PRO. 28.

A (ii)(N)
- 1000

CENSUS OF INDIA 1961

VOLUME V

GUJARAT

PART VII-A (2)

WOOD' CARVING OF GUJ"ARAT

R. K. TR1VEDI
Superintendent of Oensus Operations, Gujarat

PRICE Rs. 21 or 49 Sh. or S U. s. 7·56

 CENSUS OF INDIA 1961
LIST OF PUBLICATIONS
CENTRAL GOVERNMENT PUBLICATIONS

~dia, 1961 Volume V -Gujarat is being published in the following parts:

I-A (i) General Report

I-A (ii)a
"
I-A(ii)b
"
I-A(iii) General Report.-Economic Trends and Projections
I-B Report on Vital Statistics and Fertility Survey
1-0 Subsidiary Tables
II-A General Population Tables
II-B(l) General Economic Tables (Tables B-1 to B-IV-C)
II-B(2) General Economic Tables (Tables B-V to B-IX)
II-C Cultural and Migration Tables
III Household Economic Tables (Tables B-X to B-XVII)
IV-A Report on Housing and Establishments
IV-B Housing and Establishment Tables
.
V -A Tables on Scheduled Castes and Scheduled Tribes
V -B Ethnographio Notes on Scheduled Castes and Scheduled Tribes (including reprints)
VI Village Survey Monographs ( 25 Monographs)
VII-A Selected Crafts of Gujarat
VII-B Fairs and Festivals
VIII-A Administration Report-Enumeration
} Not for Sale
VIII-B Administration Report-Tabulation
IX Atlas Volume
X-A Special Report 011 Cities
X-B Special Tables on Cities and Block Directory
X-c Special Migrant Tables for Ahmedabad City
STATE GOVERNMENT PUBLICATIONS

17 District Census Handbooks in English

17 District Census Handbooks in Gujarati

PRINTED AT THE GOVERNMENT PRESS, BARODA.

PUBLISHED BY THE MANAGER OF PUBLICATIONS. DELHI 1965.
 CONTENTS

(If'iaure9 within. brackets indicate page numbers)

FOBBWOJtD v
PBJa'A~ vii-viii
CHAPTER I-INTRODUCTORY

Use of Wood; Tree Worship; Univer&al Appeal of Wood; A Superb Medium of Art Expres$ion (1) 1·2

CHAPTE.R II-ANnQUlTY OF WooO WORK

Persistence of 'Vood Work to Present Times (5) 3·5

CHAPTER III-REGIONAL CHARACTERISTICS

N"ortbern India ; ~(adbya Pradesh and Uttar Pradesh (6) South India; Eastern India; Western India;
Wood work in Burma and Nepal (7) . 6-8

CHAPTER IV-WOOD-THE RAW MATERIAL

Selection; Trees (9); (a) Teak; (b) Black-wood or Sisam (10); (c) HaldarvQ; (d) Sandalwood;
(e) Babul; (f) Mango (11); (g) Nim; (h) Bevan; Selection of Wood (12) ; Trees and their Uses (I3);
Seasoning (14) 9-14
ApPENDIX I-A-Timbers (15); B-<:lla.ssification of Timbers a.ccording to Uses (24) 15·27

CHAPTER V-ARTISAN, TOOLS AND TECHNIQUE

Artisan; Tools t28); Training and Apprenticeship (29); Technique (30); Finish Wages and W ()rking
Conditions (32) 28-32
ApPENDlX II-Biogl'aphy-A Skilled Craftsman in Wood Carving (33) 33·37

CHAPTER VI-ARCffiTECTURE
Riohness and Diversity of Wood Carving in Gujarat; Treatises on Wood Work (38) ; Preferen(Je for Wood;
Grea.ter Scope a.nd Freedom of Expression in Wood (39); Gujarat House a Unified Structure; Wood
Carving in Vogue sinlJe Ancient Times; Distinction between Temple and House Architecture (40);
Parts Decorated; Dwelling Houses; Door; Windows (41) ; Pillars, Capitals, Brackets, Beams, etc. ;
Temples; Rang Mandap (42); The Arch; The Dome; Jali or Pierced Lattice Work (43); Ghar
Derasar; Parabadi or Pige()n House (44); Articles of Domestic Use; Modern Trends;
Temples in Wood (45); Other Branches of Wood Work; Painting (48) ; Lacquer Work Gold and
Silver Plating; Marquetry; Block Engraving (49); Shipbuilding (50) 38-50
ApPE:NDIX III-Jain Mandap in Baroda Museum (51) 51

CHAPTER VII-ART
Art the Handmaid of Religion; Style (52) ; Temple Iconography; Ornamentation (54) ; Flora.; Banian
Tree; Fauna; Peacock (55) ; Parrot; Swan; Elephant; Lion (56) ; Mixed Animal Forms; Symbolism
in Art (57); Influence of Religion on Art (58) 52·58

CHAPTER VIII-THE FUTURE

W~~d ~rvingda.CUnique Art; The Setback (59); Bombay Firms of Cabinet Makers (61); Mistri Somnath
u r an haku l:Ihudar; Reawakening {62}; Preservation and Protection (63) 59-64

PLATES
PLATE NOTES
65-76
PLATES I-CXLV
1-145

STATEMENTS
STATEJ4ENT I-BIJildings with Wood f'<arving' 1-101
S TATEII,U!lNT II- F Utlliture
. "
and other Articles with ' " Carving
Wood
B lBUOGRAPHY 102-106
GL08$Alty •••• 107-108
INDEX • 109·111
1 IS. 11 4
 LIST OF PLATES
Sl.
No. SU B1ECT PLATE Nos.

1 Various Parts of a House DeoDrated by Wood Carving Facing Page 40

2 Plan of Chintamani Derasar, SUJ:'at Facing Page 47

TREES, TOOLS, ARTISANS AND DESIGNS

3 Trees I
4 Tools II-Ill
5 Artisans IV-V
6 Designs VI-X

HOUSES
7 Facades XI-XII
8 Pillars XIII-XIX
9 Capitals XX-XXI
10 Mqdals XXII-XXVIII
11 Doors XXIX-XXXVII
12 Lintels XXXVIII-XXXIX
13 Front XL-XLI
14 Beams XLII-XLIV
15 Windows XLV-LVII
16 Balconies LVIIl-LIX
17 Ornamentation LX-LXXV
18 Ceiling LXXVI-LXXVIII
19 Interior LXXIX
20 Exhibitions LXXX
21 Pigeon Houses LXXXI-LXXXIII

TEMPLES
22 Gates LXXXIV-LXXXV
23 Pillars LXXXVI-LXXXIX
24 Wall Panels XC-XCIII
25 Madals XCIV-CJ
26 Screen and Spandrel CII-CII!
27 Jharukha elV
28 Domes CV-CXI
29 Heavenly Musicians and Dancers CXII-CXXIII
30 Artist's Fancy' CXXIV-CXXV
31 Hindolas CXXVI-CXXVII
32 Household Shrines CXXVIII
33 Ceremonial Articles CXXIX
OTHER WOOD WORK
34 Lamps CXXX
35 Cupboards CXXXJ
36 Majus, Patara and Marquetry . CXXXII-CXXXIV
37 Furniture CXXXV-CXLI
38 Decorative Panels, 'Vall Brackets, Photo Frames, etc. CXLII-CXLIV
39 Ornamental Pieces CXLV
 F
o
R
E
W
o
R
D

Inscriptions at San chi tell us how carvers on The nineteenth century gazetteers of the Bombay
ivory and wood came to work 011 stone and pro- and Sind Presidency left, for some areas at least,
duced some of the most sacred sculpture of the detailed inventories of the best specimens of domestic
world. Wherever one looks in this country one architecture in wood, particularly for the districts
cannot but be struck by the ivory and wood carver's of Nasik, Ahmedabad, North Gujarat and Baroda
way of working and of bandling of tools even in State. Campbell's Gazetteer of the 1870's enabled
the most massive of architectural sculpture. me in 1960 to locate some of the oldest relics, now
Architecture itself, through the ages, has been much rapidly being pulled down, in the heart of Nasik
influenced by the craft of the joiner. This has City. Earlier in 1956 the Ahmedabad and
been particularly true for West Bengal and a11 the Kathiawar Gazetteers stimulated me to search
lowlying coastal tracts, where the abundant rainfall for and be rewarded with the sight of magnificent
and the cooperating soil yield a wide range of specimens in the cities of Ahmedabad and Rajkot.
timbers good for many kinds of use, from seagoing A visit to Sri Gautam Sarabhai's jewelled house
vessels to the finest of minutely carved combs. at Hansol, five miles from Ahmedabad, in 1961
In all coastal tracts of India wood has influenced impelled me to request Sri Trivedi to consider the
most sacred and domestic architecture and along preparation of a monograph. Sri Trivedi did not
with them freestanding and architectural sculpture. need to be freshly enthused, for he had already
made extensive study of this subject and knew most
The ratha or chariot, for example, has influenced of the findspots. Some of the magnificent speci-
temple and domestic architecture not only in mens of Gujarat have already been described in
Bengal but in Orlssa, Andhra, Madras, Maha- his 1961 Census Report on Housing. The present
rashtra and G ujarat, and even Kerala. In their study is much more elaborate and goes beyond the
~urn the sculptural ornaments of the rathas, carved pale of domestic architecture and wood carving
In wood, have helped architects and sculptors in in Gujarat alone. I feel well rewarded that Sri
stone in their many problems of load and stress f Trivedi has added so well to our knowledge and
eI fophca
eva lon, ' I proportion and foreshortening. ' 0
appreciation of this craft.
NEW DELHI, ASOK MITRA,
December 27, 1965. Registrar General, India.
 PREFACE
While the Census Organisation was being helpful in preserving some record at least of this
set up in the various States and Union Terri- magnificent art of wood carving, the various phases
tories, Shri Asok Mitra, Registrar General, India, of its development, and the diverse manner in which
addressed an inspiring letter to all his colleagues the craftsman has given expression to the artistic
as early as July 1959 stressing the desirability of sense of the people of Gujarat who used to weave
utilising the opportunity the assignment of working art in every walk of their life.
as Superintendent of Census Operations offered, to This study which started more than 2 years
set their course on some fruitful hobby which would ago was initiated with the listing of three principal
lead to the making of some contribution of per- items of interest, namely, (i) structures which
manent interest and value. Such a contribution exhibited carving of exquisite workmanship, (ii)
was to be in any field that one might care to choose, houses and temples'which possessed carved pieces of
bearing of course in some way or the other on the furniture and other articles of distinctive merit and
population of the State. The subjects to be chosen (iii) living craftsmen capable of working in tradi-
were to be either sociological, economic or industrial, tional style. All the Municipal authorities in the
some aspect of agriculture, irrigation or power State were requested to furnish in prescribed pro-
development, geographical investigation, art, litera- formas particulars about the owner of the house,
ture or ancient history. Pursuant to this expecta- its location, nature of carving, and the probable
tion, the subject of Wood Carving of Gujarat was age of the structure. This information was to be
chosen as a special study, as this unique and ancient collected by Municipal Inspectors of the locality,
art, which has been so popular with the people of who were likely to be aware of such specimens.
Gujarat, particularly in the field of constructive Similar letters were also addressed to District
architecture and decorative art, was practically Panchayats for non-municipal areas. In the
on the verge of extinction under the impact of initial stages, the response was varying and not
modern influences and economic stress without altogether satisfactory. Frequent correspondence
any hope of its revival. Wood being a perishable stressing the importance of the survey and explain-
material does not possess that durability which ing the exact nature of information required was
stone does and has a comparatively lesser span of irlevitable, as that which was furnished was either
life. In this age of iron and cement, when simplicity incomplete or inadequate. In a city like Ahmeda-
is the order of the day, wood carving which had bad, a special survey had to be carried out
been profuse and common in the past has been through the members of the Census Organisation
completely eliminated in present-day structures not only because of. the vastness of its size but also
and whatever exists in older houses is gradually because of its being a very important centre of wood
disappearing. A time will, therefore, come in the carving in Gujarat, where masterpieces of wood
near future, when one will completely lose sight of carving still abound in the older quarters of the
the exquisite carving that was once the pride and city. Such an inquiry was greatly facilitated by
attraction of this region. The process of extinction a list of such houses supplied by Miss Giraben
has been further accelerated by demolition of older Sarabhai who because of her keen interest in wood
houses to widen existing streets and lanes to make carving had it prepared some time back by Shri
room for increasing urban traffic which is rising Sarabhai Navab. But to Patan goes the credit
day by day with the growth of population and of havillg some of the graceful and elegant
,modern ways of living and economic behaviour structures marked by diversity and richness of
It was, therefore, fe'lt that a study like the one which workmanship. The information thus collected is
has been attempted in this monograph, might be incorporated in two statements reproduced at the

vii
end of this monograph. These statements are the grandson of the late Mistri Somnath Bhudar,
neither exhaustive nor complete. They, however. who still possesses some of the best specimens of
give a fairly representative idea of the widespread wood carving executed by his grandfather, noted
popularity and richness of this ancient art of Gujarat. temple architect like Shri Oghadbhai Sompura,
The third aspect of inquiry relating to craftsmen artists, scholars and research workers like Shri
did not yield any fruitful results as was seen from .Ravishanker Raval, Dr. Haribhai Gaudani, Pandit
the entries received. It has not been, therefore, Mafatlal Zavcrchand Gandhi, Shri Sarabhai Navab,
thought advisable to publish it. It has, however, Munishri Punyavijayji, Dr. H. G. Shastri, Dr.
disclosed one important fact that the artisans Panubhai Bhatt and others interested in this ancient
knowing the traditional technique and still working art. To all of them I am deeply grateful. [must
at it do exist, though they can be counted on also express my gratefulness to the authorities of
fingers' ends. the Metropolitan Museum, New York, who have
been good enough to make available and permit
An intensive programme of taking photographs
the reproduction of photographs of the Jain temple
of important specimens of wood carving preserved
of Wadi Parshwanath of Anhilvad Patan now
in old houses, temples and museums was then
housed in that Museum.
organised after scrutiny of the lists received.
Various places in different parts of the State were Among my staff members, I value the assistance
visited for on-the-spot study, whereafter a judicious rendered by my colleague, Shri K. P. Yajnik,
selection of those items which deserved to be' Deputy Superintendent of Census Operations,
reproduced was made. in charge of Special Studies Section, who
has taken keen interest in this novel study and
This monograph is divided into three sections, worked with singular zeal and industry in the
viz., (i) the monograph proper, which deals with collection of a variety of material required.
the' Wood Carving of Gujarat '; (ii) plate notes For photographic work the staff photographer,
and plates reproducing photographs and line- Shri K. D. Vaishnav, and for the excellent line-
drawings numbering 149; and (iii) statements drawings the staff artist, Shri Somalal Shah, deserve
giving particulars of carving on houses, temples, special mention. For the quality printing of this
furniture and articles of distinctive merit. volume, the credit is shared by Mr. G. J. Gonsalves,
Though there are numerous treatises on the Director, Printing and Stationery, Government of
subject of architecture, temple as well as dwelling Gujarat, Shri R. G. Thakar, Manager and Shri
houses, they make no mention of the technique of V. M. Sonar, Overseer, Government Press, Baroda
carving which has remained a closely guarded and my Head Proof Reader, Shri M. P. Jacob,
secret of the family. to which only the members of all of whom have spared no pains to make this
the household and other close relatives had access publication what it is. I must also mention Shri
during a period of intense training and apprentice- Ratilal L. Shah of Raj Process Studio, Ahmedabad,
ship. Such an attitude was really unfortunate, who personally attended to the making of blocks
as the knowledge of the intricacies of the art was for the numerous plates appearing in this
denied to others. Master craftsmen and know- monograph.
ledgeable persons had, therefore, to be contacted Last but not the least, my grateful thanks are
to have a clear idea not only of the technique and due to Shri Asok Mitra, Registrar General. India,
other incidental matters but also of the extant who has inspired me to undertake this interesting
specimens of wood carving worth visiting. The study and helped me with valuable suggestions
persons visited were master craftsmen like· Hari- during the course of its preparation, as also to
chandra, whose unstructured biography appears Dr. Roy Burman, who has gone through the manu-
in this monograph, Shri Jamanadas Pancholi, script before print.

