The Woodcarver and The Architect by Monica Patel

Monica Patel

History and Theory Studies // 2021

The Woodcarver and the Architect

CONTENTS List of Figures Brief Introduction

4 6

01.

THE FALL OF THE MUGHAL EMPIRE AND AHMEDABAD

Shifting of Power Merging of Cultures The Pol House

9 11 13

02.

ARTISTIC GUILDS: CRAFTSMEN AND LABOUR

Role in Society Labour and Craft Expression

23 24

03.

A STUDY ON ORNAMENTATION

The Birth of a Visual Language Core Principles Carving Techniques Three Forms of Ornamentation Distinctions Between Old and New Forms of Ornament

27 29 34 38 42

04.

THE WOODCARVER AND THE ARCHITECT

Shift in Ornament Practices Visibility of Labour

47 50

05.

A WIDER TERRITORY OF CULTURE

Reflection on Political and Cultural Landscape Labour and Ornament at Large

53 54

Bibliography

LIST OF FIGURES Fig. No.

Reference

Page No.

Fig. 01

Monica Patel, Walled City of Ahmedabad, 2021.

Fig. 02

Farrukh Beg, Akbar’s triumphal entry into Surat in 1572, 1590-95 < https://commons.wikimedia.org/wiki/File:1572-Akbars_triumphal_ entry_into_Surat.jpg> [accessed 17 January 2021].

Fig. 03

Monica Patel, Pol Clusters in the Urban Fabric, 2021.

Fig. 04

Men Sat on an Otla, 2015 < http://berkeleyprize. org/endowment/the-reser ve?id=15> [accessed 17 January 2021].

Fig. 05

Monica Patel, Plan of Typical Pol House, 2020.

Fig. 06

Dominic Walker, Ahmedabad: Pol and Otla, 2017.

Fig. 07

Peacock Ornament Illustration in R.K. Trivedi, Census of India 1961 Part VII-A (2) Wood Carving of Gujarat, (Baroda: The Government Press, The Manager of Publications, 1965) p.5.

Fig. 08

Monica Patel, Pol House Elevation, 2021.

Fig. 09

Monica Patel, Pol House Elevation, 2021.

Fig. 10

Monica Patel, Typical Gujarati Column Details, 2021.

Fig. 11

Pol Relief Carvings in Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004) p. 58.

Fig. 12

Base of Bracket Guardian Ornament in Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004) p. 67.

Fig. 13

Monica Patel, Isolated Ornament Details, 2021.

Fig. 14

Monica Patel, Balustrade Facade Panel, 2021.

Fig. 15

Monica Patel, Curved Balustrade Carving, 2021.

Fig. 16

Entablature at First Floor Level in Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004) p. 61.

Fig. 17

Figure of Pratihara (Guardian) at the Base of the First Floor Column in Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004) p. 65.

Fig. 18

Monica Patel, Shift in Figurative Guardian Ornament, 2021.

Fig. 19

Monica Patel, Shift in Peacock Ornament, 2021.

Fig. 20

Gajvyala or Garsada in Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004) p. 62.

Fig. 21

Monica Patel, Mythical Creature Bracket Detail, 2021.

BRIEF INTRODUCTION

The new relationship between the woodcarver and the architect caused a shift in the perception of ornament and its projection of culture and society at the fall of the Mughal Empire.

The rich and complex history of Gujarat embodies layers of culture, religion, and politics, which have all influenced and informed the evolution of its landscape. Conquered and controlled by multiple powers, the region evolved under Mughal and Maratha rule. During the late medieval period, a shifting of power resulted in socio-cultural changes which manifested in many forms, both spatially and visually. Gujarat’s long history of woodcarving, which is distinct to the region, also evolved, where clear shifts in iconography and technique coincided with the rise and fall of power. The relationship between the woodcarver and the architect caused a shift in ornament being aesthetically driven to a tool to mark the social expression and cultural shifts during the fall of the Mughal Empire. By analysing the ornamental changes in application, technique, motif, and symbolism, the newly formed relationship between the woodcarver and architect reveals a new reading of the forces of culture and projection of society. Ornament has a socially constructed history which cannot be divorced from the role of the architect. The visibility of labour and the construction techniques practiced by the woodcarvers, links the process of the craft to a system of visual signifiers that were developed within ornamentation. The two key logics of labour and a visual ornamental language are interwoven, where both scales have influenced why ornament took on a new, deeper importance as a marker of socio-cultural change despite the instability of power.

01.

THE FALL OF THE MUGHAL EMPIRE AND AHMEDABAD

A brief history on the fall of the Mughal Empire, the conflict within Ahmedabad, and an introduction into the Pol House typology.

