied resemblance to that broad leaf." (Bennett, Coleman and Co. Ltd., "Baroda - Know Your Roots", 2012, p.2) In 1974, Vadodara became the official name of the city.

The city is known for the Laxmi Vilas Palace, the residence of the Gaekwads, the Maratha royal family of Baroda. The Palace is built in an Indo-Saracenic

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architecture style, and is one of the most extravagant and majestic buildings in India. It is also said to be the largest private residence ever built.

The Maharaja Sayajirao University of Baroda, formerly known as Baroda College,

Sir Sayajirao Gaekwad III (1863 – 1939)

which is the largest university in Gujarat, and was also built by the Gaekwads.

"The Gaekwads trace their origins to Pune- to a Maratha Kshatriya clan by the name of Matre, meaning minister. Legend has it that in the 17th century, a prosperous farmer called Nadaji had become a militant protector of cows, gaining the nickname 'Gae-Kaiwari' (one who protects cows). This label stuck to t he family, but as simplified to 'Gaekwad'. The family later served the Peshwas. " (Bennett, Coleman and Co. Ltd., "Baroda- Know Your Roots", 2012, p.23) The Gaekwads came to prominence in the 1720s with the incursions of Damaji and Pilaji Gaekwad, into Gujarat. They took advantage of many factors such as the differences between the Peshwas and the Dabhades, and the disagreements at the Mughal court. After Shahu’s death, the Peshwas’ power was enhanced, as was that of the Gaekwads.

The Gaekwads initially had Songadh as their capital till 1765, then Patan during the regime of Damajirao II, which was finally shifted to Baroda.

Lakshmi Vilas Palace The Gaekwads thus ruled from the early 18th century until 1947, when India gained independence.

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TAMBEKAR WADA : A Lost Glory

TAMBEKAR WADA : A Lost Glory

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wada culture

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Wadas are the traditional residential forms of Maratha imperial architecture, and are said to have evolved under the reign of the Peshwas.

The wada style is an amalgamation of features taken from Mughal, Rajasthani, and Gujarati architecture, combined with local construction techniques.

There are two types of wadas: 11

Shaniwar Wada

Built in 1732, it was the seat of the Peshwas of the Maratha Empire until 1818 in Pune

1) One which housed many families; mostly owned by middle class families 2) One which housed only one family; mostly owned by the wealthy families like that of the relatives of the Peshwas and traders

THE STYLE OF WADA SETTLEMENT : The streets and roads in the settlement were narrow, and were never straight as the growth of the settlement was organic. The wadas were rectangular and lay right next to the streets. A wada never had a garden or vistas leading to it.

Typically mansions with two or more storeys, they have groups of rooms with numerous balconies arranged around open courtyards, and steep staircases.

Vishram Baug Wada Was residence of Peshwa Bajirao II, the last Peshwa of Maratha confederacy in Pune, in early 19th century.

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TAMBEKAR WADA : A Lost Glory

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- Secco style Ajanta Cave

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mural paintings A mural is any piece of artwork painted or applied directly on a wall, ceiling or other permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture. Some wall paintings are painted on large canvases, which are then attached to the wall.

Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.

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types of mural paintings : Secco Secco means ‘dried’ in Italian.

Secco refers to the wall painting technique where pigments mixed with an organic

Tempera style -

binder and/or lime are applied onto a dry plaster.

Tempera The word tempera originally came from the verb temper, “to bring to a desired consistency.” Dry pigments are made usable by “tempering” them with a binding and adhesive vehicle. Also known as egg-tempera, the medium is dry pigment tempered with an emulsion and thinned with water. In this method, the pigment is mixed with egg, using the white of the egg or the yolk.

Miniature Paintings Miniature painting is a term applied both to Western portrait miniatures and to the Indian and Islamic forms of manuscript painting. Portrait miniatures, or limnings, were originally painted in watercolour with body colour on vellum and card. They were often worn in jewelled, enamelled lockets. Indian miniature paintings are quite colorful and, as the name suggests, small in size.

The colour materials on the mural paintings in ancient India were derived from the

- Miniature Painting style Madhumalati Sufi mystic story Madhumalati

natural materials like terracotta, chalk, red ochre and yellow ochre mixed with animal fat.