R. K. TRIVEDI,
AHMEDABAD,
Superintendent of Census Operations,
29th December. 1965. Gujarat.

vjii
 CHAPTER I

INTRODUCTORY

tree (Prosopis spicigera) is worshipped on the

USES OF WOOD Dussera day. Its branch is installed at the en-
WOOD HAS been put to diverse uses in the service trance of a house, before commencing the cele-
of man. It has supplied material for his dwelling, brations of any auspicious occasion like marriage.
for the dwelling of his gods, for his household Tulsi vivah or the marriage of basil plant or tulsi
articles, utensils and furniture, agricultural imple- Osimum sanctum to Vishnu is an occasion of earn-
ments, vehicles, boats, fuel for cooking his food ing great religious merit by a devout Vaishnav.
and lastly the fire that consumes and disposes off New village sites are named after trees and bear
his bodily remains after death. Trees the medicinal such names as Pipaliu, Vadali, Ambaliara, Limbda,
properties of whose roots, barks, flowers and Amba, Mahudi, etc. Trees have thus acquired
fruits, are well-known are not few. Their con- a special significance in the life of the people of this
tribution to alleviate human sufferings has been land.
the greatest in bringing rains so very essential for UNIVERSAL ApPEAL OF WOOD
human existence. Trees have thus proved to be
the greatest benefactor of mankind all the world As will be seen presently, the antiquity of wood
over. as building material has long been established by
archaeologists and historians through authentic
TREE -W'ORSHIP sources and references to wood work in the Vedas
To the Indian community the animal as well and Puranas and the accounts of foreigners who
as the vegetable kingdom forms part of the same visited the Indian sub-continent during the periods
fraternity. In gratefulness for the many benefits of known history. While wood carving reached
derived from them, people have worshipped them the zenith of perfection in India particularly in
as deity from ancient times. The most notable the field of decorative art and architectural cons-
instance of tree worship in Hindu mythology is truction, it has had universal appeal since the dawn
afforded by the banian tree worshipped by Sati of history in every part of the globe, be it the East
Savitri to retrieve the life of her husband from or the West. In India, its uses have been varied
Yama, the god of death. Hindu wives perform and numerous both in constructive and decorative
Vat Savitri Pujan for akhand saubhagya or unbroken art. In Asia, countries like Burma, Nepal, Tibet,
marital bliss and the long life of their husband, China and Japan evolved tradition of architectural
even to this day. Vat or vad tree is the Indian wood work very nearly similar to those in India
fig or Ficus indica, which is considered to be the in the construction of temples and dwellings.
emblem of god Shiva, who wears matted hair like
A SUPERB MEDIUM OF ART EXPRESSION
the tangled roots of the tree. It is very sacred to
the Hindus and is believed to be the abode of the It is the basic artistic instinct of the people
three gods of the Trinity, Brahma, Vishnu and which governs the creation of various forms of art
Shiva. Its wood is used in sacrificial fire. Its through which the artist expresses himself. For,
~il.ky juice is believed to have medicinal and energy- the artist is the creation of the community he lives
glVlng property. It is one of the principal shade- in. His ideas are formed and fashioned by the
bearing trees giving welcome relief from the scoarch- artistic sensibility of the society to which he
ing heat of the Sun. If a person who has no son, belongs. It was the love of art which pervaded the
wants to perform the sacred-thread ceremony life of the people of this land that was instrumental
he does it to the pipaZ tree (Ficus religiosa). Samadi in evolving a distinctive style of architecture and
(Bk) Y-3--1
2 CHAPTER I-INTRODUCTORY

ornamentation in wood work by recognising the a real masterpiece of art. But in wood, the artist
special qualities of wood as a medium of art has found such a superb and pliable form of matter
expression. through the medium of which even the commonest
Matter, form and spirit are the very essence artist has succeeded in expressing the spirit of his
of art. The superior or inferior quality of matter art by creating forms having great esthetic and
helps or hinders not only the creation of .form but artistic beauty. It is the varied facets of art
also the expression of spirit, which the master expression through the medium of WOOD-which
artist attempts to infuse in his work. The inter- this Monograph attempts to describe. This sub-
connection between these three elements of arts ject has been particularly chosen as this unique
is so intimate that one cannot but influence the and ancient art of wood carving, which has
other. For, with the best of artistic talent, even developed and flourished in Gujarat in a
a master craftsman would fail to express the true variety of forms, is now threatened with
spirit of his art to the extent he is capable of, if the extinction in this modern age of brick, cement
medium is base. Though the converse is equally and iron, when haste, crude .simplicity and
true, the creative genius of the artist would false notions of durability are the hallmark of
transcend the limitations of matter and produce progress.
 CHAPTER n
ANTIQUITY OF WOOD WORK

WOOD CARVING is the most ancient of India's towers, over five hundred in number, and it
arts. Its antiquity is established through various was entered by as many as sixty-four gates.
literary sources and archaeological researches Within the walls was the royal palace, evidently
carried out in recent times. Wood carving finds a much more spacious and elaborate edifice
mention in the Vedas, in the great epics Maha- than that erected by any previous ruler in the
bharat and Ramayan, in Buddhist literature, as also country. The main portion of this imperial
in the accounts of foreign visitors who have des- residence consisted of a series of hypostyle
cribed the early architectural forms, the prototypes halls containing pillars of wood each of
of which one can find in the Buddhist relief of the which 'was clasped around with vines em-
first century B.C. at Bharhut, Bagh, Bhaj and bossed in gold and ornamented with designs
Sanchi and later in the rock-cut cave temples of the of birds and foliage in gold and silver, thus
Maurya and early Gupta periods. The stone excelling in magnificence the famous royal
railings, their uprights and crossbars and the torana pleasaunces of Susa and Ecbatana '."
on the gateway around the famous Buddhist stupa The same authority goes on to say:
at Sanchi bear testimony to their imitation of the "Of the fortifications surrounding this
wooden forms which existed in ancient times. great capital city of the Mauryan empire
Historians have noted that the palaces of the nothing has survived except fragments of the
great Maurya Emperor Chandragupta at Patali- wooden ramparts unearthed at Bulandi Bagh,
putra which surpassed in splendour the royal near Patna, the beams of which by their size
residences of Susa and Ekbatana were all made of prove that the Greek envoy's account of its
wood. Extensive use of wood in the construction dimensions was by no means exaggerated. An
of palaces and civil buildings during the Maurya idea may be gained from the foundations which
period has been referred to by Percy Brown in the consisted of timbers laid in parallel lines like
following terms while establishing their wooden railway sleepers each twelve to thirteen feet
origin: long, corresponding to the thickness of the
"Among other achievements the art of stockade at its base. To these horizontal beams
building, stimulated by royal patronage, took upright posts were tenoned, some of them
a notable step forward, as Megasthenes' nine feet high, but it is not possible from
account of the Mauryan capital of Pataliputra such scanty remains to estimate its total
(near Patna) plainly shows. This Greek height." 1
ambassador who resided at the court of the The antiquity of wood is further established
Emperor Chandragupta about 300 B.C., by excavations of the Maurya Period carried out
presents us with a striking picture of the great by the Archaeological Survey of India which has
Indian ruler's stronghold. Occupying a unearthed remains of wood structures erected on
narrow parallelogram about nine miles long "a number of massive teakwood platforms each
and a mile and a half broad, it ranged along 30 feet in length found burried deep in the silt and
the banks of the Ganges like an immense apparently introduced as a kind of wrap to support
castellated breakwater, surrounded by a the foundations of the facade or propylaeum of
stupendous timber palisade, with loopholes for the palace. Composed of beams, jointed together
archers and protected externally by a wide and 'with a precision and reasoned care that could not
deep moat. At intervals were bastions with possibly be excelled " they illustrate the absolute
-----~----

1 PERCY BRowN,Inaian Architecture, (Buddhist and Hindu), p. 6, 1956

3
4 CHAPTER lI-ANTlQUITY OF WOOD WORK

perfection of such work and those who executed manency and durability in public and private
them would find little indeed to learn in the field buildings.
of their own art, could they return to earth Apart from the rock-cut cave-temples and
today."l monuments of the Mauryan and post Mauryan
An upper portion of the Mauryan stockade period, there are other instances, which establish
referred to above can be seen at the Indian Museum, the antiquity of wood and its persistence right
Calcutta. upto the present times. Legend has it that the third
Whereas the Mauryan structures confirm the temple of Somnath built by Lord Shri Krishna
undoubted antiquity of wood as a standard material was of wood. At the time of the invasion of
for constructive architecture and decorative art Mohamed of Gaznavi, the flooring and pillars
in ancient India, its adaptation in stone is more of ' the Somnath temple were of wood. That he
than amply proven by the earlier Buddhist cave- carried with him to Gaznavi the doors of sandal
temples or chaityas and their ancillary buildings, wood is a fact recorded by history. That the
monasteries or vihars for their monks, which have famous Jain temples which were originally erected
reproduced in their construction all the ancient on the Holy Mount Shatrunjay were of wood is
forms of wood work. In the words of Benjamin established by references made in Jain manuscripts
Rowland about 400 years old. The anecdote regarding
Uda Mehta causing wooden temples to be replaced
" As many authorities have pointed out, by stone is considered by some to refer to Sha-
the barrel vaulted chaitya-halls of the Buddhist trunjay and not to Girnar, as is generally believed.
period, the rock-cut cave-temples of western The story goes that while the famous minister was
India, are imitations of free-standing buildings reciting Navakaravalli in the shrine at Shatrunjay,
in which the barrel roof was constructed of he saw a mouse carrying away a burning wick.
interlocking wooden ribs covered with thatch. Realising its danger to the wooden temples, Uda
In many of the cave-temples of western India, Mehta resolved to rebuild. the temple in stone.
although the interior is really a cave cut from Later, when he was mortally wounded in a battle,
the living rock, the duplication of the wooden he expressed the three last wishes, which he desired
original is carried to the point of affixing his son to fulfil. These were (i) to have the darshan
actual wooden ribs to the socle of the solid of a sadhu before death, (ii) to make his son a
stone roof. Such later features of Hindu and Dand-nayak, and (iii) to rebuild Shatrunjay temple
Buddhist architecture as the horse shoe- in stone. It was in pursuance of this last wish
shaped chaitya arch presumably had their that his son replaced the wooden shrine on holy
origin in the Vedic Period. '" mount Shatrunjay by stone. The tradition of
It would be interesting to observe that the building temples in wood survived with the Jains
various artistic forms and motifs in wood were for a much longer period. Towns are not few
copied not in stone alone. They also came to be which still have derasars or portions thereof built
imitated in terracota as seen from some of the in wood between the 14th and 19th centuries.
brick stupas, unearthed in recent times. The Jain derasars exquisitely carved in wood still exist
excavations of a Buddhist stupa at Dev-ni-Morl in cities and towns like Ahmedabad, Surat, Patan,
near Shamlaji in North Gujarat have revealed Cambay and Radhanpur. Chintamani Derasar
designs and motifs in terracota similar to those at Surat and Shantinath Derasar at Ahmedabad,
found in contemporary wood work. all built of wood, are intact even to this day. Jain
Wood carving is thus the forerunner of stone temples constructed of wood are also reported to
carving of later days, when it was gradually have been built in the city of Baroda, but none is
replaced by brick and stone to ensure per- found to be in existence now. But parts of a jain
1. Archaeological Survey of India, p. 76, 1912-13
2. BENJAMIN ROWLAND, The Art and Architecture of India BuddhiBt-Hinau-Jain, p. 21, 1959
 PERSISTENCE OF WOOD WORK TO PRESENT TIMES 5

temple purchased by a Parsi gentleman for sale in cost and availability only at particular places, all
America from Sinor in former Baroda State and of which restrict its use only to those who can
later acquired by H. H. the Gaekwad are erected afford it. Small wonder that its choice was con-
in the Museum at Baroda. The Wadi Derasar fined only to princes and potentates, who had no
of Anhilwad Patan which Burgess and Cousens have consideration for the wealth to be expended. For
illustrated in their volume on 'the Architectural others, wood and brick continued to be the common
Antiquities of Northern Gujarat'l now adorns building material in use by the high and the low
the Metropolitan Museum, New York. who could equally afford it.
The tradition of constructing temples in wood
PERSISTENCE OF WOOD WORK TO PRESENT TIMES
thus persisted pari pasu with their construction in
stone and brick in various parts of Gujarat even Wood as a material of constructive architec.
during the Hindu and Muslim period and conti- ture and decorative art has been in use since ancient
nued into the nineteenth century when wood was times both in the erection of temples and dwellings.
completely replaced by brick or stone in temple Its use in India has persisted to the present times,
architecture. The reasons are not far to seek. though brick and mud for the dwelling of the
The religions of this country have placed God common man have been in use all over the country
before everything, and preached plain living and ever since prehistoric times as revealed by the
high thinking, practice of self-abnegation and excavations of the Harappan period at Lothal
dedication of all their material possessions to God. about 42 miles away from Ahmedabad. The use
The natural consequence of such a philosophy of any material for building construction is mainly
was for the people to earn religious merit through determined by its local availability and cost. The
the construction of temples, an activity which first material which man could without any diffi-
received the greatest impetus before Gujarat came culty make use of even in primitive times was
under Muslim rule. wood. Its persistence, however, till the commence-
Prior to Muslim invasion, Hindu rulers must ment of the twentieth century for constructive
have constructed palaces for their personal use work has been mainly due to its easy availability
and public edifices for administrative purposes and comparative cheapness. But in Gujarat, the
which are for the most part extinct. It cannot plastic quality of wood has provided a very handy
be that the people and princes who constructed material for the expression of an art so dear to
such beautiful temples in stone in medieval period the people of this land, where some carving at
did not have their residence built with equal taste least on the door or window frame is the commonest
and art. But the fact that such structures do not feature of houses in towns and villages, its exten-
now exist show that palaces like ordinary dwell- sion to other parts, elaboration and ornamenta-
ings were constructed of wood and brick. The tion varying according to the purse of the owner.
use of stone in the construction of structures The development, however, of wood sculpture as
other than temples came into fashion after the a distinctive style of art was encouraged by the
Muslim invasion. Even then it was the material inherent quality of the material, the artistic taste
in demand only for the construction and decoration of the people, the creative genius of the carver
of mosques, mausoleums and palaces. For, stone further stimulated by religious zeal and royal
has certain obvious limitations to its use in cons- patronage, all of which were instrumental in
truction as compared to wood or brick, owing to keeping alive the traditions of wood work in every
its massiveness, difficulty in transport, its heavy nook and corner of Gujarat.
1. For details of these temples, see Chapter VI
 CHAPTER nI
REGIONAL CHARACTERISTICS
WOOD CARVING is the most ancient and popular as animal, coupled with exquisite~ panelling and
art worked withal by the ordinary carpenter and pinjra or jali work, i.e" pierced lattice screen
the most expert of artists. Because of its immense show distinct influence of Mughal style. Doors.
popularity and universality of its appeal this art doorways, balconies, lintels and jambs formed the
was assiduously cultivated all over the country. usual objects to which the artistic ability of the
The degree, however, of its permeation and the wood carver was applied. Carving in small
objects to which it was applied in the different articles was absent, as in the rest of the country,
regions has been varied, influenced as it was by though in recent times, with the gradual disappear-
the inventive faculty of the artist and the quality ance of the architectural wood work, commercial
of the material on the one hand and the religious aspect of wood industry, namely making of wooden
enthusiasm and artistic taste of the community furniture and small articles for sale has been receiv-
on the other. The art of sculpturing in wood ing increasing attention under Government patro-
made remarkable progress all over the country nage since Independence, Among other branches of
except for parts of Madhya Pradesh, Bengal and wood work in the Punjab mention must be made
the dry and arid areas of Rajasthan, where also of (a) laquer work, turn~ry_ and ka:mangiri,
the difference is one only of degree. For, it cannot (b) furniture, (c) carriage building, (d) boat-build-
be said that wood work was totally absent in these ing and (e) musical instruments, etc. In former
regions. times the Punjab wood carving used to be carried
The tradition of wood work appears to be out in every district and large towns which had
basically the same all over the country, inspired their own master craftsmen. Places which had
as it was by the same objective in constructive special reputation were Bhera, Amritsar, Batala,
architecture, which had its roots in temple building Chiniot, Hoshiyarpur and Hissar. 1
and house construction. The regional charac- Kashmir has developed the Muslim tradition
teristics of wood carving and its influence on of tracery and intricate geometrical designs, owing
neighbouring countries will now be reviewed in to the local availability of deodar, which has proved
brief in order to give an idea of the nature, extent to be a very facile material for such work in the
and direction of its development in these areas. hands of the wood artist.
Northern India-The north, which would Madhya Pradesh and Uttar Pradesh-While
include the Punjab and Kashmir, has shown that wood work in Central India shows Maratha influ-
the nature of wood work which flourished in this ence in its wood carving, particularly at N agpur
part of India was strictly architectura1. It leaned and several other towns, Muslim influence in Uttar
more towards dwellings than towards the construc- Pradesh naturally predominates. Carved, painted
tion of temples, though the latter aspect cannot and inlaid wood work was particularly developed
be said to be totally absent, as seen from some of at such places as Aligarh, Bareili, Nagina, Bedaun,
the richly carved wooden temples of Chamba. Bulandshaher, Faruqabad, Gazipur, Lucknow,
The north has shown undoubted influence of Manipur, Muthra and Saharanpur, where exqui-
Mohamedan style in the various branches of art site wood carving was done in sisam or blackwood
to which wood work is no exception. Carving sal, ebony, nim and dudhi or whiti-wood for
on doors studded with metal bosses at times furniture and other ornamental purposes. In
overlaid with brass ornamentation, lavish carving recent times, the industrial and commercial aspect
of foliage, small and great figures, human as well of wood work has been coming to the fore and
1. D'DWYER, M. F .• Wood Manufactures in the Punjab in the Journal of Indian Art. Vol. III Nos. 25.32, 1890
6
 REGIONAL CHARACTERISTICS 7