SHIFTING OF POWER Ahmedabad, Gujarat has endured multiple phases of growth and decline as power shifted between three main forces: Muslim, Mughal, and Maratha rule. The city and its wider region evolved under these political bodies, resulting in a layering of cultures which can be read specifically in the spatial form and ornamentation that grew out of these changes. The territory’s relationship to trade and commerce, connected Gujarat to Africa, Asia, and Europe, becoming a prosperous and sought-after province1. The Mughal Empire, enticed by the prosperity of the territory, conquered Gujarat in 1573, widening the Empire’s reach. Gujarat acted as a seaport via Surat, which grew trading and manufacturing production, and in turn, the wealth allowed for artisans and craftsmen to develop their personal skills and language, adding to the culture and economy of the region2. Gujarat became a principal “subah”3 of the Mughal Empire during the late medieval period, where the region felt the impact of clashing powers immediately. Ahmedabad was formed under Muslim Rule in 1411, mainly established for political motives4. The city was located along former trade routes, resulting in the population remaining focused on mercantile growth. Ahmedabad became a walled city in 1457, to control the growth and security of the urban development. The city took on an irregular form due to the walled boundary being constructed after the city had been established. During the Mughal rule, the guild system helped to maintain growth, allowing

2 3

Shakeel Ahmad, ‘Gujarat in the First Half of the Eighteenth Century 1700 AD – 1759 AD’, (unpublished MPhil in History thesis, Aligarh Muslim University, 2014) p. 8. Ibid. p. 9. A term used during the Mughal Empire, referring to province. Shraddha Sejal, ‘Theory and City Form: The Case of Ahmedabad’, (unpublished MSc in Architectural Studies thesis, MIT, 1987) < https:// dspace.mit.edu/bitstream/ handle/1721.1/78964/1706406 8-MIT.pdf;sequence=2> [accessed 15 December 2020] p. 260.

the city to adapt under the uncertainty of the ruling powers. Near the turn of the 18th century, the province of Gujarat experienced trouble in its management as a result of the Mughal forces weakening. The region experienced civil dispute as well as outside attack from the Marathas as they advanced towards Ahmedabad, hoping to become the new ruling power. Despite the weakening of Ahmedabad’s importance as the centre of trade within Gujarat, the system of guilds survived the misrule and disintegration of the Mughal Empire5. As Ahmedabad evolved under conflicting political turmoil, the spatial and visual language of the city became a reflection of these shifts of power.

Mehta, Shirin, ‘The Genesis and Growth of Mahajans of Ahmedabad’, Proceedings of the Indian History Congress, 43 (1982), p. 260.

Fig. 01: Monica Patel, Walled City of Ahmedabad, 2021

MERGING OF CULTURES The social and political implications of these shifts in power moulded Gujarat and its territory into a unique form, effecting the way space embodied existing, altered, and new cultures. Elements from Islamic, Persian, and Hindu culture were woven into the traditional craftsmanship of the territory, manifesting in very distinct patterns within Ahmedabad. The city’s craftspeople learnt and evolved under the Mughal’s reign, influencing the types of symbol, ornament, and craft produced in the region. Traditional woodworking for example, began to weave together both Hindu and Muslim symbols in the ornate decoration that adorned almost everything, from furniture to facades6. The role of the woodcarver became crucial in order to express cultural and social expression. The craftsmen held the ability to depict shifts in nature, society, and religion, driven by the shifting projection of society rather than the ruling powers7. At the fall of the Mughal Empire, the cross-pollination of Islamic and Hindu culture was still read in the social expression of Ahmedabad, as exemplified by the ornamentation of the traditional wooden row house8. Despite the clashing of power and resulting turmoil, the overlapping of culture was still made visible by these traditional wooden dwellings, specifically the residential typology of the pol. The nuances to the individual pol embody specific cultural influences from its residents while maintaining a wider, evolving relationship to the city.

Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 164. Jay Thakkar, ‘Decoding Craft Expressions: Wood Carvings of Traditional Houses of Gujarat’, L’École française d’ExtrêmeOrient, < http://ceias.ehess.fr/ docannexe/file/3214/53_ decoding_craft_expressions_ paris_efeo_060511_partie1. pdf> [accessed 02 March 2021] p.16.

Fig. 02: Farrukh Beg, Akbar’s triumphal entry into Surat in 1572, 1590-95

THE POL HOUSE The pol typology in Ahmedabad originated in the 1700s as a it offered protection from the communal riots during the Mughal-Maratha ruling conflict. During the beginning of the 18th century, the Marathas carried out a series of raids along Gujarati trade routes in order to gain power over the territory. Continual chaos and warfare resulted in the need for a spatial typology that provided security, thus the pol became even more significant for Ahmedabad. The word “pol” is a derivative of the Sanskrit term “pratoli” which roughly translates to “gate” or “enclosed area”. The pol operates at three clear scales, each having a different spatial relationship to the merging of cultures within the region. At the scale of the city, pols interlock and form districts of commerce, creating a resilient administrative guild structure that can maintain and grow despite power struggles9. The community formed from the series of Pol houses is a secure, enclosed form. At the scale of the neighbourhood, the Pol builds a sense of community where the outer edge of the enclosure spatially bleeds into the urban grain. Each pol cluster creates a unique community that focused more on trade rather than religion or caste. Guilds often belonged to specific pol clusters, thus the typology formally created spaces for both living and working10. These residential clusters are shared amongst groups of families, where typically there was only one true entrance and, in some cases, secret entrances only known to the residents. Each pol house aligns to the next, turning around to form

Shraddha Sejal, ‘Theory and City Form: The Case of Ahmedabad’, (unpublished MSc in Architectural Studies thesis, MIT, 1987) < https:// dspace.mit.edu/bitstream/ handle/1721.1/78964/1706406 8-MIT.pdf;sequence=2> [accessed 15 December 2020] p. 14. Shakeel Ahmad, ‘Gujarat in the First Half of the Eighteenth Century 1700 AD – 1759 AD’, (unpublished MPhil in History thesis, Aligarh Muslim University, 2014) p. 12.