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TAMBEKAR WADA : A Lost Glory

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tambekar wada

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history of tambekar

Bhau Tambekar (Vithal Khanderao), Diwan of Baroda (1849-1854) during the reign of Maharaja Ganpatrao Gaekwad, had one such wada built in Baroda, known as the Tambekar Wada, “a painted house belonging to the Victorian era”. (“Contemporary Art in Baroda”, 1997, p.29) Tambekar Wada is located at Tambkear no Khancho, Raopura Area, Vadodara (Baroda). It is a three-storeyed building and is a typical Maratha mansion, spacious and constructed in an oblong fashion. It was once the residence of Bhau Tambekar.

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Inside the Wada, there are some of the most beautiful but decaying 19th century murals. The Building is almost 140+ years old.

Tambekar Wada

Tambekar Wada is an important part of Vadodara’s heritage, being the only surviving relic of the Maratha culture in the city.

Tambekar Wada (1st Floor) One of Corridors of Tambekar Wada Second Floor 1

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Photohgraph by Astha Singh

TAMBEKAR WADA : A Lost Glory

TAMBEKAR WADA : A Lost Glory

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tambekar wada

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structure, architecture, influences

Tambekar Wada is located in the heart of the city in the Raopura area and is one of the oldest surviving residential complexes- constructed in 1874.

Tambekar Wada is a quadrangular three-storeyed structure with a central courtyard, resembling the floor plan of the traditional Rajasthani havelis, but without carvings.

It has two rooms with murals painted all over, in the east wing. The interiors are entirely painted, from the walls and doors and windows, to the door jambs and window sills.

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The first floor of the wada has a carved screen dividing it. The screen is worked in secco or tempera or a dry lime ground. The marble-like glistening walls is a result of a technique similar to one used in the havelis and palaces of Rajasthan. All the wooden surfaces are painted in opaque water based pigments varnished with lacquer.

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Carved Screen at First Floor

The murals and paintings, thus, have a number of genres and motifs.

Narrative episodes are depicted, such as Puranic themes, and scenes from Indian epics. The scenes depicted range from wars and religious events to intimate portraits. Floral patterns are widely used, and Nature seems to be a recurring theme. Influences from European and Mughal cultures are also seen.

Door with Motifs

Sankal

First Floor Corridor

Traditional Doors

Not only are the walls painted, but so are the doors, along with having carved window sills.

Window with Carved

Pillars with Carved

Frames

Motifs

Second Floor

Outer part of Wada 1

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TAMBEKAR WADA : A Lost Glory

TAMBEKAR WADA : A Lost Glory

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tambekar wada

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paintings & murals

The walls, doors and ceilings on the first and second floors of this old fashioned building are adorned with the best specimens of mural paintings dating back to 17th and 18th centuries. Other wall paintings dating back to the first half of the 19th century represent epic scenes depicting the life of the people. The paintings are in poly-chrome and are of Maratha style of paintings of 19th century A.D. They are the best specimen of mural paintings in Gujarat. Most of the paintings have been restored by the Archaeological Survey of India. The ASI still attends to the chemical treatments of these paintings on a frequent basis.

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Dandiya Raasleela Depiction Picture contribution by - Archaeological Survey of India, taken in Aug’15

There are paintings of Lord Krishna in childhood breaking Pot, Lord Krishna doing Raas with Gopi’s, Lord Ganesha in childhood etc. It also has British-Maratha War paintings. According to Archeaological Survey of India (ASI), paintings in Tambekar Wada were made during the year 1874. There were 300 Paintings in the Wada from the 1st to the 3rd floor. Not only the walls are painted, but so are the door frames. Jalis and carved window sills are also present.

The backside of the building is in a dilapidated condition. ASI & VMC plan to repair it.

On opening the door to the second-floor room, it is like being thrown into a riot of colors. It takes one a couple of minutes to adjust to this new reality.

The ceiling has the traditional green and yellow colors while every inch of the walls was painted. Even the door panels carry painted treatises on various aspects of life like music, love, and wrestling. Floral patterned strips in bright colours demarcate the paintings and sometimes provide the border to the frames.

There are traditional scenes from Mahabharata including the anecdotes from the life of Krishna. There are ample contemporary scenes from the Anglo-Maratha wars of 19th CE. Parts of the walls above the doors have large paintings usually depicting war scenes.

Narrow strips of walls between doors have paintings depicting music and dance.

The miniatures found on the doors are intimate portraits, while some of the larger paintings are like scrolls telling a story in small scenes.