furniture making and manufacture of smaller Western India-In the Western part of the
articles for sale in workshops and emporia are country, Gujarat enjoyed a unique position in the
becoming increasingly popular. 1 development of wood carving, both in the cons-
South India-The land of temples that South truction and decoration of temples and dwelling
is would naturally express its artistic faculties in houses. Some of the Jain temples built in wood
wood carving also in temple architecture. The and decorative work in the houses of towns and-
massive overdoors, architraves, nitches and images villages all over Gujarat display the various aspects
in Chalukyan temples and wood work in some of wood work that came into vogue in this part
of the royal palaces which survive to this day at of the country. The artistic instinct of the people
Suchindram and Padmanabhpuram in Kerala, was so highly developed in Gujarat that in addi-
show the innate preference the people of this tion to temples and dwelling houses, the master
country had for the expression of their artistic craftsman had full scope for the application
talent in wood carving. The huge festival chariots, of his inventive faculties to such diverse
wherein gods with various religious myths and objects as ghar derasar, pigeon houses for
legends have been depicted show the masterly birds, carts, chariots, boats and articles of
presentation of wood carver's art. Tanjore, domestic use.
Chidambaram, Kanchi, Mayuram, Madura and Wood work in Burma and Nepal-The torch
Mysore are the famous centres of wood carving of civilisation has been carried far and wide by
in South India. In later times, the industrial religious missionaries of this land since ancient
and commercial aspect of wood work is gaining times. Hinduism and Buddhism have thus made
in popularity owing to the local availability of great impact on the culture and civilisation of
sandalwood (Santalum album) or Sriganda, neighbouring countries, which have adopted along
wherefrom saleable pieces of artistic excellence with religion the various artistic forms evolved and
depicting various gods and goddesses are carved perfected in India, as witnessed by some of the most
for sale. Pieces of furniture manufactured from exquisite masterpieces of art and architecture
teak and rosewood, with fantastic and grotesque existing in countries like Nepal, Tibet, Burma,
designs are also manufactured by furniture makers China, Japan, etc. That wood work was no
whose workmanship is nowadays in increasing exception to this process of assimilation by our
demand. Carving in sandalwood done in South Eastern neighbours, is established by wood carving
India is so exquisite, so minute and so detailed in temple and house construction in these countries.
that large artistic pieces depicting mythological While Burma is well-known for the development
incidents such as the battle of Mahabharat, pre- of ornamental wood work except in the construc-
pared by master craftsmen are presented to the tion of pagodas which were massoanry structures,
distinguished heads of States visiting this country. • the abundant supply of teak was responsible for
Eastern India- What has been stated above the general use of wood in house construction.
about the South holds equally good as regards the Wood carving in Burma evolved three very
temples of Eastern India, where temple cars and distinctive styles, namely, (i) the bold massive form
wood work in temple architecture provided a seen on the ruddar chairs of boats, (ii) the deep
fertile field for the expression of the inventive and elaborate under-cutting of screens in pagodas
faculties of the artist. Pillars, capitals and brackets and monasteries and (iii) simple incised carving
bearing foliated and tasseled designs and mixed on house doors and window shutters. "The
animal forms furnished a variety of subjects to demon worship of Burma has greatly affected its
the carver in Orissa and Assam. Wood carving wood carving as well as its other arts, the bilu for
in Bengal is said to have been insignificant and demon being constantly reproduced. Some of
confined for the most part to the making of furniture the Burmese figures, whether human or mythological,
in European style. a are excellent specimens of wooden statuary. The
1. The Imperial Gautteer oj India, The Indian Empire, Vol. III, Economic, p. 229, 19(J8
2. Ibid •• P. 230, l!)u8
3. Wood Sculptures oj India, in Desk Diary, Tala Industries Private Limited, 1965
8 CHAPTER III-REGIONAL CHARACTERISTICS

chief centres for wood work are Rangoon, Mandalay the pagodas of China and Japan. The
and Moulmein." 1 explanation for this resemblance probably
Wood carving in Nepal acquired great lies in the fact that the Nepalese towers and
proficiency in the older houses and temples of their Far Eastern equivalents have common
Khatmandu. The resemblance of Nepalese temples prototypes in now lost wooden architectural
to the Chinese and Japanese pagodas have given forms in India. We have already seen pyra-
rise to the general belief that the art of wood midal stone roofs of a similar type in Kashmir.
carving owes more to these countries than to The skyscrapers of ancient Nalanda, as
India. But the unique resemblance of carving in described by Hsuan-tsang, or even the famous
struts or brackets, balconies, window panelling, all wooden pagoda at Peshawar, may well have
lead to confirm the view expressed by Benjamin furnished the inspiration for this and similar
Rowland that this art derived its initial inspiration Nepalese temples." 2
from the Indian prototypes of the time. The 18th century temple at Patan and the
.. It is quite possible that some of these Krishna temple in the Darbar square in Bhatgaon,
structures preserved now lost styles of early are "Nepalese modification of the Indian Shikhara
Indian construction. A typical example is mounted over a single cell and perpetuating many
the Bhavani temple at Bhatgaon, which, details of the Indian prototype, such as the attached
although in its present form dedicated only in turrets fluted finial." 3
1703, probably repeats the shape of earlier The foregoing analysis of the regional pecu-
prototypes. The sanctuary proper is raised Harities of wood work in different parts of the
on a stone pyramid in five stages, and itself country clearly establi~h their basic origin in dwel-
consists of a five storeyed wooden tower ling houses and temple architecture, later adapted
with sloping roofs supported by wooden to other uses according to the ingenuity of the
brackets. One is immediately reminded of artist.
1. The Imperial Gazetteer of India, Vol. III, Economic, 1908, pp. 230.231
2. BENJAMIN ROWLAND, The Art and Architecture of India, Buddhist, Hindu, Jain, p. 148, 1959
3, Ibid.
 CHAPTER IV
WOOD-THE RAW MATERIAL
THE EXCELLENCE of any work of art, the form it The craftsman has, therefore, to use his skill in
takes and the designs it produces are essentially the proper selection of wood. As a skilled work-
influenced by the medium of its expression. man very aptly put it, a successful artisan has to
Every material in which the artist works has its understand the svabhav or the temperament of the
own inherent qualities and limitations. What is timber, so that he knows the way in which the
possible in stone may not be equally possible in different varieties will behave under the .stroke
wood, canvas, metal or fibre and vice versa. But of his tools.
it is the ingenuinety of the artist which overcomes
TREES
the basic handicaps from which the material
suffers and creates some of the exquisite master- Trees which provide the wood most suitable
pieces of art which have been the wonders of the for carving and satisfy most of the requirements
world. Wood and stone, though possessing quite in Gujarat are sag and sisam, as expressed by
different qualities have, in Gujarat, been found to carpenters in a popular saying, 'sag-sisam to sonu',
possess unique kinship in the expression of the i.e., teak and blackwood are like gold because
carver's art. While wood carving because of its they last long and can be shaped like gold.
antiquity has furnished the initial motifs and art Sandalwood is widely used for carving smaller
concepts copied in stone, the latter material, because articles. Some of the other important timbers
of its capacity to produce finer forms carried the are :
sculptor's art to perfection. Despite the limita- I Haldarvo (Adina cordifolia)
tion of matter, the wood carver has produced all 2 Nim (Azadirachta indica)
the forms and designs worked in stone. For, he 3 Rayan (Manilkana hexandra)
had such a confidence in his material and in his 4 Dudhi (Lagenaria Vulgaris)
artistic abilities that he did not believe outside his 5 Sal (Shorea robusta)
reach anything that was possible in stone. 6 Sevan (Gmelina arborea)
7 Sajad (Terminalia tomentosa)
SELECTION
8 Mahudo (Madhuka indica)
Since the medium in which the artist works 9 Ambli (Tamarindus indica)
has a great bearing on the ultimate expression of 10 Bio (Pterocarpus marsupium)
his faculties, the wood carver has to select his raw 11 Kegar (Acacia ferruginea)
material with utmost care. It must possess the Rayan is used for the threshold which must be
requisite plasticity and bring out both delicacy very tough, mahudo for beams, sevan for white
and boldness to vivify subtle expression of human decorative pieces which are not required to bear
forms, numerous postures of animals and birds the strain of weight but used only for ornamenta-
and minute details of flowers, creepers and trees. tion. Other woods used outside Gujarat are
It must lend itself easily to the manipulation of deodar or cedar, ebony, walnut, satin-wood, padauk,
cuts by chisel and gouges through the movement Madras redwood, anjan, red cedar, sal (Shorea
of his hand. The wood selected must be strong robusta), rohira and jack-wood. A detailed list
enough to sustain and support the weight of the of the timbers commonly used in structural and
super-structure and withstand the ravages of other wood work in Gujarat, with their botanical
insects and the rigours of climate to which it is names, properties, uses, etc., and a classified
constantly exposed. Timbers which would com- list of timbers according to the uses to which
bine all these qualities would be obviously rare. they are put are printed in Appendix I. The
9
(Bk) Y-3-2
10 CHAPTER IV-WOOD-THE RAW MATERIAL

most important of these woods are briefly described poles, railway carriages, and a number of other
below. ' articles. Being very durable it .;an be used again
and again. For example, if the carving is
(a) Teak (Tectona grandis) defaced, the log can be planed and carved
Teakwood is the prince of timbers. Besides once again on the new surface. Besides medicinal
the Dangs and Gir forests in Gujarat State, it is use of its roots, bark, wood, flowers and seeds, it
found in North Kanara district of Mysore, yields good oil, useful in preparing paints and
Western Ghats, and Madhya Pradesh. Outside varnish.
India, it grows in Malaya, Burma, Sumatra and Burmese and South Indian teak is more suited
Java. It is it lofty deciduous tree. Some trees for construction and has a utility value, while that
grow as high as 150 feet taking sixty to eight years from Dangs is preferred for beauty of grain and
to mature. Leaves and branches grow in pairs colour. The latter is popularly called Valsadi
and in alternate directions. The tree blossoms sag, being exported from Valsad or Bulsar, a rail-
from June to September, when it looks handsome. way station, a minor port, and the main outlet of
Its small, white flowers grow in numerous bunches, timber from the Dangs. Burmese teak which
lending splendour to it. Its fruit is small, about was imported by Gujarat even before the advent
1 inch across, with a furry nut at the core. Teak of the British, and Malabari sag, which was freely
is considered' the most naturally durable wood of available in the past, are now very scarce. A
the world', which is 'practically indestructible " variety of repute, called BBTCL, was the most
so much so that "even the white ants coveted for its hardness, strength, compact texture
can make no impression upon it'. 2 It lasts for and absence of cleavages. ·It -is not easily available
hundreds of years. Teak wood contains oil which now. Two of the skilled and experienced artisans
preserves nails from rust. In crowded surround- interviewed stated that they preferred the teak of
ings it grows quite tall, but if there is enough space, South Gujarat to that from Moulmein (Burma)
it acquires great girth and strength. In order to and Malabar, which was too soft for carving.
obtain straight logs of wood, the practice of cutting This view is also supported by H. E. M. James
off branches sprouting off on the sides of the young over 70 years ago, when he said :
plant was in vogue in former times. As this had " By far the best grained teak for carving
to be done within one or two days of their growing, purposes is not. in the Ahmedabad artist's
persons were specially employed to watch the idea, that from Moulmein or Kanara. He
growth. Such wood cost more than the ordinary prefers teak grown in the rugged forests of
variety. Because of its so many qualities combined his own Gujarat, procured from the hilly
in one, it is an all-purpose wood. Its very name country called the Dangs, between Surat and
in scientific parlance-Tectona grandis-shows its Khandesh ....
great value to the wood worker, from the Greek
(b) Black-wood or Sisam (Dalbergia sissoo)
tekton, a carpenter and the Latin grandis, meaning
grand or large (Plate I). Its versatile wood is Sisam or black-wood is another quality of
suitable both for structural and rup work or wood in extensive use. An indigenous tree of
decorative carving, and is used not only in buildings, Gujarat, it is also found in the sub-Himalayan
ships and furniture, but also bridges, well-construc- tract from the Indus to Assam, Madhya Pradesh
tion, agricultural implements, carts and carriages, and Baluchistan (Pakistan). A handsome tree,
looms, tobacco pipes, railway sleepers, telegraph it grows with an erect trunk to a height of about

], So'U)'()e : (al PALANDE, M. R., Gazetteer of Bombay State, (Revised Edition) General Series, 'Tol. A Part Ill, Timbers,
1957 '
(b) COWEN, D. V., Flowering Treu and Shrubs in India, 1957
(c) KAPADIA, _G. A., Timber wealth of Maha Gujarat in The Journal of Gujarat Reaearch
Society, Vol. XVI,
No_ 1, 19:>4
2. JAMES, SIR H. EVAN M., Wood-Carving in Guzerat in The Journal of Indian Art and Industry, Vol. XVII,
Nos. 129-136, p. 75, 1916
3. JAMES, HENRY E. M., Notes on an Ahmedabad Carved Screen and Bracket, in The Journal of Indian Art, Vol. V
No. 38, p. 9, 1804
 TREES 11

25 feet. Its yellowish white flowers blossom in

(e) Babui (Acacia arabica)
March to June. Its wood is brown with darker
veins. It is close grained, very hard, strong, Babul, a great benefactor of the peasantry, is
heavy, durable and easy to season and polish and found all over the State and in Maharashtra,
does not easily crack. It is not much used in house Punjab, Bihar, Rajasthan, as also in Ceylon, Arabia,
building, but extensively utilised for rup work or Egypt, Tropical Africa and Natal. It grows
perforated and ornamental carving, boat-building, rapidly even in dry climates many times in thick
furniture, panelling, etc. It is indeed the "finest groves. A thorny tree, it rises to the medium
of Indian cabinet and furniture woods". Among height of about 40 feet, with straight branches.
indigenous furniture articles traditionally made of Its small golden yellow flowers grow in ball shaped
sisam are kothala or large receptacles for storage, clusters in July to November. Its pod having a
damachia or stands on which mattresses are piled, maximum length of 6 inches holds about a dozen
thala or basins of hand-mills, sangamachi or low seeds. Its wood is pinkish red, turning reddish
chairs, pegs, etc. brown on exposure, and has dark streaks. It is
(c) Haldarvo (Adina cordifolia)
hard, durable and shock resistent. It is easy
to saw when green, and air-seasons satis-
The tree is quite common in India and is also factorily. Because of its toughness and easy
found in Burma and Ceylon. It has an erect availability it is most widely used in making agri-
trunk and grows to the height of about 35 to 70 feet. cultural implements. Its popularity for the purpose
Its yellow flowers grow in June to August. Its is illustrated in the proverb Suthar-nu man bavaliye,
wood is yellowish, lustrous, smooth and even- or, the carpenter's mind is always in the babul.
grained. It has moderate strength and durability. It is also used for house-building, carts and carri-
It is easy to work, finish and polish, but sometimes ages, boats, sugar and oil-presses, and engraved
develops cracks. It is used mainly for planking blocks for textile printing. It has varied other
in buildings and boats, furniture, agricultural uses. It is excellent fuel and gives the best char-
implements, drums, etc. coal. Its gum, bark, etc., have medicinal value.
(d) Sandalwood (Santalurn album) The bark is used for tanning and dyeing. Its
leaves and pods are good fodder for animals.
Chandan or sandalwood, with pleasant It provides good shade in hot climate and its
appearance and scent, is favourite with wood throny branches are a convenient fencing material.
carvers desiring delicacy of detail. It is found
mostly in Peninsular India, and is abundant in (f) Mango (Mangifera indica)
North Kanara and other parts of Mysore, Coorg, Mango is another favourite tree found in
Nilgiris, and Coimbatore. The best variety grows abundance in the countryside especially in Main-
in rich soils mixed with rock. A small evergreen land Gujarat. It is found in Konkan, North
tree with drooping branches, its scentless flowers Kanara, Satpudas, Bihar, Khandesh and Western
blossom in March to August. Its wood is yellowish, parts of the South Indian peninsula, Bhutan,
brown and has a strong and agreeable smell. Sikkim and Burma. The stout tree rises about
Close-grained and oily, the wood is used for carving, 50-60 feet high on its short trunk, and its plea-
marquetry, frames and other fancy and presen- santly shaped foliage offers deep and cool shade.
tation articles. In Gujarat, it is used mainly in It has thick growth of tiny, white and greenish
Surat for preparing beautiful marquetry boxes. yellow fragrant flowers. Its flowering time in
Parsis offer it to their holy fire. Its fragrant March, coinciding with the spring, was an occasion
powder is used as incense and its paste in puja by of joy for the ancients. Mango, perhaps the best
Hindus. Its valuable oil has uses in perfumery known Indian fruit, has a number of varieties.
and medicine. Its many good qualities-its softness, It is large and fleshy with a big stone. The juice
beauty, fragrance and coolness-have earned for or slices of luscious mango, the fruit par excellence
it perhaps the most profuse references in literature of India, provides a feast to the great and small
and legends. alike in summer. The raw fruit is also widely
12 CHAPTER IV-WOOD-THE RAW MATERIAL