Fig. 03: Monica Patel, Pol Clusters in the Urban Fabric, 2021

an enclosed community similar to a cul-de-sac11. Wrapping around the front of the Pol, the “otlas”12 link together, forming a common “street” for the residents13. Its separation from the actual ground through the use of a plinth, creates a distinct spatial relationship emphasising its ability to form a community.

12 13

14 15

Shraddha Sejal, ‘Theory and City Form: The Case of Ahmedabad’, (unpublished MSc in Architectural Studies thesis, MIT, 1987) < https:// dspace.mit.edu/bitstream/ handle/1721.1/78964/1706406 8-MIT.pdf;sequence=2> [accessed 15 December 2020] p. 16. Term that has no exact translation in English, closest equivalent would be a porch. Shraddha Sejal, ‘Theory and City Form: The Case of Ahmedabad’, (unpublished MSc in Architectural Studies thesis, MIT, 1987) < https:// dspace.mit.edu/bitstream/ handle/1721.1/78964/1706406 8-MIT.pdf;sequence=2> [accessed 15 December 2020] p. 16. Ibid. p. 45. Neal Lambe and Alpana Dongre, ‘Analysing Social Relevance of Spatial Organisation: A Case Study of Traditional Pol Houses, Ahmedabad, India’, Asian Social Science, 12.9 (2016).

Pols were self-sufficient, providing social, communal, religious, and work environments to its residents14. From the street, it is impossible to tell how many homes comprise one Pol, varying in size from five to sixty houses. Each individual house follows a similar layout, comprised of a series of interconnected courtyards and rooms, often heavily decorated in ornate wooden carvings. The houses vary in width, where some of the homes are incredibly narrow within a dense urban fabric. While there is a variety of paths, corridors, openings, and passages that connect the internal world of the pol, the general spatial organisation follows a similar logic. The sequence of spaces leading from the otla to the back of the house become increasingly more private, with the courtyard puncturing through the centre. The courtyard or “chowk” is typically defined as the heart of the home, a place where many residents gather, hang washed clothing, and dry grains15. The entry of the pol house is defined by an otla, marking the threshold between the home and the street. The otla is a meeting place, a place to sell produce, wash dishes and clothes, a place to rest, and occasionally a place used for religious activities. The otla as a device changes the nature of the street, creating a new “thickness” to its boundary. Often described as a “container of things” the otla is

Fig. 04: Men Sat on an Otla, 2015

OTLA

The otla marks the threshold between the home and street, acting as a meeting place, a place to sell produce, wash dishes and clothes, rest, and occasionally for religious activities. The otla marks a change in landscape.

KHADKI

Often described as the reception or front room, this space connects the courtyard to the otla. This space is typically used as a formal sitting room for guests, often housing a traditional swing.

UTILITY

These areas include water closets, washing spaces and storage. Sometimes utility spaces are replaced with a Hindu shrine as a place of prayer and ritual rather than utility.

CHOWK

The courtyard is the central element of the house where all other rooms are built surrounding the chowk. The space is used for communal acts, a source of light and rest, and a place to dry grains and pulses.

PASSAGE

The passage acts as a transition space surrounding the chowk while on upper levels this space becomes a balcony overlooking the courtyard.

OSRI

The osri is a small veranda, adjacent to the chowk. This spaces is semi open and used as a spillover space for the courtyard. In some cases, the osri is alternately named the Resodu, or the kitchen space.

PARSAL

The parsal is a multifunctional space, acting as a dining room or an extension of the kitchen. The parsal is considered to be the most private space for the family.

ORDO

The Ordo is the inner most space, furthest from the street and is used for sleeping and storage.

Fig. 05: Monica Patel, Plan of Typical Pol House, 2020

never viewed as a boundary or division but rather it marks a change in landscape16. The pol typology is flexible in use, resulting in its ability to evolve and meet the historical challenges Ahmedabad has faced.

Neal Lambe and Alpana Dongre, ‘Analysing Social Relevance of Spatial Organisation: A Case Study of Traditional Pol Houses, Ahmedabad, India’, Asian Social Science, 12.9 (2016) p. 3.

Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 163.

The wooden ornamentation that adorned the pol and otla, evolved under the shifts of power and merging of cultures within the region. The nature of this woodcarving will be primarily examined as it best embodies two clear conditions that defined Ahmedabad at the fall of the Mughal Empire. The pol is a residential typology which encapsulated many of the fluctuating conditions Ahmedabad faced to a greater degree than public or religious forms. While it is true buildings like temples for example did alter as the Mughal Empire fell, the specific cultural, religious, and social overlaps in the visual language of ornament are seen more distinctly at domestic scale17. The second motivation for focusing on this branch of woodcarving is for the clear relationship between the guild practice and the pol itself. The shift in ornamentation cannot be divorced from the role and visibility of labour which links back to the user’s relationship to the pol as well. Labour and the visual ornamental language work at different scales, but both contribute to the new, deeper importance of ornament as a signifier for socio-cultural change at the fall of the Mughal Empire.