Vasudev Carrying Krishna to Gokul

Photohgraphs by Astha Singh 1

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TAMBEKAR WADA : A Lost Glory

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One of the European style paintings

Depiction of Ganesh Chaturthi Festival

On second Floor

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Depiction of Lord Krishna

One of the Erotic paintings on the doors.

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European Style Painting

Painting of Maharashtrian Women on door. We can see their costume style

One of the European style paintings

Small Floral Mural Painting

On second Floor

On First Floor

Different fauna depiction in all the paintings with different styles.

Photohgraphs by Astha Singh

Photohgraphs by Astha Singh

TAMBEKAR WADA : A Lost Glory

TAMBEKAR WADA : A Lost Glory

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tambekar wada its motifs

A recurring image, especially one forming a pattern, is called a motif.

Nature seems to be the dominant theme visible throughout the various motifs painted in the Tambekar Wada.

Flowers especially, of numerous kinds are present, as are birds, although not as much as flowers. Thus, not only do the same flower or two different flowers form a motif, but also a certain flower and a certain bird do the same. The flowers and birds depicted are the ones found commonly in India.

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However, influences of different cultures, too, are easily discernible.

Ceilings too have those Flora anf Fauna Depiction using bright & contrast colours

Some of the motifs have the European cherubs- chubby little boys with golden hair, and wings, sitting on one kind of flower, while being surrounded by the other kind.

Whereas, some other motifs have ladies bedecked in traditional Indian finery, and also possessing stylized colourful wings, sitting on flowers. Some of the ladies are depicted as playing certain traditional instruments.

These motifs are as eye-catching as the rest of the paintings, and instead of making the walls feel cluttered, they work well in giving every painting its own space. These motifs thus enhance the beauty of the Wada.

Geometric Patterns can also been seen in motifs

Wood carvings of peococks as motifs

Many other Motifs can be seen like womens with flowers, different birds, or cherub in motifs, etc.

Photohgraphs by Astha Singh

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TAMBEKAR WADA : A Lost Glory

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present state

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of tambekar wada

The place is currently under restoration by the ASI, but a lot is yet to be done to bring back the lost glory of this traditional mansion. The front wing of the house is relatively restored but the rest of the house is in a dilapidated state.

It was heart breaking to discover that one of the floors had been white washed as the paintings had frayed. A good chunk of historic details has been lost due to this act. Whatever paintings are left behind are in the process of deterioration.

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Although ASI does make efforts to restore these paintings by some chemical processes, the efforts are not enough. It calls for some real professional and

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highly technical devices to protect this art form from vanishing.

TAMBEKAR WADA Picture contribution by - Archaeological Survey of India, taken in Aug’15

It is also disheartening to note that many Barodians are unaware of this treasure hidden right in the heart of their city. If the necessary steps are taken, this building will no longer decay, and instead, would flourish, as it rightly should.

Back Portion of the Wada which is under VMC

Photohgraphs by Astha Singh

Room which was white washed later (tentitavely around1960) Second Floor

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suggestions

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tambekar wada

Having analyzed the state of Tambekar Wada we have come up with a few suggestions that might help in its conservation.

- The first thing that strikes us is the lack of enough lighting. As most of the doors and windows are kept closed the air inside feels damp and hampers proper vision. Keeping the rooms airy and letting the sunlight come in would brighten up the space. We can also add LED Lights (Track lighting) to it with low intensity

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which doesn’t affect the paintings. This is the most flexible system used in 11

museums and galleries. The intensity of light should be less than 50 lux & greater than 45 lux.

- According to the ASI, there are not many mural painters who can restore the paintings that are wearing away with time but we feel that there is no dearth of such painters. If only awareness is created about this place, we are sure that enthusiastic painters and heritage lovers would throng to it and work to upgrade it.

- There are many conservators who do the work of restoring heritage sites.

However, we should keep in mind that every proccess takes time and that there is always a way to do it. We need to follow the methods before starting the restoration i.e. making a report about the site, stating the present condition with photographs, construction date, details of each painting. We need to keep in mind that Reversible Process is to be used while restoring it so that if there is any issue, it can be reverted to its orginal form.

- This place should be developed in such a way that it creates mass awareness and becomes a tourist attraction. This will help in maintaining the building in an orderly fashion.

Thus, a conscious effort should be made in taking the help of these professionals and work should begin on a serious footing.