pickled in Gujarat. Its wood is grey or dark greyish or reddish white, and has a glossy lustre.
brown, coarse-grained and easily worked. It is It is soft, light, strong and durable. It does not
easily seasoned and polished and fairly strong but crack, and is easy to saw and season. It can take
not very durable. Mango wood is used for a good finish, and can be very satisfactorily painted
planking, doors, windows, packing cases, cheap or polished. Uniform in colour and character,
furniture, canoes, boats, and numerous other this 'steady' wood is considered 'first class workshop
articles. As it is easily susceptible to rot and wood'. It is used for planking, door panels, fur-
bends under burden, it is not used in parts support- niture (especially for decorative designs), carriages,
ing weight. It is an auspicious tree for Hindus, palanquins, drums, grain mealmres, canoes, boxes
and torans or festoons are made of its leaves like and packing cases, toys, carved images, picture
asopalav. Some of its parts have medicinal uses frames, musical instruments, match-sticks, etc.,
also. and makes good wood pulp. Its roots, leaves,
flowers and fruits are used medicinally, and
(g) Nim (Azadirachta indica)
the fruit is eaten by the poor in the Satpuda
Limbdo or nim is another familiar tree, ubiqui- region.
tous throughout the State, and found all over the The varieties, qualities and uses of timbers
country. It also grows in Burma. A valuable are so numerous that the short space available
shade bearing tree, it has a moderate height of in this monograph will not bear an account in
about 45 feet. It grows tiny yellowish white details greater than that given in the preceding
flowers in March to May. Its yellowish green paras and the details reproduced in an Appendix
fruit has a stone surrounded by sticky juice enclosed to this Chapter.
in a thin wall. The abundant growth of fresh green
SELECTION OF WOOD
leaves gives it a pleasant appearance. The leaves,
flowers and fruit have a bitter taste. Its wood is The choice of the species was not all that was
reddish, close grained, hard, scented and durable. considered by the carpenter. It was followed
It resembles mahogany and can be fine1y polished. by the most meticulous care bestowed on the
Because of its bitter taste it is not attacked by selection of particular pieces of logs for the various
white ants. This wood is extensively used in house- parts or objects to be worked. Even the alignment
building especially for pillars, beams, doors and of the veins in the piece selected was a material
window frames, furniture, carts, boats, agricultural factor in its selection, as it helped bring out the
implements, etc. It has many medicinal uses. beauty of form and expression as revealed by the
It yields oil which is quite useful in soap making, carved figure of a damsel in one of the temple Plates.
medicine, etc. The juice of its leaves and flowers The veins on the nose are seen in the chaste form
keeps malaria away and is taken and distributed of a steady flame of a lamp to which the perfect
among friends and relatives on the New Year day nose is traditionally compared. The veins on the
of the Saka era. According to Ayurved, a person face similarly exhibit remarkable harmony in tune
suffering from T. B. is advised to keep his bed with the round contour [of the face expressive of
under a nim tree. serene happiness. The work indicates a truly
(h) Sevan (Gmelina arborea) well chosen log, which helps the artisan in showing
his workmanship at his best. Describing the
Sevan, also called comb teak and white lteak, special characteristics of wood which determine
is another tree very useful to :carpenters. Common the quality of work to be done, Sir George Watt
in deciduous monsoon forests, it grows in the remarks:
Dangs, Satpudas, Khandesh, !Kanara and through- "The art conceptions seen in wood-work
out the rest of India, as also in lSind, Ceylon, have been greatly influenced by the grain of
Malaya and Phillippines. It is a moderate sized the timber employed, such as the deep under-
tree about 50 feet high. It has brownish yellow cutting and sculpture that is possible with
flowers which grow in March-April. Its small teak, red-wood and walnut, the low relief of
fruit is smooth and fleshy. The wood is yellowish, shisham and deodar, the incised designs of
 TREES AND THEIR USES 13

ebony, the intricate and minute details of at night, and puja should be offered to it according
sandal and the barbaric boldness of rohira, to Brahminical rites. Touching the tree, the
sal and babul (kikar) and other coarse grained following mantra should then be chanted, " I wish
and hard woods. " 1 well to all the beings on this tree. I bow to them
all, and offer this sacrifice and pray to them to
TREES AND THEIR USES
reside at some other place. 0, tree! I wish
Pursuant to the tradition of reducing desirable you well. The king desires you for the indra-
practices into religious tenets, ancient treatises dhvaj ; therefore, be pleased to accept my prayer. "
describe not only the types of wood to be selected Thereafter, facing north or east, the tree should
for different purposes. but also the ausplciOUS be cut after sunrise. If the axe makes a creaking
trees, the time and manner in which they should be noise, it is an evil omen; but a deep and sweet
cut, the different types and places the trees of which sound is considered auspicious. If the tree falls
should be discarded for obtaining best results. in the north or east without breaking or bending,
religious ceremony to be performed and auspicious it shows portents of victory for the king. Portions
and evil omens as auguring good or bad result for of eight angul or fingers from the top and four
the owner. Rajvallabh, an authority on construc- from the bottom should be cut off from the tree,
tive architecture, lays down that teak, shal, mahudo, which should then be submerged in water. There-
sarj, kher and bio may be used singly or jointly after it should be carried by men or a cart to
in a house. But saral, arjun, panas, shriparnika, the gate of the town. If in this process, a spoke
sisam, haldarvo, sandalwood, surfaru, padmak and of the cart wheel breaks, there are defections
timbaran should not be used jointly with others. in the army; if the axle breaks, the army
Further, a burnt or dried up tree, a thorny tree, a perishes; if the :yoke breaks, wealth is
tree near a temple or having birds' nests or milky destroyed ; and if the hado breaks, the carpenter
juice, or one which is felled by wind or haunted by dies. 6
spirits, as well as trees like tamarind and baheda The tree which is to be used in a house should
should not be used at all by the carpenter. 2 be worshipped with sacrifice, etc., at night. In the
Varahmihir in his Brihat-Samhita" deals in great morning it should be cut in the pradakshina
detail with the auspicious aspects in the selection sequence, starting from north-east. The tree'should
and cutting of trees. He says that arjun, ajkarna, be considered auspicious, if the portion which is cut
priyak, dhav and guler are the five auspicious trees is found free from rot. Reptiles and other animals
for preparing the ceremonial indradhvaj, while like serpent, lizard, toad and stone or water are
feminine trees like banana and jujube are inauspi- likely to be found in the middle of the tree accordp

cious. Baheda, nim and arani should likewise ing to the various colours that may be found in the
be avoided in the construction of houses. 4 Other portion sawn. 7 A sculptor wishing to select wood
trees which an architect should discard include, for an idol should start in an auspicious muhurta
besides those already indicated above, (i) trees fixed by an astrologer and should enter the forest
growing in a garden, crematorium, anthill, or after observing good omens as while starting
sacrificial ground, (ii) trees growing near a temple on a pilgrimage. 8
or on the roadside, and (iii) trees which are Rajvallabh also lists woods propitious for
deformed, surrounded by creepers as well as those making bedsteads for kings. Shriparnika or sevan
on which rot has set in. Ii and tinduki or timbaran bring wealth, asan or bio
A detailed procedure is also laid down as to cures disease, sisam promotes progress, teakwood
the manner of selection and felling of trees. A and shirish or sarasdo induce ~happiness, padmak
tree, grown in white or black soil in a place not or patang brings longevity, and sandalwood
frequented by human b~ings, should.be~approached destroys the enemy. It is further laid down that

1. WATT. SIR GEORGE, Indian Art at Delhi, p. 100. 1003. 5. Ibid., XLIII, 13-14
2. Bajvallabh, V, 16-17 6. Ibid., XLIII, Hi-22
3. Brihat-Samhita, XLIII, 18-16 7. Ibid., LIlI, 121-123
4. Ibid., LIlI, 119-120 8. IbirI., LIX, 1
 14 CHAPTER IV-WOOD-THE RAW MATERIAL

carriages, carts, chariots, palanquins, scabbards, The best type of seasoning is, however,
tavdan, pats or large benches and patla or wooden obtained by air seasoning. The skilled craftsmen
seats may be made of all these varieties. But each interviewed were unanimous that the best results
of these articles should be made exclusively of one are obtained from naturally seasoned wood which
wood without mixing it with any other variety. 1 does not easily decay. One of them pointed out
that in olden times, logs of wood and tree trunks
SEASONING
used to lie about in the open for years together-
Seasoning of wood is no less important than sometimes as many as ten to twelve years-either
the selection of appropriate variety. It is neces- in the timber yard or near the owner's house.
sary for its preservation and prevention of de- Timber was in abundant supply and there was a
formation and degeneration in course of time. sufficient time lag between cutting of timber and
Varahmihir has given thought to this problem its use. In contrast, in the present age of speed
too. He prescribes, for walls and idols in parti- and short supply of raw material, wood is used
cular, two vajraiepas or very durable ointments soon after trees are cut, with the resultant shrinking
prepared out of a number of in gradients which and decay in course of time. A special type of
would preserve the work "for one crore of years". • seasoning is still done at Mahuva in Bhavnagar
Sir H. E. M. James noticed that the outside portion district which was a well-known centre of maritime
of the wood work in houses is ··usually oiled, trade in the past. Mango wood and bamboos
which not only gives it the handsome colour of which are susceptible to rapid decay, are immersed
ebony, but serves as a protection against the fierce in sea-water for six months before use. People
rain which is often so destructive in India".' nowadays prefer artificial seasoning which, though
Kanjhi oil having a pungent smell and sesamum quick, is not as good as the natural process.
oil were applied to sisam. The latter was also Some of the ingenious devices to cure the
applied to sandalwood. For coating teak, a little defects and curvatures of wood were narrated as
ramzi (a kind of red earth) was added to that under:
oil which was then boiled and used after cooling. If a plank is bent, water is applied to the
It was applied three to four times in the first year. concave side. The plank is laid down with the
It worked not only as a preservative, but also gave defective side buried in earth. On the exposed
an attractive red tinge to teak wood. Another side heat is then applied to correct the defect.
such oil used was one pressed from sesamum Another way to prevent wood from bending is to
and limboli or nim seeds mixed together in the cut a groove or cleave in the side likely to bend in
proportion of five to one. a concave manner and then drive a wedge into it.
1. RajvaUabh, VIII. 3
2. Brihat-Samhita, LVII, 4-.()
3. JAMES, SIR H. EVAN, Wood-carving in Gujarat, in The Journal oJ Indian Art and Industry, Vol. XVII, No. 136.
pp. 75-76. 1916
 APPENDIX I

TIMBERS AND THEIR USES

A-TIMBERS

Extracts from Gazetteer of Bombay State (Revised Edition), General Series

Volume A, Part-II, Timbers; between pp. 1 and 241

1. Acacia Arabica Willd (Baval ~)

FAMILY-Mimosaceae

COMMON NAMEs-Gujarati: Baval; English: than, Western Peninsula, Ceylon, Arabia, Egypt,
Babul, Indian Gum Arabic; Hindi: Babul, Babus ; Tropical Africa, Natal.
Kannad: Gobli, Jali, Jaligida ; Marathi : Babhul, DESCRIPTION OF WooD-Colour: sap-wood
Babul; Trade name: Babul. large, whitish; heart-wood pinkish white, turning
CHARACTER-A moderate-sized or a large reddish-brown on exposure; mottled with dark
tree. Bark: dark-brown or black, longitudinally streaks. Pores: moderate-sized, sometimes large,
fissured. Branches thorny. Spines: 6-5 cm. oval and sub-divided in patches of pale loose tissue,
long, large, white, often with brown points, straight, which are occasionally confluent in more or less
somewhat ascending. Leaves: rachis downy with regular but usually interrupted concentric rings.
several cup-shaped glands; pinnae generally Medullary rays: fine and moderately broad, short,
6-12, 1.3-4 cm. long; leaflets 20-40, linear, mem- numerous, unequally distributed, conspicuous on a
branous, 6 cm., glabrous or downy. Flower: radial section. Hard: very durable (sap-wood
yellow, in globose heads. Peduncles slender, not durable); has a very good shock-resisting
grey-downy, with bracts in the middle, 3-6 ability; air-seasons with 'fairly good results;
fasciculate. Corolla: campanulate, twice the kiln-seasons with difficulty. Easy to convert and
length of the calyx. Fruit: pod, coriaceous, saw very green; finishes to a good surface, takes
densely grey-downy, stalked. 7.5-10 em. 1.3 cm. a fair polish, but requires careful fillings.
moniliform, 8-12 seeded. Flowering time: June- Weight: 54 lbs. per cubic foot.
January (rainy season). Fruiting time: cold USEs-Wood used for house-building, carts,
season. carriages and their parts, boat-building and their
There are two varieties. Variety cupressi- parts, sugar and oil-presses, rice-pounders, agri-
formis. Stew-branches erect, like a cypress in growth, cultural implements, Persian wheels, well curbs,
called Ram-Kanta. Variety vediana-bark more cooper's work, packing for buffers of railway
deeply cracked, crown formed of twisted angular rolling stock, carving and turning including carved
branches ; spine white; stout; pods fiat, called dies for cloth stamping. Good fuel, gives good
Vedi-babul. charcoal. Gum from bark is largely collected.
DISTRIBUTIoN-Throughout the dry districts Branches, leaves and pods are fed to cattle,
of the State ; forms extensive forests in the black- sheep and goats. Thorny branches used to fence
soil country of the State proper. Indigenous in fields. Tree sometimes used for rearing lac
Gujarat and North Deccan, Punjab, Bihar, Rajas- insects.
15
 16 APPENDIX r

2. Acacia Ferruginea DC. (Kegar m)

F AMILY-Mimosaceae

COMMON NAMES- Gujarati : Kegar, Khaiger; DISTRIBUTION-Forests of Konkan, Dangs

Kannad; Banni; Marath;; Pandhra Khair. and Gujarat (Panch Mahals). Western Peninsula,
CHARACTER-A large deciduous tree, 7.5-12 North Bengal, Madhya Bharat.
m. high. Bark : 1.3 cm. thick, rough, dark
coloured. Spines short, hooked, twin, infra- DESCRIPTION OF WooD-Colour: sap-wood
petiolary ; sometimes absent. Leaves: rachis with large, yellowish-white; heart-wood olive-brown.
one small circular or linear gland on the common Pores; moderate-sized, generally single, in small
petiole, and one between the uppermost pinnea. rounded patches of soft tissue, which are only
Pinnae 6-12, 5-7.5 cm. long ; leaflets 20-60, glau- sometimes confluent. Medullary rays; short, pale,
cous, rigid, subcoriaceous. Flower: yellowish, in numerous, fine. Very hard: heavy, durable;
dense axillary spikes, 10-12.5 cm. long. Corolla: polishes well without absorbing much polish.
very small. Fruit : pod, 7.5-10 x 2 cm. dark- Weight: 70 lbs. per cubic foot.
brown, glabrous veined, 4-6 seeded, the upper USEs-Wood used for buildings, carts, agri-
suture narrowly winged. Flowering time : October- cultural implements and well-construction. Bark
November. Fruiting time; January-February. astringent and is used in the distillation of arrack.

3. Adina Cordifolia Hook F. (Haldarvo ~)

FAMILY-Rubiaceae

COMMON NAMEs-Gujarati Hardarvo, tract from the Jumna eastwards up to 900 m.