Fig. 06: Dominic Walker, Ahmedabad: Pol and Otla, 2017

02.

ARTISTIC GUILDS: CRAFTSMEN AND LABOUR

The importance of artistic guilds and labour is interrelated to the shift in ornamentation despite the region’s turmoil.

ROLE IN SOCIETY The evolution of the relationship between the woodcarver and the architect, both individually and collectively, created a unique environment where the teaching of the craft continued to have a great impact on the division of labour within society. Guilds of merchants, artisans, and craftsmen organised the city, acting as corporate bodies which helped to maintain trade and commerce growth. Guilds were determined mainly by occupation, with no real separation between religion, social, or caste status18. As the guilds grew, so did the city, coinciding with further urban development within Ahmedabad19. During the Mughal rule, the guild system played a major role in society, helping to maintain growth which allowed the city to adapt under the uncertainty of the ruling powers. Ahmedabad was made up of roughly forty guilds, which followed the unique social structure of the city. Within the dense urban centre of Ahmedabad, living and working conditions overlapped as seen within the pol typology. The pols were occupied by the guilds, reflecting the social structure of the urban grain20. The pols provided security and privacy despite the dense public surroundings, offering a unique learning environment for the members of the guild. The structure and governing of Ahmedabad mainly relied on the guild system as a means to manage labour within society21. Typically, membership to a guild was hereditary, where untrained or unqualified persons were not allowed to remain within the group. The “Negar-Seth” or City Lord was the head of all guilds, while internal affairs

Shraddha Sejal, ‘Theory and City Form: The Case of Ahmedabad’, (unpublished MSc in Architectural Studies thesis, MIT, 1987) < https:// dspace.mit.edu/bitstream/ handle/1721.1/78964/1706406 8-MIT.pdf;sequence=2> [accessed 15 December 2020] p. 15. Mehta, Shirin, ‘The Genesis and Growth of Mahajans of Ahmedabad’, Proceedings of the Indian History Congress, 43 (1982), p. 260. Shraddha Sejal, ‘Theory and City Form: The Case of Ahmedabad’, (unpublished MSc in Architectural Studies thesis, MIT, 1987) < https:// dspace.mit.edu/bitstream/ handle/1721.1/78964/1706406 8-MIT.pdf;sequence=2> [accessed 15 December 2020] p. 17. Coomaraswamy, Ananda K., The Indian Craftsman, (London: Probsthain &Co., 1909) p.8.

were managed by the chief alderman of each separate craft. Guilds were a system that was meant to regulate pay and labour, limiting the amount of dispute between craftsmen22. Collectively, guild governing systems correlated to the labour practices of each craft, as well as the spatial structure of Ahmedabad. The woodcarver remained at a high social point throughout these shifts in power and culture, sustaining the need and demand for skilled craftsmen of the woodworking guild23. LABOUR AND CRAFT EXPRESSION

23 24

Coomaraswamy, Ananda K., The Indian Craftsman, (London: Probsthain &Co., 1909) p.10. Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 165. Shraddha Sejal, ‘Theory and City Form: The Case of Ahmedabad’, (unpublished MSc in Architectural Studies thesis, MIT, 1987) < https:// dspace.mit.edu/bitstream/ handle/1721.1/78964/1706406 8-MIT.pdf;sequence=2> [accessed 15 December 2020] p. 17. Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 168. Ibid. 165.

While the social organisation of the guilds evolved with the shifting nature of the city, the reason the system survived the political turmoil of the region was due to its traditional teaching practices. Within each guild, the traditional method of teaching crafts was passed down to younger generations verbally. Highly skilled craftsmen maintained a vast repertoire of knowledge and skill that was never physically recorded, offering insights into the practical and technical craft skills, as well as general life lessons24. The tradition encouraged students to develop an intellectual, emotional, and temperamental attitude towards woodcarving, following the master until the grooming process had been completed25. These forms of teaching practices placed craftsmen, and the woodcarver specifically, at a high rank within society. The significance of their role within society meant that as a collective, the woodcarving guild was able to read multiple socio-cultural layers and articulate these into a substantial number of ornamental forms26. As powers

shifted and Ahmedabad became more unstable, it was more important than ever that woodcarvers as a collective, use their craft as a means to highlight a new reading of the forces of culture and projection of society. Under Mughal rule, woodcarving served as a symbol to the wealth of the elite, where the craftsmen would find permanent employment by the nobility. As powers shifted, the craftsmen began to express imagery of nature and society beyond religious iconography, forming a wider language of ornamentation. As this language of ornamentation developed, designs became more intricate and refined, resulting in more time and labour being needed to complete such works. Labour and skill became fundamental, and in order to achieve such detail, it required new generations to focus on finite technique as they became masters of woodcarving. The guilds sustained a teaching practice that facilitated the development of labour, resulting in a new language of ornament that was even more purposeful and expressive27. Despite the individuality of the craft, guilds worked to collectively embody social, cultural, and natural changes through the development of new ornamental forms28. The visibility of labour is part of the craft expression and was embraced and admired within the work. The choice to embrace the visibility of making highlights that the role of woodcarving guilds shifted as Ahmedabad faced the instability of power. Labour and craft expression became part of the design and construction process of the city, moving beyond an additive aesthetic-driven formal dressing.

Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 165. Ibid. 164.

03.

A STUDY ON ORNAMENTATION

An analysis on the principles, techniques, and types of ornamentation; studying their shift in style and application when the relationship between the woodcarver and architect caused ornament to take on a new, deeper importance.

THE BIRTH OF A VISUAL LANGUAGE

Fig. 07: Peacock Ornament Illustration, 1961

The relationship between the woodcarver and the architect brought a deeper reading of ornamentation, resulting in a system of signifiers that created a new visual language. This new ornamental language encompassed many of the socio-cultural shifts within Ahmedabad, altering the labour, craft expression, and iconography articulated through wooden ornamentation. The new relationship between the woodcarver and the architect also resulted in ornamentation moving beyond a surface-level dressing driven by aesthetic. Ornament became embedded within the architecture while still maintaining many of the fundamental practices of woodcarving. At the beginning of the Mughal reign, ornament was purely aesthetic-driven, used as a tool to mark power and glory over a territory29. As Maratha power advanced and eventually conquered Ahmedabad, ornamentation evolved, rendering a deeper meaning as a tool that reflected the cultural and social shifts the city faced.

Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 166.

Ornament became a cultural amalgamation of society, synthesising old traditions of the Mughal era while embracing altered symbols and applications that belonged to a new cultural form30.

Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 170

The woodworking craft is a unique form of expression within Gujarat that adorned many forms, from buildings to furniture. Craftsmen used woodworking as a way to tell a unique cultural and personal understanding of the world31. Typical Gujarati ornamentation followed key characteristics of continuity and repetition, utilising primary and secondary symbols along one line of woodwork. The social, spatial, and political layers to these symbols and ornament, heighten the individual’s daily experience of culture and social expression, an ornamental condition entirely unique to Gujarat. Contrasting against political powers, ornamentation served as a way to intertwined rather than divide culture, despite the continually shifting landscape. As the interface between the woodcarver and the architect grew, the narrative power of ornament developed as well. General and detailed forms told a story through multiple layers, a skill and technique that could only be achieved by planning and composing ornament throughout the design process32. Ornament therefore could not have only been applied afterward, but rather; it was part in the form itself. The ornate wooden carvings that mark the façade and otla of the pol house follow inherent principles to the Indian style of ornamentation. Often in the early pol houses of the Mughal era, the ornamentation

indicated an intertwinement of Islamic and Hindu cultures, through the depiction of particular flora and fauna. The ornamentation of the façade was filled with many symbols and motifs, telling a rich story of both the wealth and cultural expression of the home at the given time of its construction33. This form of ornamentation was particularly popular in domestic settings, defined by its socio-religious principles which were derived from the cultural readings of society34 . As the Mughal Empire fell, the ornamentation of the pol continued to challenge the aesthetic driven principles that once governed the craft practice. Ornament was no longer seen as decoration or a status symbol, but rather carries a deeper value into understanding the larger forces at play. The unique quality to the ornamentation of the Pol and its symbolic meaning can be used to help anchor and define the methods in which cultures are intertwined, representing a rare acceptance of ideas and symbols from different faiths35. A closer study of the principles, techniques, and types of ornamentation reveals a series of signifiers that hint at the shifting view of ornament and the new relationship between the woodcarver and architect. CORE PRINCIPLES At the beginning of the Mughal Empire, traditional woodcarving followed the core principles of Persian and Central Asian Muslim craft, adopting local symbolism deeply rooted in Indian culture. Drawing from underlying Muslim architectural principles, symmetry and visual elegance were objectives that were sought after through woodcarving36. Woodcarvers

34 35 36

Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). Ibid. Ibid. Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 165.

Fig. 08: Monica Patel, Pol House Elevation, 2021

Fig. 09: Monica Patel, Pol House Elevation, 2021

were encouraged to adopt many Islamic and Persian aesthetic traditions in optics and geometry as well, causing ornamentation to be focused on pattern and repetition37. This formal language of ornamentation was used as a means to establish the Mughal identity and power over its Empire, rendered in a specific form within Ahmedabad. As the Empire fell, the shifting language of ornamentation maintained the core principles that all ornament worked towards a general form, connected by a common route, but became layered by intersections of secondary ornament38. The intersection of these lines was purposeful and avoided redundant decoration, using ornament to tell a specific narrative39. These same ornamentation principles applied not only to facades but to structural elements like columns as well. The general form and key symbols are dominant in the overall appearance of the column, while a closer look reveals distinct styles and details stemming from multiple cultural sources. The core principles of ornamentation moved from pictorial or realistic carving to symbolic forms, slowly pulling more from socio-cultural influences rather than purely pattern or aesthetic driven design40. 37

38 39 40

Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 164. Ibid. Ibid. Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). p. 52. Ibid. p. 49.