Photohgraph by Astha Singh

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conclusion

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Not many cities can boast of a rich, ancient, and profound culture as Vadodara. To have a heritage monument right in the heart of the city and not being aware of it puts a shame on the people of Sanskar Nagri.

To study history and historical places is one thing, and to go and

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actually visit and visualise them is another. As one steps into the 11

mansion of Tambekar Wada one is transported to the era where old dynasties such as Marathas strived and struggled to establish their mark on history. The richly decorated walls and the archeological structure defines the glory of a bygone era.

It is very sad to notice the apathy of the common man towards the conservation of lost historical sites. If some strict and serious measures are not taken, these cultural sites would soon be lost in oblivion and their state would keep on deteriorating.

It is our small effort through the making of this documentation to pave the way for creating awareness and to invite all persons well-versed in the restoration techniques, to help us in bringing out this heritage from the wilderness of dilapidation into the light of recognization.

Photohgraph by Trupti Jain

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1. astha singh

5th Semester Communication Design MRID

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Email : mansum72@gmail.com 11

TEAM MEMBERS

Making craft documentation on Tambekar Wada has been a very unique experience for me. It was a completeply different form of work from all that I have done till now at MRID. The actual field work presented before me new challenges, as well as opportunities where I could apply my creativity and also opened my eyes to the yet unexplored horizons of designing.

My first criteria was to explore all the existing crafts of Vadodara. I was surprised to see how these age old tradition have still survived untounched by the fast pace of technological development. After these crafts were shortlised, we embarked on launching our research into Tambekar Wada. I first had to face the obstacle of obtaining permission from the right authorities to even explore the area. Having collected the permission my focus was on finding a proper researcher who would guide me in the proper channel of collecting the data. I visited the site many times and at different times of the day to capture its beauty in different shades of light. I took several photos at all angles and of all corners and tried to shoot the images recording every detail. Having collected data and photos, the next job was compilation and documentation of the data.

The experience of writing the document gave a completely new perspective to the whole excercise and as I wrote the topics chronologically, I felt like I was reliving the history and reviving it in the present scenerio.

Writing was not the only aspect of documentation the further steps were setting the images, synchronising with text. It also involved editing of Photography & audiography.

I also came to understand the importance of working in a team as it helped me to learn how to adjust, cope and work with understanding along with my team mates. No matter how much work I do in the future, this experience will leave a lasting impression on my mind.

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1

2. trupti jain

3. mugdhaa ranade

5th Semester

5th Semester

Communication Design

Moving Images

MRID

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MRID

Email : truptijaora@gmail.com

Email : mugdhaaranade@gmail.com

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Craft documentation presented before me a completely new experience and I was thrilled to explore it to the fullest.

For one, I never knew something as rich in culture as Tambekar Wada existed right in front our eyes and yet we failed to notice it.

After being assigned to compile data on this Heritage site I got the full opportunity to explore the intricacies of the splendors of Tambekar Wada. I scoured the library and got my hands on every book that offered information on Tambekar Wada. Along with that I came to study about other forms of Art as well.

Next, I and my team mate Astha, made acquintence with Mr. Chandrashekar Patil who has been researching on the subject since last 12 years. He was very helpful and agreed to get interviewed by us. He explained its history, its paintings - especially mural paintings & motifs in great detail and also advised us as to how to go about with our documentation.

I took several photographs of the place & studied each painting in great detail marvelling at its beauty and intricate designs.

I complied the data from the books I studied and edited them for the purpose. I also selected the appropriate images suitable to the text and edited them too.

Later I transcripted the interview we had taken and helped in edit ing the documentation.

On a whole I have learned not just about how to document a craft but also various aspects attached to it such as photograpgy, compilation, editing, etc.

It was a great experience working as a team and not on an individual basis which calls for a team effort where every member plays a vital role.

The two weeks have passed by in a blink, and yet it feels like the first day of the module was ages ago- that is how far I have come. It has been an emotional journey throughout, dealing with issues both personal and professional, and I believe I have come out stronger.

From learning the essentials in class, to experiencing the field for the first time, I was constantly on my toes. Every single day was a challenge. We extensively reasearched Crafts as a whole, followed by the topic we chose for our project. Thus, having chosen Tambekar Wada, the next few days were a flurry of activity- getting the requisite permissions, taking photos, scouring the libraries for information, compiling the data gathered, writing it and re-writing it, going over the layout with Astha and Trupti, and crying internally and then actually... whew!