Haldarvo, Haladwan; Hindi: Haldu, Hardu, altitude. Burma, Ceylon.
Karam; Kannad: Arsantega, Hedde, Yettaga;
Marathi: Hedi, Hedu, Honangi; Trade name: DESCRIPTION OF WooD-Colour: yellow;
Haldu. lustrous with smooth feel; no heart-wood. Even-
grained. Annual rings faint. Pores: small, numer-
CHARACTER-A large deciduous tree with ous, evenly distributed. Medullary rays: very
erect trunk and horizontal branches; 12-24 m. fine, short, numerous. Moderately hard, durable,
high; girth 1.2-4.5 m. Bark: brownish-grey, strong; seasons well but sometimes apt to warp
thick, furrowed, exfoliating in thick scales ; inner and crack; decays soon when exposed to wet ;
bark mottled, red. Young parts pubescent. easy to saw and machine; one of the nicest Indian
Leaves: 10-30 x 7.5-23 em., coriaceous, pubescent woods to work by hand and turn ; finishes very
beneath, cordate, abruptly acuminate, petiole easily; takes stain and polish remarkably well.
thick. Flower: yellowish in heads 2-2.5 cm. in Weight: 45 lbs. per cubic foot.
diameter; peduncles 2.5-5 cm. axillary, solitary,
or 2-3, each bearing one head ; bracts small. USEs-Wood used for buildings (chiefly
Corolla: downy, style long-exser ted; stigma planking), canocs, planking of river boats, packing
clavate. Fruit: head consists of numerous cap- cases, cigar-boxes, grain measures, sieve-frames,
sules, dehiscing from the base. Flowering time : furniture, agricultural implements, yokes, gun-
June-August. Fruiting time: ripens December- stocks, brush-backs, combs, drums, cooper's work.
March. Sheds leaves: in hot season; New foliage: Excellent, highly coloured wood for turning, carving,
very soon. bobbins, and panelling, most suitable for bathroom,
bakery and kitchen fitments ; has given very satis-
DISTRIBUTION-Common throughout India factory results as a decorative panel wood in
and the State in deciduous forests, Sub-Himalayan Europe. Leaves are fed to cattle.
 APPENDIX I 17

4. Azadirachta Indica Juss (Limhado ~lfit)

(Melia Azadirachta Linn) FAMILY-Meliaceae
COMMON NAMEs--English : Neem or Margosa region; usually planted along roadside; also
tree; Gujarati : Limbada, Limbra; Hindi: Nim, self-sown. In dry forests of the Karnatak and
Nimla; Kannad: Bevu, Nimba ; Marathf: Balant- parts of the Deccan; Dry land forests of
Nimb, Kadulimb. Burma.
CHARAcTER-A moderate-sized to large tree, DESCRIPTION OF WOOD-Colour: sap-wood
12-15 m. sometimes 24 m. high ; girth 1.8-2.7 m. grey, heart. wood red. Close-grained. Annual
Bark : grey, with numerous scattered tubercles. rings: doubtful; shows alternating bands with
Leaves: imparipinnate, approximated near the numerous and with fewer pores; also pale con-
ends of the blanches, 20.8-39 cm. long. Leaflets centric lines. Pores: scanty moderate-sized and
9-15, 2.6-7.8 x 1.34-4 cm., oppositc, sub-opposite or large, often oval and sub-divided. visible on a
alternate, ovate-Ianceolate, unequal-sided, oblique vertical section. Medullary rays : fine, numerous,
of sub-falcate, acuminate, serrate, glabrous, very white, bent outwards where they touch the
shortly petioluled. Flower: small, white, honey- pores ; the distance between the rays less than
scented, on short puberulous pedicels arranged in the transverse diameter of the pores. Hard:
large, solitary, axillary panicles shorter than the scented, durable, resembling mahogany; takes
leaves. Calyx lobes 5, minute, rounded petals 5, fine polish; owing to bitterness not attacked
shortly ciliate. Staminal tube: as long as the by white ants. Weight: 51 Ibs. per cubic
petals. Anthers 10 opposite the teeth of staminal foot.
tube. Ovary 3-celled. Fruit: drupe, oblong, size USEs-Wood used for house-building (posts,
of an olive, yellowish-green, stone almost always beams, door and window frames), furniture, carts
I-celled, I-seeded. Flowering time: March-May. and their parts, ship and boat-building, ploughs,
Fruiting time : rainy season; Sheds leaves: hot oilmills, cigar-boxes and carved idols. Bark, gum,
season ; New leaves: March-April. leaves and flowers are all used in Medicine. while
DISTRIBUTION-A common tree growing the seeds yield an oil (neem or margosa oil) used
throughout the greater part of India in the city in medicine, for soap making and burning.

5. Dalhergia Sissoo Roxb (Sisam ~'Rr+r)

FAMILY -Papilionaceae
COMMON NAMEs-English: Sissoo; Gujarati: twice the length of the calyx; standard with a
Sisam, Tanach; Hindi: Shisham, Sissu, Sissai; long claw. Stamens: 9, monadelphous; sheath
Kannad : Biridi ; Marathi: Shisavi; Trade name; open on the upper side. Fruit: legume, thin,
Sissoo. linear-lanceolate, pale-brown, glabrous, with a
CHARAcTER-A handsome deciduous tree with stalk twice as long as the calyx, generally 2-3
an erect trunk about 8 m. high; girth 1.8-3.6 m. seeded. Seeds compressed, reniform. Flowering
Bark: grey exfoliating in narrow longitudinal time: March-June. Fruit time: November-
strips. Young parts and branches grey downy. February, Sheds leaves : December-January. New
Leaves: alternate, imparipinnate, on a zig-zag leaves: February-March.
petiole, leaflets 3-5,2.5-3.5 cm. each way, orbicular. DISTRIBUTION-Planted throughout the State ;
with a sudden long acumination, entire, firm, believed to be indigenous in Gujarat; ·in river-
glabrescent. Flower: yellowish-white, nearly beds, of sub-Himalayan tract from the Indus to
sessile, in densely pubescent axillary panicles, Assam ; plains of Madhya Bharat ; Baluchista 1.
much shorter than the leaves. Calyx campanulate, DESCRIPTION OF WOOD-Colour : sap-wood
pubescent ; teeth very short ; 2 upper ones obtuse, small, white; heart-wood brown, with darker
3 lower acute, the central one the largest. Corolla: longitudinal veins. Close-grained. Annual rings :
(Bk) Y-3-3
18 APPENDIX I

not distinctly marked. Pores: large and moderate- standby when best plywood is required quickly.
sized, scanty, in light-coloured irregular patches Weight: 48 lbs. per cubic foot.
which are joined by fine, wavy, more or less con-
centric streaks, which are frequently interrupted USEs-Wood extensively used in boat-build-
and often very oblique, well-defined on a longitu- ing, house-building, furniture, frames and parts
dinal section often filled with resin. Medullary of carriages, ploughs, oil and sugar-mills, well-
rays : pale, very fine, uniform, and equidistant, construction, bridge, piles, tentpegs, toys, interior
numerous. Very hard: remarkably strong; fairly panelling and furniture of railway carriages, sport
durable ; air-seasoned and kiln-seasoned without goods, gymnastic materials such as Indian clubs,
difficulty; does not warp or split; takes fine polish. bars, etc. Used by Ordnance Department in
Heart-centres are however a frequent cause of connection with ammunition, transport materials,
trouble ; they often contain a white calcareous etc. Finest of Indian cabinet and furniture woods.
deposit ; easy to saw and work. Sisoo is the main Leaves are a good fodder for cattle.

6. Gmelina Arborea. Roxb (Shivan mcr.r)

F AMILY- Verbenaceae

COMMON NAMEs-English : Kashmiri Tree, Even-grained. Annual rings : marked either by

Comb Teak, White Teak; Gujarati : Savan, Shivan ; white lines or by more numerous pores in the
Hindi: Gambhari, Gumbhar, Shiwan; Kannad: spring wood. Pores: large and moderate-sized,
Bachanige, Gupsi, Kumbudi, Shiwani ; Marathi: often sub-divided, rather prominent, on a vertical
Shiwan; Trade name: Guman section; sometimes arranged in rough, more or
CHARACTER-A moderate-sized unarmed less concentric lines. Medullary rays: short,
deciduous tree, 15-18 m. high; girth 1.8-3.6 m. moderately broad, prominent, visible in the silver-
Branchlets and young parts clothed with fine grain as irregular horizontal bands. Soft: light,
mealy pubescence. Bark: smooth, greyish-yellow, strong, durable, does not warp or crack, easy to
corky; inner bark mottled, yellow, turning quickly air-season and kiln-dry. Green conversion and
brown on exposure to air. Young parts pUbescent. open stacking with crossbars under cover will
Leaves: 10-20 x 7.5-15 cm., ovate-acuminate or give the best results; easy to saw and work to a
acute at the apex, rounded or cordate at the base, good finish ; takes paint or polish extremely well ;
tawny-tomentose beneath while young, entire, usually very uniform in colour and character;
almost coriaceous on a petiole 5-7.5 cm. long. regarded as a first class workshop wood. It is
Flower: yellow tinged with brown, 2.5 cm. long, not very ornamental but is an extremely • steady'
on short yellowish pedicels in small cymes, form- wood. Weight: 36 Ibs. per cubic foot.
ing raceme-like tomentose, terminal and axillary USES-Wood used for planking, door-panels,
panicles. Inflorescence, calyx and corolla densely furniture and cabinet-work, carriages, palanquins
tawny-tomentose. Corolla: 5 - lobed, bilabiate. ploughs, sluice-valves, well-construction, drums
Fruit : drupe, 2.5 cm., ovoid or obovate, fleshy, (a favourite wood), grain-measures, dug-out
smooth, yellow when ripe. Flowering time: canoes, knees and thwarts of boats, oars, cooper's
March-April. Fruit time: May-June. Sheds work, gunstocks, interior panelling and lining of
leaves: February-April. New foliage: April-May. railway carriages, boxes and packing-cases, combs,
DISTRIBUTION-Throughout the State in toys, carved images. picture-frames, sounding-
deciduous monsoon forests. Common in the boards of musical instruments ; pronounced very
Satpudas, Khandesh, Dangs, Kanara. Throughout good for match manufacture ; makes fairly good
India, Sind, Ceylon, Malaya, Philippines. unbleached wood pulp. Root, leaves, flowers
DESCRIPTION OF WooD-Colour: yellowish, and fruits used medicinally. Fruit is eaten by
greyish or reddish-white, with a glossy lustre. poor classes in Satpudas and also by cattle.
 APPENDIX I 19

7. Madhuka Indica GmeJ (Mahudo ~

..
(Rassia Lati/olia Roxb) FAMILY-Sapotaceae
COMMON NAMEs-English: Honey Tree, in the Konkan and North Kanara but nowhere
Mahuva of South lndia; Gujarati: Mahuda, abundant. Western Peninsula, Mysore, Karnatak.
Movonujhad; Hindi: Moha, Mohua; Kannad: Ceylon, upper Burma. Often planted.
Ippe, Huli, Movaro; Marathi: Mohachejhad,
Mohwa, DESCRIPTION OF WooD-Colour : red. Close
CHARACTER-A large evergreen tree, 12-15 m. and straight-grained. Pores: small to moderate-
high; girth 1.2-1.8 m. Bark: dark yellowish-grey, sized, in short radial or oblique echeloned strings.
thick. slightly furrowed, scaly; inner bark red, Medullary rays: numerous, fine, uniform, equidis-
milky. Young shoots villous. Leaves: to-18 X tant, bent round the pores. Transverse bars
2.5-4 em., clustered near the ends of the branches, fine, irregular, wavy. Moderately hard: very
lanceolate, narrow at both ends, entire. smooth flexible, durable. Weight: 60 Ibs. per cubic
on villous petioles 2.5-4 em., stipules villous, foot.
caducous, ensiform. Flower: crowded near the USEs-Wood used for house-building, bridge-
ctlds of branches, pedicels 5-7.5 em., sub-erect, construction, trenails, carts, furniture ; valued for
one-flowered. Calyx segments 4, acute. Corolla: ship's keels and for planking below the water-
tube equal to length of calyx, limb 8-10-cleft. line. Flowers are eaten raw, cooked or roasted.
Anthers 16-20 in two series. Fruit: berry, oblong. Seeds contain about 30 per cent of yellow oil ;
size of a plum. yellowish when ripe. Flowering used for lamps. for manufacturing soaps and for
time: April-May. Fruit timl! : August-September. candles. it is also used as an adulterant or substi-
DISTRIBUTION-Common in the dry forests tute for ghee. Bark, flowers and oil are used
and along the rivers and nalas in the State; common medicinally.

8. Mangifera Indica Linn (Ambo amn-)

F AMJL Y -Anacardiaceae
COMMON NAMEs-English; Cuckoo's Joy, Khasia Hills. Sikkim. Western Peninsula from
Mango tree ; Gujarati : Ambo, Amri ; Hindi; Am; Khandesh southwards; cultivated throughout
Kannad: Mavin-mara, Mavu, Rasala; Marathi: India for its fruit ; Burma.
Amba; Trade name: Mango. DESCRIPTION OF WooD-Colour: grey ; in
CHARACTER-A large evergreen tree 15-20 m. old trees sometimes dark-brown with black streaks.
higb with girth upto 4-5 m. Bark: thick, dark- Pores: scanty. moderate-sized and large, distinctly
grey, nearly black, rough with numerous small marked on the longitudinal section, often sub-
fissures and exfoliating scales. Leaves : coriaceous, divided and sometimes joined by short concentric
oblong-lanceolate 12.5-25 x 3.5-7.5 em., shining bands. Medullary rays; fine, wavy, closely packed,
above. Flower: monoecious in terminal panicles, interrupted by or bent round the pores. Wood
pubescent. Calyx 4-5 partite, deciduous. Petals, in old trees hard, in young ones coarse-grained
4-5, oblong with 3 orange-coloured ridges on the and soft; seasons easily and retains its shape
inner face. Stamens: 4-5, only one fertile. Fruit; after seasoning. Fairly strong: not very durable
drupe, large, fleshy, sub-ovoid, 7.5-20 cm. long, in exposed positions; saws and works easily ;
stone compressed hard. Flowering time : Febru- finishes to a clean surface and takes a good polish.
ary-March. Fruit time: May-June. Weight: 42 lbs. per cubic foot.
DISTRIBUTION-COmmon everywhere, wild and USES-Wood used for planking, door and
cultivated ; rain forests of Konkan and N. Kanara window frames. tea, opium and indigo boxes,
ghats and the Satpudas; cultivated throughout packing cases, cheap furniture, dug-out canoes,
the State; tropical Himalayas, Bhutan, Bihar, boats with their parts and ship-building, Masula
20 APPENDIX I

boats, (Madras), well-construction, sieve-frames, carriage furniture. Good wood for dry cooperage
brush-backs, ploughs, yokes, cart-wheels, and and shoe-heels. Roots, leaves, flowers, fruits and
cooper's work, occasionally used for railway seeds used medicinally. Fruits are eaten raw or ripe.

9. Manilkana Hexandra Roxb (Rayan 'U<f1JT)

(Mimusops Hexandra, Roxb) FAMILY-Sapotaceae

COMMON NAMEs~Gujarati : Rayan; Hindi: Maratha Country (Belgaum); Western Pan insula,
Khir, Khirni; Marathi : Khirni, Raini, Ranjana. cultivated in North West India; Ceylon.
CHARACTER-A large evergreen ornamental, DESCRIPTION OF WooD-Colour: red. Close
glabrous tree, 15-18 m. high, girth 3.6-4.5 m. and even - grained. Pores: small scanty, occa-
Head shady, trunk erect without branches for a sionally solitary but usually in short-radial lines
considerable height. Bark: blackish-grey, deeply which are echeloned at a distance in slanting
furrowed. Leaves: 5-10 x 4-5 em., obovate-oblong fashion. Medullary rays: very numerous, fine,
notched at the end, narrowed at the base, sometimes uniform, equidistant. Transverse lines wavy
crowded at the end of the branches, glabrous, irregular, less prominent. Very hard: strong,
shining above, petiole 1.3-2.5 cm. Flower: white durable, tough, Weight: 65 Ibs. per cubic
and yellow not fragrant, .6 cm. diameter, on soli- foot.
tary, axillary pedicels. Calyx segments 6. Corolla : USEs-Wood used for house-building, bridge-
lobes two series, the outer consisting of 12 white construction, bridge, and wharf-piles, boats, agri~
and the inner of 6 yellow lobes. Stamens: 12. cultural implements. oil-presses, sugar-mills, carts,
Fruit: about 2.5 em. diameter, yellow when ripe; carriages, waggons, tool-handles and turning;
smooth, usually I-seeded by abortion. Seed com- very successfully employed in decorative house-
pressed oblong, about 1.3 cm. Flowering time: fittings and furniture; gives an excellent fuel.
October-December. Fruit time: ripe in March. Fruit is eaten and is said to be the chief article of
DISTRIBUTION-Common in the dry forests food of poorer classes in Gujarat, during hot
of the Deccan, Khandesh and Gujarat, South season. Leaves are fed to buffaloes.