In the domestic setting, carving became more prominent as the Mughal Empire fell, where three key factors were considered as the ornamental language shifted. The first consideration was mainly a practical choice; to carve heavy elements such as beams and other structural elements, in order to make the domestic construction somewhat easier or lighter41. The unified materiality of the ornamentation followed the natural properties of the home’s construction, where

Fig. 10: Monica Patel, Typical Gujarati Column Details, 2021

each carved element worked towards developing the general form. The second factor considered the social relationship to ornamentation. Generally, ornament was then only focused in areas of social activity, such as the otla or the chowk (central courtyard). The final factor considered the symbolic representations of ornament42, which developed, new, deeper meanings as the relationship between the woodcarver and architect became synonymous. Ornament was defined into categories or, “class of phenomena”, a common language through ornamentation that narrated specific stories and information43. The class of phenomena looked at the interrelations between components, highlighting shifts and similarities in culture44. The persistence of certain symbols and application of ornamentation stems back to the language of classing components, which became the foundation to the new system of signifiers found in ornamentation at the fall of the Mughal Empire. CARVING TECHNIQUES 42

Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). p. 49.

43 44

Ibid. Ibid. p. 52.

Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 164.

Woodcarvers followed six principal carving techniques which were practiced despite the shift in ornamental language as the relationship between the woodcarver and the architect developed. However, some of these techniques were further developed alongside the new language of ornamentation as detail and intricacy became more prominent within the work. In order to compete, craftsmen had to produce finer and finer work, resulting in new stylistic changes as well45.

Chip Carving

Chip carving is the oldest form of woodworking, where a chisel and mallet are used to create mainly geometric patterns46. This technique has less precision than some of the other forms but was still practiced despite the shift in visual language. High and Low Relief Carving

Relief carving was used to create areas of light and shadow, allowing ornamental forms to have greater depth. These techniques were predominantly seen on the treatment of surfaces, such as the facades of the pol houses47. As ornament shifted and details became more prominent, this technique was heavily used to create layers to the overall form. A great amount of labour and planning would’ve been needed as well to produce such fine work, emphasising the relationship between the woodcarver and the architect.

Fig. 11: Pol Relief Carvings, 2004

Ibid.

Undercutting Carving

Similar to the relief technique, undercutting was used to create deep and distinct shadows which highlighted the level of detail within the ornamentation. Undercutting challenged the limits of the craft and was a technique that continued to develop as the language of ornament shifted. Fine details on structural elements such as columns and beams were created using this technique, seen in particular on the interior adornment of domestic spaces48. Sculpturesque Carving

The relationship between the woodcarver and the architect is best represented through this technique as this form of carving was applied to three dimensional objects, free from the ground49. Structural elements such as brackets and struts would be carved into sculptural forms that could not be simply drawn onto the surface of the wood. Therefore, this implies that the woodcarver would be part of the design process, carving structural elements during multiple phases construction. 48

Ibid.

Pierced Carving

Known for its effective form of ornamentation, Pierced carving was used to puncture through the wooden surface for screens and trellis insets50. As the visual ornamental language shifted this technique became more secondary, used to create depth to the overall architecture.

Fig. 12: Base of Bracket Guardian Ornament, 2004

As the interface between the woodcarver and the architect developed, ornamentation drew from the socio-cultural environment of Ahmedabad, challenging the existing formal language51. Ornament moved from primarily religious iconography to more finite practices of skill and craft, resulting in more emphasis being placed on certain carving techniques. Relief carving, undercutting, and sculpturesque techniques became more prominent within the language of ornament at the fall of the Mughal Empire, these techniques all

required planning and execution during the process of construction, thus emphasising the relationship between the woodcarver and the architect. THREE FORMS OF ORNAMENTATION Ornamentation can be defined by three types: isolated units, repetition, and patterns. These three forms shifted in their imagery, use, and technique as the relationship between the woodcarver and the architect developed. Each of these forms of ornamentation worked to create a unified image, revealing great detail and composition when viewed up close52. As the craft continued to develop despite the turmoil within the region, new and hybrid ornamental forms emerged, emphasising the relationship between the woodcarver and the architect. The development of these forms of ornamentation suggested a transition from purely aesthetic symbols to more intricate, dynamic depictions of overlapping cultures and shifting views within society. 52

53 54

Sasikala Raje, ‘Woodcarving, an integral part of local architecture and interiors of Gujarat, Jay Thakkar’, Sawdust, <https://www.sawdust.online/ expert-speak/woodcarving-anintegral-part-of-localarchitecture-interiors-ofgujarat-jay-thakkar/> [accessed 02 March 2021]. Ibid. Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). p. 55.

Isolated Units

Isolated units are decorative forms that exist independently, following stylistic choices of symmetrical or asymmetrical, simple or complex. Also known as motifs, these single or cluster forms are produced in a way in which a finite boundary can define the extent of the design53. In the case of ornamentation as seen in the pol typology, motif in this sense refers to three dimensional units rather than decorative planar surfaces54.

Fig. 13: Monica Patel, Isolated Ornament Details, 2021

Heraldic Motifs

Divine Angels

Peacocks

Parrots

Finite Floral Motifs

Fig. 14: Monica Patel, Balustrade Facade Panel, 2021

1. Pedestal Carved with Buds

4. Pearl Edge Detail

2. Peacock with Beak Open

5. Bead Pattern

3. Ornate Branches from Peacock’s Beak

6. Parrot Facing Peacock

Fig. 15: Monica Patel, Curved Balustrade Carving, 2021

Repetitive Units

This form of ornamentation is defined by a series of isolated units or motifs being placed beside one another in a linear fashion, with an upper and lower limit creating a band form. Traditionally, the repetition of these motifs could also follow geometric motions of rotation, reflection and so on in order to create the linear forms55.