It has been overwhelming, but at the end, I am glad I not only got to learn a lot, and experiencea lot, but also managed to de-stress over the two weeks. Painful, but rewarding, is how I would describe this entire experience.

I must thank Astha and Trupti for dealing with my mood swings, and last, but not the least: Avani Ma'am- for imparting her knowledge and guiding us throughout so thoroughly. I would also like to thank her on a personal level for being so kind to me.

With this, I will sign off.

Thank you.

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terms used

essentials These are the things we learned during the module :

Tambekar wada: A typical maratha mansion once the residence of Bhau Tambekar.

1. Citation 2. What is plagiarism and how to avoid it.

3. Types of research - Primary and Secondary Research.

5. Research techniques - Qualitative, Quantitative, Basic, etc.

6. What is Ethnography?

Wada : A tradtional residence of maharashtra.

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7. Craft Documentation guidelines and steps.

8. Time Management.

Victorian era: The period of Queen Victoria's reign between 1837 to 1901.

Mural: Any piece of artwork painted on a permanent surface.

Motif: An element of an image often repeated in a pattern or a design.

Fresco/Sesco: A technique of mural painting on wet lime plaster.

Tempera: Painting executed with pigment, ground in a water-miscible medium.

Not only did we learn the technical aspects of craft documentation, but through our experiences with the collection of data, we also got an understanding of what problems we might face and how to go about

Sanskarinagari: Vadodara is called sanskarinagari i.e. cultural city.

ASI: Archaelogical survey of india responsible for conservation, preservation and restoration of cultural monuments of india.

important things like getting the requisite permission. We also learned

Tambekar: Once the diwan of baroda.

the proper etiquette to interact with the concerned persons.

Shanivar Wada: A historical fortification in the city of pune.

Vishram Wada: Luxurious residence of Peshwa Bajiraro II in Pune.

MRID: Maharaja Ranjitsinh Institute of Design, faculty of fine arts in MSU University.

Miniature painting: A traditional detailed style of art.

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references IMAGES : http://dicrc.in/Craft-Documentation https://timesofindia.indiatimes.com/city/vadodara/after-unprecedented-rush-msusscience-faculty-to-admit-250-more/articleshow/59225228.cms

important numbers

https://www.architecturaldigest.in/content/indias-largest-private-residence-unveiledwelcome-lukshmi-villas-palace/

ASI OFFICE VADODARA CIRCLE

http://www.wondermondo.com/Countries/As/India/Maharashtra/Ajanta.htm

PURATATTVA BHAWAN, NEAR CENTRAL LIBRARY

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https://in.pinterest.com/suparnadey/artist-suparna-dey/?lp=true

MANDVI, VADODARA 390006 (Code-0265)

http://paintingsgalleries.blogspot.com/2008/11/indian-miniature-paintingsphad-kangra.html

Shri Anil.K Tiwari Superintending Archaeologist Vadodara Circle, Vadodara.

http://www.historyofvadodara.in/tambekar-wada/Lorem ipsum

Shri Arun Malik, Deputy Superintending Archaeologist Vadodara Circle, Vadodara.

Mobile No. - 9990609126

Articles : https://www.italian-renaissance-art.com/Painting-Techniques.html https://www.britannica.com/art/painting/Techniques-and-methods#ref364680

RESTORER AND CONSERVATOR OF JUNAGADH MUSUEM

http://www.wikiwand.com/en/Fresco-secco http://www.culturalindia.net/indian-art/paintings/miniature.html

Mr. Kiran Varia Email : kiranvaria1986@gmail.com

books :

RESTORER AND CONSERVATOR OF BARODA MUSUEM

Bennett, Coleman and Co. Ltd., "Baroda- Know Your Roots", 2012, p.23

Mr. Chandrashekar Patil Mobile No. : 09824372414

Britannica Educational Publishing, “The History of India”, p.194

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TAMBEKAR WADA : A Lost Glory

TAMBEKAR WADA : A Lost Glory

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The Book, “Tambekar Wada - A Lost Glory � is a craft documentation based on the architecture and paintings of Tambekar Wada. Although, the book is an amateur effort by the students of MRID, yet it gives an indepth insight into the history, the culture and art of Tambekar Wada.

Tha fact the we as citizens are fast losing our responsiblity towards our cultural heritage is brought home to us through this book & opens oureyes on the importance of conserving our past through restoration of our heritage !

Photohgraph by Trupti Jain