10. Pterocarpus Marsupium Roxb (Bio for::r))

F AMILY -Papi/ionaceae
COMMON NAMEs-English: Indian Kino tree, divided into 2. Fruit-pod, 2.5-5 em. broad
Malabar Kino tree ; Gujarati: Bia. Bio, Bibla ; articular. Flowering time: May-June. Fruiting
Hindi: Bija, Bigash, Hirdokhi; Kannad: Benga, time: December- March.
Bibla, Honne; Marathi: Bibla; Trade name : DISTRIBUTION-Throughout the State in
Bijasal. deciduous monsoon forests, scattered but not
CHARACTER-A large deciduous tree, 15-18 m. gregarious ; ascends to 1,100 m. in Akrani Khandesh
high, girth 1.8-2.4 m. Bark: grey, with long vertical and Dangs. Common in North Kanara, Konkan,
cracks, ex.foliating in small pieces of irregular Western Peninsula, Madhya Bharat and South
shape and size. Leaflets alternate, coria- India; Ceylon.
ceous, 5-7, obtuse, acute or emarginate. Flower: DESCRIPTION OF WooD-Colour: sap-wood
numerous, yellowish white, 1.3 cm. in diameter, small; heart-wood yellowish brown with darker
arranged ill paniculate racemes. Petals twice the streaks. Close-grained, giving a red resin. Pores:
length of the calYx., waved or curled. Sheath of moderate-sized and large, often sub-divided, scanty.
monodelphous stamens IS sometimes' deeply resinous, uniforrnly distributed in pale patches
 APPENDJX I 21
which are joined by fine, white, wavy, often inter- 55 lbs. per cubic foot. An excellent and valuable
rupted concentric lines; marked on a vertical timber.
section. Medullary rays; very fine, numerous, USEs-Wood much used for door and window
short, uniform and equidistant. Very hard: No frames, posts and beams, furniture, agricultural
taste, no smell; stains yellow when damp. Seasons implements, cart and boat-building; railway
easily and develops a few defects (cracks and splits) waggons; It has also heen used for railway
which are not very serious; kiln seasons easily sleepers; also used for drums, toys, combs, cooper's
without degrade. Fairly heavy, strong; has a work. Bark yields a red gum-resin (Kino) used
very good finish and takes a good polish. Weight: medicinally and for tanning purposes.

11. Santalum Album Linn (Chandan o;;f~<r)

FAMILY-Santalaceae

COMMON NAMEs-English: The White-Sandal- dry regions of South India, Mysore, Coorg,
wood-tree; Gujarati: Suket; Hindi: Chandan, Nilgiris, Coimbatore.
Chandal, Sandal; Kannad: Gandada, Gandha; DESCRIPTION OF WooD-Colour : sap-wood
ll,farathi ; Chandan. white and scentless ; heart-wood yellowish brown,
CHARACTER-A small evergreen glabrous tree strongly scented. Very close-grained and oily.
with slender drooping branches. Bark: dark- Annual rings : distinctly marked by more numerous
grey, nearly black, rough with short vertical cracks, and slightly larger pores in the spring-wood. Pores :
inner substance dark red. Leaves: opposite, 4-6.3 x small, numerous, evenly distributed. Medullary
1.6-3.1 cm. elliptic-lanceolate, sub-acute; entire, rays : short, fine, numerous, uniform and equi-
thin, base acute. Flower: brownish purple, distant. Hard. Weight: about 60 lbs.per cubic foot.
inodorous, in terminal and axillary paniculate The best scented wood is obtained from rich
cymes shorter than the leaves, Perianth campa- soils mixed with rock, but the scent becomes less
nulate; limb of 4 valvate triangular segments. where the soil is rich and without stones,
Stamens: 4. Fruit: globose, 1.3 cm. diameter (P. Lushington).
purple-black ; endocarp hard, ribbed. Flower- USEs-Wood used for carving, manufacture
ing time: March-August. Fruit time: cold and of boxes, frames and other small fancy articles,
hot seasons. and for burning in Parsi temples; a valuable
DISTRIBuTION-Western Peninsula from near essential oil is obtained by distillation from the
Poona southwards; indigenous throughout the wood and the roots, which latter yield the largest
dry districts of the State ; also abundant in some quantity; it is used in perfumery and in medicine.
of the dry deciduous forests of North Kanara; The seeds yield a thick viscid oil. Fruits are eaten
often along the bunds of tanks and in hedges; in times of scarcity.

12. Tamarindus Indica Linn (Amli ~)

FAMILY-Caesalpinaceae

COMMON NAMEs-English: Tamarind tree; abruptly pinnate, 5-12.5 cm. long; rachis channel-
Gujarati : Amli ; Hindi : Amli, Imli, Nuli, Teter ; led ; leaflets subsessile, 10-20 pairs, closely set.
Kannad: Amla, Amlike, Hunase; Marathi : Flower : in lax few-flowered racemes at the end of
Chinch. branchlets; Corolla: petals 3 (one upper and 2
CHARACTER-A large evergreen tree, 12-18 m. lateral) subequal, yellowish with pink strips;
high. Bark: 1.3 m. thick, dark-grey, with longi- Stamens: 3 fertile. Fruit : pod, 7.5-20 x 2.5 em.,
tudinal fissures and horizontal cracks. Leaves: I cm. thick, slightly curved, scurfy, seeds
 22 APPENDIX 1

3-l2,obovate-obloog, truncate ends with a shallow are sometimes confluent. Medullary rays: very
oblong pit 00 each of the flat faces, brown, shining. fine, very numerous, uniform and equidistant.
Flowering time: April-June. Fruiting time: ripe Hard: very durable, difficult to work but highly
February-~arch. prized. Weight: sap-wood 62 lbs. per cubic
DISTRIBUTION - Evergreen forests of Konkan foot, heart-wood 80 lbs. per cubic foot.
and North Kanara ; shady parts of rain forests. USEs-Wood is used for wheels, oil and sugar-
Self-sown near villages and in waste lands, also mills, rice-pounders, mortars, ploughs, mallets,
cultivated throughout the State. Throughout planes, tool-handles, furniture, house-fittings, well-
India and Tropics, generally, indigenous in tropical construction, cooper's work, side planks of boats,
central Africa. turning, etc. Fruit-pulp is used in medicine; it is
DESCRIPTION OF WooD-Colour: sap-wood also made into preserves and exported to Europe.
yellowish-white, sometimes with red streaks; Leaves and fruit-pulp used in curries; the ground
heart-wood small, near the centre of old trees only, seeds mixed with gum furnish a strong cement.
dark purplish-brown, with an irregular outline Annual excellent avenue tree.
and readiating ramifications. Close-grained. The seed powder is now used largely for
Annual rings : indistinct. Pores: moderate-sized, preparing SIZlllg material for the textile
uniformly distributed, each 'pore or group of pores industry. It is a source of pectin used in the
surrounded by round patches of soft tissue, which food industry.

13. Tectona Grandis Lino (Sag;g-m)

FAMILY- Verbenaceae

COMMON NAMEs-English ; Indian Oak, Ship- DESCRIPTION OF WooD-Colour: sap-wood

tree, Teak ; Gujarati : Sag, Sagach ; Hindi : Sagun, white, usually small, heart-wood dark, golden-
Sagwan ; Kannad: Tega, Tegu; Marathi: Sag, yellow, turning brown, dark-brown and finally
Sagwan; Trade name: Teak. almost black with age. Annual rings : marked
CHARACTER-A large deciduous tree, 21-30 m. by one or more lines of regularly arranged pores,
high, girth 3.6-4.5 cm. (occasionally exceeding often set in a belt of loose tissue ; in the rest of
6 m.) Bark: light-brown or grey, fibrous, with the wood they are scattered, scanty, sometimes sub-
shallow longitudinal cracks, outer bark peeling divided, variable in size from small to moderate-
off in long thin flakes. Branchlets: quadrangular, sized, a few large. Medullary rays: moderately
channelled, stellately tomentose. Leaves: oppo- broad to broad, fairly numerous giving a conspicu-
site, 30-60 x 15-30 cm. (much larger in seedlings), ous handsome silver-grain of elongated plates.
rough above, grey tomentose beneath. Flower: Pith: large quadrangular. Strongly and charac-
shortly pediceJled in cymes. Corolla: tubular, 5-6 teristically scented and containing an oil which is
lobes, lobes unequal, white. Fruit: Sub-globose easily perceptible to the touch and is a preserva-
somewhat 4 lobed, peri carp dense hairy, endocarp tive. A strong wood of average hardness and of
bony. Flowering time: June-September. Fruit- durability. The most naturally durable wood of
ing time: November-January. Sheds leaves: early the world. Sap-wood is very perishable and is
in cold season, New foliage: in ~ay. usually quickly destroyed by rot, white ants and
DISTRIBUTION-Throughout the State in borers, but can be readily treated with preserva-
monsoon and mixed deciduous forests ; abundant tives ; easy to saw and work. The wood from
all along the slopes of Western Ghats to the ~ahi dead or fallen trees is lighter and stronger than
river in Gujarat. Best teak-forest in Bombay from trees killed by girdling. Weight: 45 lbs.
State are on the slopes of Kalinadi and the Ganga- per cubic foot.
vali rivers of N. Kanara. Western Ghats of ~adras
State, Circars, Madhya Bharat ; Malay Peninsula, USES-Wood used for house-building, bridge-
Burma, Sumatra, Java. construction, building of ships of all descriptions
 APPENDIX I 23

and their parts, furniture and cabinet-work, car- platforms, skids, hold-fasts rammer and spong-
pentry of all kinds, carving, turning, well-construc- staves, axle-beds of transport carts, planking for
tion, agricultural implements, rail way keys, all waggons, boxes for maxim-gun ammunition and
parts and bodies of carts and carriages, looms, other small boxes. Teak from Burma and South
frames of spinning wheels, cotton cleaning appara- India is preferable for constructional utility
tus (Madhya Pradesh), combs, jars, bowls, purposes, while teak from the Deccan and the
brush-backs, toys, tobacco-pipes (from the hard Dangs is preferable for beauty of grain and colour.
knots of occluded branches), and many minor Root, bark, wood, flowers and seeds are used
purposes; good deal used for railway sleepers, medicinally. Tree yields good oil, which is con-
telegraph poles; most extensively used for the sidered a substitute for linseed oil in preparation of
construction of all classes of railway carriages and paints. Yields also good varnish. Leaves used
waggons in India ; largely used for tubs, buckets, as plates and for wrapping parcels and thatching.
barrels and cooperage in general. In ordnance A yellow dye is also made from them. Young
depots for boarding of tongas, double-decked leaves and twigs are eaten by cattle.

14. Terminalia Tomentosa W. and A. (Sajad ~)

F AMILY-Combretaceae

COMMON NAMEs-Gujarati : Sajad, Sajadio, beautifully variegated with streaks of darker colour,
Sadad, Sadro, Hadri, Sadri; Hindi: Asan, Sadri, showing on a radial section as dark undulating
Sain, Saj ; Kannad: Banapu, Kare-Matti, Matli; streaks. Straight-grained and of medium to coarse
Marathi : Ain, Madet ; Trade name: Laurel. texture. Pores: moderate-sized and large, uni-
formly distributed, each pore enclosed in an irre-
CHARACTER-A large deciduous tree, 24-30 m. gularly shaped and generally elongated patch of
high, girth 2-4-3 m. Bark: 2· 5 cm. thick, grey to soft tissue ; these patches are often arranged in
black, with long, broad, deep, longitudinal fissures concentric lines and frequently joined by thin
and short, shallow, transverse cracks; inner wavy, concentric bands. Medullary rays: not
substance red when fresh. Branchlets, young distinct, very fine, numerous, uniform, equidistant,
leaves, and inflorescence rusty tomentose. Leaves: often wavy, the transverse diameter of the pores
7·5-23 cm. sub-opposite or alternate, elliptic, ovate many times larger than the dIstance between the
or obovate-oblong, glabrous or hairy when old, rays. Hard: strong, tough; apt to split in season-
coriaceous, cordate or suddenly narrowed the ing, fairly durable ; lasts well under water; a
base into short petioles, with 2 glands near the base valuable and well-known timber, next to teak the
of the midrib. Flower: of a dull-yellow colour most important in this State. Weight: 67 lbs.
in panicled spikes. Fruit: 2·5-5 cm. ·obovoide per cubic foot.
oblong, wings broad, marked with prominent
horizontal lines ; edges of wings thin, irregularly USEs-Wood used for house-building, rough
crenulate. Flowering time : April-May. Fruiting furniture, carts, ships and boat-building, much
time: January-April of next year. Sheds leaves: used as mining timber in collieries; used for oil-
January-March; New leaves: at the end of the hot mills, rice-pounders. agricultural implements, rail-
season. way sleepers. Excellent fuel and furnishes good
DISTRIBUTION-COmmon throughout the charcoal. Bark is used for tannig and dyeing
State in mixed deciduous forests, and in the jungles black. Ashes of the bark give a kind of lime
at the foot of the ghats in Konkan; throughout eaten with betel leaf. The 'Tasar' silk-worm
the moist regions of India ; Ceylon. feeds on its leaves and lac is occasionally
DESCRIPTION OF WooD-Colour: sap-wood gathered from its branches. It gives a brown
reddish-white; heart-wood dark-brown, hard, gum.
24 APPENDIX [
B-CLASSIFICATION OF TIMBERS ACCORDING TO USES

Extracts from Timber Wealth of Maha Gujarat by G. A. KAPADIA in Journal of the Gujarat
Research Society, Vol. XVI, No.2, pp. 20-22, 1954
(i) CONSTRUCTION AND GENERAL CARPENTRY

Common Names Botanical Names Common Names Botanical Names

Baval (;;rrorczi) Acacia arabica Timbru (ilmI) Diospyros me/ano-
Acacia ferruginea xylon
Kegar (m)
Haldarvo (~)) Adina cordi/olia Panarvo (q-;:rffi) Erythrina indica
Shisham (~) Dalbergia sissoo Iambu (~) Eugenia jambolana
Sayan, Shiv an (m) Gmelina arborea Kothi ('fiTtr) Feronia elephantum
Mahuda (+fg-GT) Madhuka indica Pi palo (!ftt1cz")) Ficus religiosa
Ambo (3ff~)) Mangifera indica Dhaman (en+f1JT) Grewia asiatica
M ani/kana hexandra Anjan (~) Hardwickia binata
Rayan (w:rur)
Pteroearpus marsupium Charel (~) Holoptelea integri-
Bio (~Tan) folia
Chandan (:;:f~) Santalum album
Tectona grandis Bhamarchhal ('f~) Hymenodictyon ex-
Sag (IDlT) ee/sum
Sajad (~) Terminalia tomentosa
Kher (~) Acacia catechu Kakria, chino (:;ftoft) Lagerstroemia par-
Adenanthera pavonina viflora
Rataval (~)
Aegle marmelos Ruhiu, Kapilo (~)) Mal/otus philip-
Bili ( "fT<Pft ) pinenses
Kalo Sarsado (~ Albizzia Lebbeek
~~))
Bakan limbado (~ ~) Melia azedarach
Dho1o Sarasio ('!:'!'tit Albizzia odoratissima Champo ('i'ftr)) Michelia champaca
Borsali, bakul (Of~) Mimusops elengi
~ait)
Kinhal, Kilai (feI;~) Albizzia pro cera Tunaj, timsa (~) Ougeinia dalbergio-
Kali Sisir ('fiTOft ft:m::R:) Albizzia stipulata ides
Dhavdo (~) Anogeissus lati/olia Khajuri (~) Phoenix sylvestris
Supari (~) Areca catechu Ambalan (~) Phyllanthus emblica
Phanas (~) Artocarpus intergrifolia Karanj (~) Pongamia g/abra
Limbado (;nl~)) Azadirachta indica Mindhol, mindhal (+iTiW)) Randia dumetorum
Tivar (~'")"crr<:) Barringtonia acutangula Markho (~)) Schrebera swiete-
Shemalo (~)) Bombax malabaricum niodes
Tad (~) Borassus flabellifer Rohni, Ron (ftur) Soymida febrifuga
Ekalkanto (~) Bridelia retusa Kadamb (~) Stephegyne parvifolia
Kumbha (~) Careya arborea Parul (~) Stereospermum suav-
Garmalo (~)) Cassia fistula colens
Tuni, todu (q:uft) Cedrela toona Kharsing (~llT) Stereospermum xylo-
Billu, bhariyo (~) Choloroxylon swietenia carpum
Gunda, mota gunda (1'n) Cordia myxa Bahedan, bedan (Gf~~) Terminalia belerica
Varno, Vayavarno (w) Crataeva religiosa Badam (<ro+r) Terminalia catappa
Karmal (~ ) Dillenia pentagyna Hirda, harda (~) Terminalia chebula