Fig. 16: Entablature at first floor level, 2004

Patterns

Patterns use the same principles of repetition but repeat both horizontally and vertically, with no defined boundary56. The infinite quality of patterns translated to more detailed ornamentation as the visual language shifted as a result of the growing interface between the woodcarver and the architect.

Ibid.

At the fall of the Mughal Empire, the visual language of ornament as defined by these three forms, clearly took on new symbolic value. Slowly, woodcarvers began to synthesize multiple cultural and social layers, moving away from purely aestheticdriven ornamental decoration. At the peak of the woodcarving practice, the “mythical creature” became more visible within the work57. Mythical creatures were composite carvings that combined animal elements into new forms, commonly seen on the brackets of the pol house. This type of carving relied on a deep relationship between the woodcarver and architect in order to coordinate a process which allowed for such elaborate carving on structural elements. The mythical creature embodied many symbols that shifted from religious belief to narrative, becoming a reflection of society at that time58. DISTINCTIONS BETWEEN OLD AND NEW FORMS OF ORNAMENT

Sasikala Raje, ‘Woodcarving, an integral part of local architecture and interiors of Gujarat, Jay Thakkar’, Sawdust, <https://www.sawdust.online/ expert-speak/woodcarving-anintegral-part-of-localarchitecture-interiors-ofgujarat-jay-thakkar/> [accessed 02 March 2021]. Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). p. 63.

By understanding the core principles, carving techniques, and forms of ornamentation, it becomes clear that at the fall of the Mughal Empire, ornament was not applied afterward, but was part of the architectural form itself. The new visual language of ornamentation reads the socio-cultural shifts in Ahmedabad through the changes seen in the symbols and iconography of isolated elements of celestial beings and guardians. Historically, these figures were mainly religious in nature, an aesthetic driven by the ruling powers. However, as the cultural landscape of

Maratha Empire

Early Mughal Empire

Fig. 17: Figure of Pratihara (Guardian) at the Base of the First Floor Column, 2004

Early garment and jewellery styles, indicative of Mughal Empire.

Change in garment style and turbans, indicative of Maratha Rule.

Fig. 18: Monica Patel, Shift in Figurative Guardian Ornament, 2021

Early Mughal Empire Maratha Empire

Early parrot ornamentation style, birds typically face forward with little articulation of feathers.

Shift in ornamentation style, parrot style or Pathani, focused on a pair of birds facing each other with greater detail of feathers and filigree. Fig. 19: Monica Patel, Shift in Peacock Ornament, 2021

Ahmedabad changed, these types of ornament became more human-centric, a more refined version of what was seen on temples of the Mughal reign59. Symbols began to read the stylistic differences between the Mughal and Maratha rule, specifically seen in the details on garments figures wore. These finite details changed the entire narrative of the ornament, embracing new cultural shifts in Ahmedabad. Woodcarvers also learnt and embraced stylistic changes brought in by the Marathas, commonly depicted through peacock carvings60. Woodcarvers transitioned from carving individual peacocks to a design where two birds faced each other. The level of intricacy and detail increased, as seen on the feathers of the birds, is a product of the Maratha influence on the Paithani61 woodcarving style62. Overtime, the Maratha influence challenged the purely geometric patterning of surfaces, integrating more complex isolated devices that demonstrate new regional outlooks despite the instability of power. 59

Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). p. 65.

60 61

Ibid. p 57. A style of carving peacocks derived from Maratha influence, commonly used for motif patterns. Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). p. 67.

04.

THE WOODCARVER AND THE ARCHITECT

The new relationship between the woodcarver and the architect allowed for ornamentation to take on a deeper value beyond aesthetic and socio-economic status.

SHIFT IN ORNAMENT PRACTICES The relationship between the woodcarver and the architect caused a shift in ornament being aesthetically driven, to a tool to mark the sociocultural expression at the fall of the Mughal Empire. The shift in the visual language of ornamentation was driven by the woodcarver’s interpretation of the intangible forces of culture and social views within Ahmedabad63. Woodcarving advanced from a surface level application, to one embedded within the architecture itself, allowing ornamentation to take on a deeper value beyond socio-economic status. The tradition of woodcarving evolved, shifting the focus from decorative finishes to one that fundamentally considered architectural references64. This shift supports the idea that the relationship between the woodcarver and the architect became greater as both roles worked together to create spatial relationships beyond aesthetics. As ornament became part of the formal language of the home, the interface between the woodcarver and the architect was fundamental65. At the overall scale, the tradition of woodcarving began to compliment the architecture, adding layers of depth to the social nature of the otla and internal courtyard of the pol. Architectural plans had to consider this new ornamental depth, altering the proportions of certain spaces66. In some cases, the otla is found to be much deeper, implying that the breadth of ornament was considered in order to accommodate the new forms. At the scale of structural elements such as beams, the

Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 165. Ibid.

65 66

Ibid. Ibid.

language of ornament shifts as well, where the carving techniques were often used to lighten the weight of the member while simultaneously considering the sociocultural implications of the ornamental language67.

Jay Thakkar, The Art of Wood Carving in Traditional Houses of Gujarat, (Gujarat: Research Cell, School of Interior Design, C.E.P.T, 2004). p. 49.

Fig. 20: Gajvyala or Garsada, 2004

The ornamentation of brackets for example, highlights the relationship between the woodcarver and architect as these elements where incredibly complex yet were required for structural purposes. Woodcarvers would have had to carve these elements early on in the construction process, while maintaining the loadbearing requirements of each member.

Fig. 21: Monica Patel, Mythical Creature Bracket Detail, 2021

Alongside this, the ornamental language utilises the mythical creature device, further proving that this shift in ornament practice was as a result of the new, deeper relationship between the woodcarver and the architect. The new forms of ornament are seen to have a deeper visual meaning, moving beyond the aesthetic value of dressing a building. Intricacies in carved designs became highly spatial, rendering new depths to the architecture, a clear distinction between old and new forms of ornament. VISIBILITY OF LABOUR

Naela Aamir, ‘The Rise and Fall of the Tradition of Woodcarving in the Subcontinent’, Journal of the Punjab University Historical Society, 31:1 (2018), p. 165. Ibid. p. 166.

The woodcarving techniques advanced along with ornamental language, becoming more composed alongside architectural construction. Labour became more visible as ornament became synonymous with structural elements such as openings and beams. The interface between the woodcarver and the architect meant that the traditional craft and architecture began to complement one another. As ornament became more detailed, labour practices evolved to incorporate more planning and precision technique. This new language of ornament could not have been a product of improvisation as the relationships between forms was highly specific68. At the beginning of the Mughal Empire, woodcarvers were mainly employed to add ornamentation to finished architectural works such as temples, as a means to showcase the Mughal identity and aesthetic. The visibility of labour was less important as the main goal of these carvings was to showcase the power and glory of a ruling force69.

When the Empire fell, it became more important that ornament was a reflection of the social expression and forces of culture Ahmedabad experienced during the period of instability. Thus, the relationship between the woodcarver and architect became vital, allowing for individual craftsmen to translate their reading of society into ornamental form. This new formal language allowed for expression and the visibility of labour as society moved away from the Empire’s gaze.

05.

A WIDER TERRITORY OF CULTURE

A reflection on the significance on the shift in ornamental language, and its relationship to the wider cultural movement and social expression at the time.

REFLECTION ON POLITICAL AND CULTURAL LANDSCAPE The new relationship between the woodcarver and the architect shifted ornamentation to better reflect the wider cultural movement and social expression at the fall of the Mughal Empire. The importance of understanding the shift in ornamental language through this relationship is that the ornamentation was able to embody the cultural forces within Ahmedabad, acting as a projection of society. Ornament has always played a role in society, fluctuating as power struggles ensued within Ahmedabad. At the beginning of the Mughal reign, ornament encompassed religious and mythological beliefs, while still maintaining the aesthetic of the Empire. The aesthetically driven identity of the Mughals manifested into surface level applications, reflecting the power of the rulers over the territory. As the Marathas advanced, the tradition of woodcarving maintained despite the political turmoil. The interface between the woodcarver and the architect developed, as a means to continue to articulate social change within the region through ornament. The iconography took on new forms, as motifs encompassed a more narrative layering of socio-cultural relationships. Ornament took on a deeper importance as it finally represented the life and experience of the public rather than the projected image of political power. The socially constructed history of ornament cannot be divorced from the role of the architect, rather it forms its own visual language, embodying new relationships to the necessity and visibility of labour.

LABOUR AND ORNAMENT AT LARGE The shift in using ornament as a tool to mark the social expression of Ahmedabad at the fall of the Mughal Empire created a system of signs within the woodcarvings themselves. As the tradition of woodcarving continued to develop, labour played a larger role. The level of detail achieved when the visual language of ornamentation shifted, meant that craftsmen would work at greater lengths, refining technique, composition, and composure. Labour was made visible through the layering of carved marks, something that was not celebrated during the Mughal reign. Shifting in power resulted in instability within the territory, yet through the relationship between the woodcarver and the architect, ornament was able to record the socio-cultural landscape, embedding these intangible forces within the architecture itself. The role that woodcarving played in Ahmedabad and the greater territory of Gujarat speaks to the power of ornament at large. This system of signs developed through ornament are driven by culture, becoming a visual projection of society. The narrative power of ornamentation allows for the visual language to be a carrier of meaning, representing a history that is embedded within architectural forms. Thus, ornament becomes a marker of social change, rendering iconographic and cultural shifts experienced. Interpretive Drawing Legend 1. Early Mughal Empire Guardian Ornamentation

5. Woodcarving in Progress 6. The Architect

2. Maratha Influence on Guardian

7. Narrative Guardians seen as protection

3. Classic Gujarati Column 4. Social Engagement on the Otla

Note on the Drawing: This drawing is an interpretation of the ornament, labour, and social quality in Ahmedabad at the fall of the Mughal Empire. The outer border of the drawing follows the shift in ornamental language, arranged to frame the centre image like a doorway. The central image focuses on the social activity of the pol house and the otla in the background, while the visibility of labour in the crafting of the structural architectural elements is the main focus. Craftsmen work on articulating ornament along columns and beams, following similar principles of the shift in ornamental language studied.

The Woodcarver and the Architect

Ornament as a marker of social expression and the visibility of labour

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