(ii) SHIP AND BOAT BUILDING, MASTS. SPARS AND OARS

Baval (iIT<I'Ci5) Acacia arabica Savan, Shivan (m) Gmelina arborea

Haldarvo (~) Adina cordifolia Mahuda (+rg6T) Madhuka indica
Shisham (~) Dalbergia sissoo Ambo (3lFi1) Mangifera indica
 APPENDIX I 25
Common Names Botanical Names Common Names Botanical Names

Sag (~PT) Tectona grandis Varno, vayavarno (qlJ'(l) Crataeva religiosa

Sajad (~~) Terminalia tomentosa Panarvo (~L) Erythrina indica
Kalo Sarsado (Cfi17it ~) Albizzia lebbeck Khakharo (~) Erythrina suberosa
Kinhal, kilai (~) Albizzia procera Jambu (~) Eugenia jambolana
Phanas (tfi~) Artocarpus iniergri- Kakria, chino (::qTuft) Lagerstroemia par-
folia viflora
Limbado (~lqit) Azadirachta indica Champo (;:fq') Michelia champaca
Tad (au) Borassus flabellifer Borsali, bakul (~) Mimusops elengi
Salai (~) Boswellia serrata Khajuri (~T) Phoenix sylvestris
Kerado (~) Capparis aphylla Ambalan (aWrcot) Phyllanthus emblica
Kumbha (~) Careya arborea Karanj (~) Pongamia glabra
Saru (~) Casuarina equiseti- Mindhol, mindhal (1I"Na5) Randia dumetorum
folia Arjuna, sadra (3T~i'f) Terminalia arjuna
Gunda, mota gunda (1u) Cordia myxa Bahedan, bedan (~) Terminalia belerica

(iii) CARRIAGE AND WAGON WORK

Baval (qr~) Acacia arabica Billu, bhariyo (q~) Chloroxylon swiete-

Haldarvo (~) Adina cordifolia nia
Shisham (~) Dalbergia sissoo Gunda, mota gunda (~) Cordia myxa
SaYan, shivan (m) Gmelina arborea Timbru (ifiRi) Diospyros melano-
Mahuda (If§ST) M adhuka indica xylon
Ambo (art..-) Mangifera indica Jambu (~) Eugenia jambolana
Bio (~aiT) Pterocarpus marsu- Kothi (<tiltT) Feronia elephantum
pium Umaro (~) Ficus glomerata
Sag (m~) Tectona grandis Dhraman (m+f1IT) Grewia tiliaefolia
Sajad (~) Terminalia tomen- Anjan (afiirrf) Hardwickia binata
tosa Moti Hiravani (qliT ~) Kydia calycina
Kher (~) Acacia catechu Tunaj, timsa (~) Ougeinia dalbergio-
Bili (qIm) Aegle marmelos ides
Kalo Sarsado (<Iil'Cit ~) Albizzia lebbeck Kusum (~~) Schleichera trijuga
Dholo Sarasio (t:i'lciT ~) Albizzia odoratis- Patul (~) Stereospermum suav-
sima colens
Kinhal, kilai (~) Albizzia procera Kharsing (~) Stereospermum
Dhavdo (~) Anogeissus latifolia xylocarpum
Ekalkanto (~sriit) Bridelia retusa Arjuna, sadra (3f.i['l) Terminalia arjuna
Kumbha (~) Careya arborea Bahedan, bed an (~) Terminalia belerica
Garmalo (~) Cassia fistula Hirda, harda (~) Terminalia chebula:
Tuni, todu (q:ufT) Cedrela toona

(iv) WOOD FOR FURNITURE, CABINET WORK AND PANELS

Haldarvo (~) Adina cordifolia Sajad (~) Terminalia tomen-
Shisham (~) Dalbergia sissoo tosa
Sayan, shivan (~'f;;) Gmelina arborea Kalo Sarsado (CfiTrit ~) Albizzia lebbeck
Mahuda (q~T) M adhuka indica Dholo Sarasio (or1rit ~~aiT) Albizzia odoratis-
Rayan (zy:(1Jf) Manilkana hexandra sima
Sag (m~) Tectona grandis Kinhal, kilai (~) AlbizziQ procera
(I3k) Y-3-4
26 APPENDIX 1

Common Names Botanical Names Common Names Botanical Names

Phanas (~) Artocarpus intergri- Charel (w) Holoptelea integri-
folia folia
Limbado (6TQ:S)) Azadirachta indica Bhamarchhal (+rr~~) Hymenodictyon ex-
Kenchna (~) Bauhinia purpurea celsum
Tad (~) Borassus flabellifer Moti Hiravani (*i!T Kydia calycina
Salai (~) Boswellia serrata ~T)
Bakan Limbado (iiI'flR lvfelia azedarach
Kumbha (~) Careya arborea
~s)
Tuni, todu (~) Cedrela toona
Borsali, bakul (iif~T) Mimusops elengi
BilIu, bhariyo (~~) Chloroxylon swietenia
Gunda, mota gunda (tcrr) Cordia myxa Saragvo, sakato (m<r<ft) Moringa pterygos-
perma
Varno, vayavarno (<f1IJ) ) Crataeva religiosa
Vans (qt~) Dendrocalamus stri- Shetur (~) _Iforus alba
ctus Mavedo, samat ( ~s) ) Odina wodier
Karmal (~) Dillenia pentagyna Tunaj, timsa (~) Ougeinia dalbergio-
Diospyros melano- ides
Timbru (ti<ii~)
xylon Khajuri (~) Phoenix sylvestris
Panarvo (q-i'f{"f) Erythrina indica Mindhol, mindhal ( l{1i'a5 ) Randia dumetorum
Khakharo (~) Erythrina suberosa Rohni, ron (~)11J Soymida febrifuga
Umaro (~) Ficus glomerata Parul (~) Stereospermum
Pi palo (q'fqro) Ficus re/igiosa suavcolens
Dhaman (~) Grewia asiatica Kharsing ( ~T~ ) Stereospermum.
Dhraman (l'fflf1JT) Grewia tiliaefolia xy!ocarpum

(v) TURNERY, Toys AND SMALL ARTICLES

Baval ( an<rrZi) Acacia arabica Karikhado ( ~it ) Holarrhena an tidy-

Haldarvo (~ ) Adina cordifolia senterica
Shisham (~) Dalbergia sissoo Moti Hiravani (~T ~~) Kydia calycina
SaYan, shivan (m) Gmelina arborea Bakan Limbado (~ Melia azedarach
Mahuda (l{~) Madhuka indica ~)
Ambo (art.n) Mangifera indica AI, alya ( am?) .Iforinda
tinctoria
Bio ( orlan ) Pterocarpus marsu-
Shetur (~) Morus alba
pium
Chandan (m) Santalum album Jasvanti ( iiffi<fflT ) Murraya exotica
Sajad (~) Terminalia tomen- Mavedo, samat ( ~iT ) Odina wodier
tosa Tunaj, timsa ( C11Jf'jf ) Ougeinia dalbergio-
Kher (~) Acacia catechu ides
Dhavdo (~) Anogeissus latifolia Karanj ('fiti;r) Pongamia glabra
Tivar ( m<m: ) Barringtonia acutan Mindhol, mindhal (1fti'! as) Randia dumetorum
gula
Garmalo (~) Cassia fistula Markho (~) Schrebera swiete-
niodes
Saru ( ~) Casuarina equiseti-
folia Rohni, ron ('~)IIr) Soymida febrifuga
Tuni, todu (~QfT) Cedrela toona Kadamb (cROf) Stephegyne par vi-
Timbru ( elii~ ) Diospyros meTano- folia
xylon Bahedan, bedan (Of~) Terminalia belerica
Khakharo ( ~) ) Erythrina suberosa Dudhalo (~) Wrightia tinctoria
Umaro (~) Ficus glomerata Ruchhalo dudhalo(~ro) ~,~) Wrightia tome-
Malan (~) Gardenia lucida tosa
 APPENDIX I 27

Common Names Botanical Names Common Names Botanical Names

(vi) CARVING

Baval (<fr<rrb ) Acacia arabica Timbru (c:'t.ni) Diospyros mela-

Adina cordifolia noxylon
Haldarvo (i'l~)
Shisham (~) Dalbergia sissoo Vmaro (\111()) l'icus glomerata
Savan, shiv an (rn) Gmelina arborea Karikhado (1.firomT) Holarrhena anti
dysenterica
Chandan (ill) Santalum a/bum
Sag (miT) Tectona grandis Chare] (~) Holoptelea integri_
Adenanthera pavo- folia
Rataval (~)
nina Mavedo, samat (~) Odina wodier
Kalo Sarsado ("In'Cit ~T) Albizzia lebbeck Rohni, ron (\:Tur) Soymida febrifuga
Limbado (~)) Azadirachta indica Kadamb (~... ) Stephegyne pan'i-
Kumbha (~) Careya arborea foUa
Tuni, todu (~) Cedrela toona Dudhalo (~'Cf~T) Wrightia tinctoria
Billu, bhariyo (~) Chloroxylon swietenia Ruchhalo dudhalo (~maft ~~) Wrightia tomentosa

(vii) TOOLS AND TOOL HANDLES

Baval ("!Terro) Acacia arabica Timbru (iTar"l'!) Diospyros mela-

Shisham \ ~r~ij") Dalbergia sissoo noxyion
Savan, sbivan (m) Gmelina arbQrea Dbraman (m>r'T) Grewia tiliaefolia
Ra yan ("Ulf1Jf ) Manilkana hexandra Anjan (aPR) Hardwickia binata
Chandan (m) Santalum album Kakria, chino (~) Lagerstroemia par-
Sajad (~) Terminalia tomen- viflora
tosa Borsali, bakul (~) Mimusops elengi
Kher (~\:) Acacia catechu Jasvanti (~) Murraya exotica
Rataval (~) Adenanthera pavonina Tunaj, timsa (~) Ougeinia dalber-
Dhavdo (m<rit) Anogeissus latifolia gioides
Garmalo (If(lITiliT) Cassia fistula Kusum (~) Schleichera trijuga
Saru (~) Casuarina equi- Kadamb (m) Stephegyne parvi-
setifolia folia

(viii) ENGRAVING

Chandan (=m-) Santalum album

 CHAPTER V
ARTISAN, TOOLS AND TECHNIQUE

ARTISAN TOOLS

WOOD CARVING is essentially the craft plied by a Amongst the various tools utilised by the wood
carpenter, a term which would include withal the carver for minute carving, the most important are
village artisan as well 'as the e~pert carver in wood. chisels and gouges of various sizes and shapes
Vishvakarma, the celestial carpenter, is the architect ranging from the point of a needle to three fourths
of gods. whose services were requisitioned for the of an inch. (Plates II and III) 1 They also
creation of this universe. This deity is credited varied in number from half a dozen to a few
with numerous powers and offices and is described hundred, according to the extent of artistic ability
in Mahabharat as the master craftsman well- of the craftsman, the nature of carving and the
versed in a thousand handicrafts. The carpenter, quality of wood on which he worked.
known in local parlance as Suthar or Sutradhar, For preliminary work like cutting and pre-
the holder of string, is one of the functional castes paring pieces of wood to be carved, the artisan,
of Hindu society, which traces its decent to who is also skilled in simple carpentry, uses the
Vishvakarma. common tools like karvati or hand-saw, vanslo
The four principal castes of Suthars in Gujarat or adze, randho or plane and farsi or chisel. Other
are (i) Vansh or Vaishyas, who could do both small instruments include a shardi (centre-bit),
carpentry or masonry work, (ii) Mevadas, who are a chavi (screw-driver), a· hathodi ( hammer ),
expert in wood carving, furniture making, etc., a foot-rule and a pathr; (hone) for sharpening
(iii) Gurjars or cartwrights and (iv) Pancholis, chisels. But the main dependence of the carver
who specialise in oil ghanis. Among these sub- is on a large number of small handleless chisels,
castes, Mevadas and Gurjars denote their terri- gouges and punches of various sizes and shapes
torial origin and indicate tbe place from which they called tankana and vindhna, worked with the help of
have migrated to Gujarat. Among these sub- a gotilo or thapdo. i. e., a mallet of wood used to
castes, the Vaishyas enjoy a superior social status, strike the chisel (Plate II). Every artisan has his
and along with Mevadas in North Gujarat, invest own collection of a wide range and vareity of these
their sons with sacred thread as among the Brah- carving instruments commensurate with his skill
mins. All the sub-castes follow Hindu religion and in using them. The tools used sixty years ago by
worship the gods and goddesses of Hindu pantheon. the craftsmen of Surat, mostly for sandalwood
Among the various sub-castes, the Mevadas carving were ten gouges of varying breadth from
originally hail from Mevad in Rajasthan.. They .[1';" to til, sixteen carving chisels called pania
were well-versed in the traditional art of wood ranging from a little more than a sharpened needle
carving and are found mostly in North Gujarat, to about ill, eight punches termed pattern chisels
Ahmedabad and Baroda. Gurjar Suthars have and gouges, ( chitarvana tankna) and three veining
settled in Surat and South Gujarat. Some new chisels called ar which were the only tools with
sub-castes which are coming up are distinguished handles. Chitarvanu tankna were used for decorat-
by prefixing the name of their original caste to that ing the spaces between the carving in relievo,
of the new profession of 'suthar' which they have by carving such shapes as crosses, circles, etc.
adopted in place of the traditional one they Veining chisels were 'V' shaped angular
have given up. Such sub-castes are known as gouges, used to describe veins of leaves by
Luhar-suthar, Sai-suthar, Kumbhar-suthar, etc. grooving.
1. Some of the unique tools brought to our notice while this monograph is in print have also been reproduced in
Plates II A-II D.
28
 TRAINING AND APPRENTICESHIP 29
Some of the tallkna described by a skilled relieve the monotony of work. During the past
craftsman are t generation or two, the prices charged by a black-
Chhindri - a chisel having a kodi or circular smith have gone up from 25 P. to Re. 1 per chisel.
or concave edge A craftsman engaged in wood carving now requires
Daniyu - a small chhindri tools costing about Rs. 500, whereas in former times
Nakhlo - another type of circular chisel they hardly cost Rs. 50 to 75.
Sutaria - a chisel having a straight edge
TRAINING AND ApPRENTICESHIP
Anialu - having a pointed blade for carving
in straight lines, lettering. etc. No formal instruction was given to the appren-
Venu - chisel with a circular blade for punch- tice in the technique of carving in the past. The
ing a round hole art was in their blood, and they picked up their trade
Chorsi or Chorsu - small chisel with a at the feet of a master craftsman who happened to
T~" blade be the father or some elder. Begining very young,
Falfal - used for cutting a groove while not yet in their teens, they rendered whatever
Daraj - a large falfal help they could to the skilled artisans in their work.
Randho - plane, sometimes as small as 3/ 1 When they were free, they tried their hand at simple
in length shapes first. The grand-nephew of Chaku Bhudar,
Pavthu - board with a wooden strip fixed an expert wood carver of Ahmedabad, whom
on one end to hold the piece to be worked H. E. M. James lauds so much, related how he
in position began as a novice. The first lesson was the carving
Adatara - indigenous files prepared by making of ordinary kangara or crenulations in relief on a
notches on iron bars spare piece of wood after the model executed
These tools are all of simple character and indi- by an accomplished worker. Working under the
genous make, prepared by local blacksmiths out of supervision of his grandfather Somnath or his
steel. They are made to specifications and under brother' Chaku, he was by stages introduced from
instructions of the carvers. Surat and Patan simple to more complicated work. Never was
were formerly well-known for their excellent tools. the supervision slack. If a worker made a wrong
Many a skilled carver prepared his own fine chisels stroke, the watchful master would fling his gotilo
according to his requirements. The invention of at him to teach a lasting lesson. Mistri Hari-
the' V ' shaped chisel is attributed to the ingenuity chandra, whose unstructured biography is printed
of an artisan who substituted it for two straight as an Appendix received his training at Bombay
chisels tied together for making angular cuts. Old about fifty years ago in the shop of a furniture-
files and springs of good steel and even useless maker of repute who belonged to his home district,
umbrella spokes came in handy for preparing Mehsana. In later years, he himself had trained
chisels and gouges, big and small. The tools were many such apprentices including his nephews and
so designed as to automatically bring out the desired cousins. At that time there were about a hundred
shapes. like circular chisels describing circles with shops of Mevada Suthars in Kalbadevi area, Bom-
repeated cuts. Curved or bent blades of some bay, which attracted many an apprentice first to be
chisels facilitate deep carving and under-cutting. trained and then employed in the trade, patronised
The depth was automatically controlled by the shape by its European residents and Parsis. From this
and size of the blade. Galefas measures the work, Harichandra later on switched over to struc-
diameter, and ajolo assists in drawing a tural wood carving. Another artisan, self-taught
circle. Chisels and gouges are sharpened on in designs, used to see dramas, making rough
pathri a honing stone with water. The gotilo or sketches of designs painted on wings and curtains
mallet, about 9" in length, is made of tough and of the theatre, while the drama was on, and utilised
strong wood like kher or babul, or the gar or heart- them in his work.
wood of amli. Sometimes it used to be adorned Wood carving is an ancient Indian art,
with gold or silver ghughra or small bells at the end which has exhibited a very high standard of
of the grip, the musical notes of which helped technical skill and artistic excellence. It aimed at
30 CHAPTER V-ARTISAN, TOOLS AND TECHNIQUE

ornamentation in wood through the working of the whether these Sanskrit works were understood by
chisels and gouges manipulated by hand. The art the artisans without the help of translation in
of wood carving has shown varied stages of develop- vernacular. But these treatises are practically
ment from simple to the most artistic. The worker silent on the technique and processes to be adopted.
in wood includes alike an ordinary village car- The secrecy with which all skilled processes are
penter and the master carver capable of producing guarded in this country precluded any mention of
the most exquisite pieces of art by means of simple the teChnique in these works. 1t is, however,
tools made locally. Before an individual could possible to have a distinct picture of his
master the technique of wood carving, he had to technique from some of the old and experienced
pass through a period of intense training extending hands still engaged in wood carving working with
over a number of years, which alone initiated the same tools and practising the same age-old
and made of him an adept in the technicalities of processes without any significant change. For
the art. Wood is such a material wherein purely this type of work was done long before such
natural shapes and forms cannot be expressed, but treatises recorded what was evolved to perfection
have to be varied and conventionalised in their by long standing experience extending over a
treatment by simplifying and arranging them in a number of years. The tradition of work which
manner suited to the medium worked ill. This is tbus came into vogue was handed down from
possible only if he has studied the different qualities father to son generation after generation. The
of wood, their texture and grain and also possesses fact of the matter is that the artisan, specialising
the knowledge of form and skill to ensure expert through hereditary occupations, developed and
use of tools. Wood work was done neither in a achieved perfection in his -art through carefully
workshop run by the master craftsman, nor directed preserved tradition and heredity in workmanship.
to producing articles to be offered for public sale. The artisan works squatting on the ground,
The master craftsman popularly known as a mistri sometimes holding fast the piece of wood with his
had a band of workers attached to him. Whenever toes. He needs no work benches, table bold-
he was called to work at the place of a builder, fasts, or dogs. Small pieces, for example in
he went with them and worked till the construction sandalwood carving, are sometimes placed on a
was over. He had the greatest freedom in the low stool for convenience, and turned round when-
execution of his work, as he was not fettered by ever required. The piece of wood on which carving
any restrictions or interference from the builder. was to be done was first cut off in required size
His inventive faculties, therefore, found the greatest from the log and given proper shape_ For this
scope for their spontaneous expression in various purpose, straight lines were marked with the help
forms and designs which he created with remarkable of a string dipped in ramzi, khadi (chalk) or
skill and imagination. geru (red ochre). This gave the carpenter the
TECHNIQUE
name of Sutradhar or holder of the string, later
on corrupted into suthar or thaI', which became a
How did the artist of yore create such beauti- caste name. The piece was carefully trimmed
ful works of art? How did he proceed step by with the adze to give the desired shape.
step from a log of wood to the most intricate At a time when there was neither paper nor
designs? What were the stages by which he, pencil, the first outline which the artisan had to
unaided by modern scientific devices, carried draw on the material was by free-hand using
his work to perfection'! Ancient treatises like chalk, geru or ramzi. Later on, broad designs
Rajvallabh, Pariman-manjari, etc., written when were cut in farma or paper stencils or sometime
the art was at its zenith, prescribe in detail the drawn on the wood itself. When transparent
measurements and proportions of different archi- paper was not available, the worker resorted to
tectural parts, the types of designs, qualities of wood, the expedient of applying kerosene to paper to
etc .. to be carved and similar other requirements. make it amenable to tracing. Tracing on wood
Written as they are according to the Indian tradi- is nowadays done by pencil. An old method was
tion in verse with an accent on brevity. it is doubtful to apply a thin solution of saresh or resin on wood
 TECHNIQUE 31

and, after placing the paper or card-board stencil went on working on these formulas, so that
on it, to sprinkle kali-chuna (lime) or indigo the desired figure or shape was obtained III
from a small bundle tied in cloth. Even aged the end.
artisans are unable to say exactly whether or how After drawing the outline on a selected log of
their forerunners in very old times must have wood, the superfluous portion is first taken out
worked without stencils when paper was not avail- to give it a rough shape. The real technique
able to enable stencils to be cut. It is, however, and skill, however, lie in the subsequent opera-
clear that much of the work was done'by free-hand tions, which require on the part of the carver
in the past, assisted by rough outlines drawn on true knowledge of forms and correct use of tools
wood. Even a stencil would only give the outlines, which would enable him to deftly take out the
while relief carving as well as low and deep under- unwanted portion by means of gouges and chisels
cutting must depend on the skill of the worker, of different sizes with the manipulation of strokes
The artist translated the shape in his imagination through the movement of hand. Starting with
into perfect form in wood with extraordinary broad outlines, the artisan proceeds from simple
deftness. It is essential that before starting his to intricate carvings. Beginning with large tools,
work, he must have in his mind a clear perception he progressively uses finer chisels, smoothening
or image of the final shape of the article. Only surfaces, carving veins, giving light and shade,
then can the execution be successful. Because of curves, relief, chipping off spaces in the recesses
this wonderful gift which had become a second or decorating the background. The chisel in the
nature, the artisan, who was otherwise uneducated hand, lightly held and freely manipulated by the
and illiterate was enabled to produce some of the fingers, was tapped by the mallet with repeated
finest works of art. As a present day worker strokes, light or heavy according .to necessity.
put it, ancient artists 'had a truly divine mind Thus the artist worked from low to moderate and
and worked under divine inspiration '. moderate to high relief ( carvo relievo) and carried
The carver was helped by various formulas out low or deep undercutting (carvo intaglio)
and instruments in arriving at the required shapes as required by means of very simple tools, which
and determine the proportions of various parts. helped him to so surface the contours that a work
For example, it is laid down "that if the nine planets, of exquisite workmanship emerged through pro-
the twelve signs of the Zodiac and the fifteen dates cesses cultivated and perfected by constant practice
of the lunar month, were kept in line together, and training.
Vishwakarma had told that they would subtend Foreigners have remarked that the Bombay
a right angle. Further that the breadth of the carver was a very slow worker. This increased
room should be divided into 24 equal parts, of the cost of his work. Some were struck by his
which 14 in the middle and 2 at each :end should lack of sense of time. While they appreciate the
be left blank, while the remaining two portions final product as excellent, they observe that speed
should each form windows or jalis. The space generally makes for deterioration in quality.
between the plinth and the upper floor should be J. A. G. Wales suggests that if manual labour is
divided into nine parts, of which one should be replaced by machinery in the preliminary shaping,
taken up by the base of the pillar, six parts by the the Indian worker would turn out articles at half
column, one by the capital and one by the beam the cost of European products, and thereby
over it ".1 stimulate their demand in the foreign market.
For preparing an oblong, the makdi The slowness of the Indian worker was attributed
which had two points on two sides, was placed by Wales to their tools and method of working.
on the figure. The points moved in straight lines The Western artisan works with chisels having
along which markings were made to help describe wooden handles with which effective cuts were
the required oblong. Similarly, there were many a time made with the force of muscles and
formulas for octagons, l2-sided polygons, etc. play of the wrist. The Indian worker's method
There was thus no need for a stencil, as the artisan of tapping handleless chisels with the mallet was
32 CHAPTER V-ARTISAN, TOOLS AND TECHNIQUE

in his oplUlon time consuming. However, a Rs. 12 to 15 per diem. A religious minded crafts-
skilled craftsman expressed the view that while man employed in renovating the wooden dome
working. it is of utmost importance that the attell- of Shantinath Temple in Ahmedabad stated that
tion of the worker should be concentrated on the he charged Rs. 8'50 per day instead of his usual
point of the chisel which carves the surface of wood. wages of Rs. 10 because he was working for a
A larger wooden handle on the chisel would divert religious institution on the recommendation of an
attention, and even obstruct the view where deep appreciative patron.
undercutting is required. In the past, when artisans were contented
and not caught into a spiral of high wages and
FINISH
prices and competitive pulis, the wage rate was
It is a matter of no small wonder that the quite low. Articles were not produced for sale,
artisan should have been able to bring about but the craftsmen were called to work generally
smooth finish and fine polish without modern at the owner's place. Towards the beginning of
files and polishing material. In ordinary wood the present century, the daily wages were Re. i,
carving innumerable patient strokes of finer chisels t, 1 and Rs. 11 depending upon the skill of the
gave a satisfactory finish in most cases. According artisan, work being generally done to order. At
to knowledgeable persons, artisans used indegen- Sur at, where small articles were made for sale,
ous files called adatara for smoothening roughages. work was got done on piece-work basis. Elaborate
On bold carving work kathi or dry coconut husk carving on boxes, photo frames, etc., was remu-
was rubbed, just as sanghedias or turners rub nerated at the rate of Re. i per square inch, while
ketki leaves for polish. It is also believed that a less skilful work earned half that rate. A crafts-
purple stony substance called kuranj, used for man, working mostly at his own house, earned
polishing agate, was also used for polishing wood. Rs. 15 to 20 a month. The sandalwood carver of
Sticks of varying thickness were made of the powder South India earned Re. i to Rs. 2t daily. It is
of kuranj for polishing deep or perforated surfaces. reported that in the year 1902 skilled carvers
Wales found the sandalwood carvers of Kanara employed by European furniture makers in Bombay
using a piece of dry coconut husk cut transversely were paid Rs. 2S to 40 per month, while inferior
for this purpose, while the oil in the wood gave workers in smaller establishments earned daily
the required polish. Ordinary tooth brushes were wages of 6 to 14 annas.
used in Surat. H. E. M. James has described the work con-
The use of certain types of oil for preservation ditions in an expert's establishment in "a little
and polish has been commented upon earlier. 10 bare, dimly-lighted loft" in a " narrow, evil-
course of time, paints took the place of preservatives smelling alley. " 1 Even the best of the craftsmen
and polish by applying repeated coats of oil colours. were not rich and needed advance payments for
This imposition of painting upon sculpture has works ordered. However, an interesting tale has
spoiled many a work of art by blurring the finely cut been told about the capitalist firm of Messers.
lines and filling up details and suppressing the Mulchand Hutheesing Brothers of Ahmedabad.
natural texture of wood, the original grains and It is said that it fell into bad days as there was no
veins of which enhanced its inherent beauty of design demand for carved articles. The proprietor,
and form. Connoisseurs have deplored the damage anxious to maintain his faithful workers, asked
wbich in most cases cannot easily be undone. them to go on preparing one inch cubes pefeet
in every respect. Curious to know what the master
WAGES AND WORKING CONDITIONS
did with them, one of the workers spied him feeding
There are very few artisans at present who them in his hooka. When this was known by
can execute the traditional type of wood carving. other artisans, they became careless and their
Their wages are consequently bound to be very cubes were no longer perfect. The owner, noticing
high, which in turn increase cost. The prevailing this, regretfully discharged the workers saying that
wages of a very skilled artisan are reported to be their faithlessness was the cause of their downfall.
1. JAMES, HENRY E. M., Notes on Ahm~rlabad ca"vP.d Screen and Brackets, in The Journal of Indian Art, Vol. V.
No. 38-4,), p. H, 18\14.
 APPEIDIX IT
BIOGRAPHY
A Skilled Craftsman in Wood Carving

NAME: MISTRI HARICHANDRA VAKHATRAM do not inter-dine or inter-marry. Mevada and

AGE :72 years. Vansh take[food cooked only by Brahmins \\hereas
ADDRESS : Near Chuna Chakki, Sant Kabir Road, Gujjar and Pancholi have no objection in taking
Baroda food cooked by others.
1. INTRODUCTION 3, DISPERSAL OF ARTISANS
I was born in the month of Chaitra in V. S. Mevada artisans are concentrated in North
1949 at village Limbodra in Kalol taluka of Mehsana Gujarat especially in Ahmedabad, Lunawada
district. Mistri, meaning a carpenter, is my ( about 300 households in three adjacent localities),
surname. There are four sub-divisions of our Limbodra (about 50 households) and Baroda
Suthar caste, viz., Vansh, Mevada, Gujjar and ( about 20 households). They are also to be found
Pancholi. My sub-caste is Mevada. in Vadnagar and Vis nagar in Mehsana and Bhuj
2. ORIGIN OF CASTE in Kutch districts. Vansh artisans are concentrated
About the origin of these sub-castes, the in Sirohi (Rajasthan). New artisans of other
popular legend is that Vishvakarma had four castes who have taken up carpentry work also add
wives, one each from Mewad, Gujarat and Panchal, the word suthar or carpenter after their caste names,
and the fourth was a prostitute or veshya. The viz., Sai-Suthar, Luhar-Suthar, Kumbhar-Suthar.
children of these four wives are known as Mevada, Kansara-Suthar, Soni-Suthar and Sompura-Suthar.
Gujjar, Pancho Ii and Vansh respectively. But 4. CUSTOMS AND CEREMONIES
the first three did not care for Vansh whom they
considered as of inferior social status, being the (a) Betrothal-In our caste, the parents of
children of a prostitute. To do them justice, the bridegroom see the bride first and those of
Vishvakarma gave the highest rank to Vansh, the bride see the bridegroom afterwards. The
second to Mevada, third to Gujjar and fourth to reputation and tradition of the family, culture,
Pancho Ii. He also distributed among them the education, and nature of the family members and
work of adorning the world in the following other nearest relatives are some of the main factors
manner, viz., masonry and carpentry to Vansh, taken into consideration while selecting the match.
wood carving and furniture making to Mevada, After the betrothal is decided upon, the bridegroom
making of carts and carpentry work to Gujjar and his relatives are invited by the girl's father.
and making of oil ghanis for Ghanchis to Pancholi. The bridegroom sits on a bajoth or low stool and
The right of putting on sacred thread is given to a rupee is given to him as a token of finalisation
Vansh and Mevada only and not to the other two of the betrothal which is noted on a paper with
sub-castes. According to legend, the latter two red ink by a Brahmin in the presence of the gather-
offsprings went to see a fight between a blacksmith ing, whereafter gur is distributed to all present at
and demons, against the direction of Vishvakarma. the ceremony. The amount of fine for not fulfilling
When the blacksmith broke the bones of the the above agreement is fixed at Rs. 50 by the
demons, their blood was sprinkled upon them caste organisation. Child betrothal or marriage
rendering them impure. The right of putting on does not take place now. The ceremony of putting
the sacred thread was, therefore, not given to them. on sacred thread was formerly performed at the
Thus Vansh and Mevada artisans are considered age of 8 or 12. It is now performed at the time
superior to the other two. All these four divisions of marriage.
33

(J3k) Y-3-5
34 APPENDIX II

(b) Marriage-The father of the bridegroom 5. F AMlL Y HIS TOR Y

pays Rs. 200 in cash to tbe bride's fatber. He also
gives three ornaments, viz., necklace, earrings and My father was engaged in making furniture,
anklets to the bride. No particular weight of these doors, windows, pillars and other wooden parts
ornaments is prescribed. Cotton clothes for the of buildings on daily wages. He expired when
bride, a turban for the father of the bride, a cotton I was 12 years old. My mother expired when I
sari for the mother of the bride and some pieces was 22. In all, I had two elder brothers, one
of cloth for other relatives are presented in desh younger brother and two elder sisters. My eldest
pural ceremony. The parents of the bride present brother worked as a carpenter in the firm Powell
a mugto, a paghdi and a sari to the bridegroom, hi~ and Company, Bombay, manufacturing artificial
father and mother respectively. Nowadays, cash wooden limbs for disabled persons. He expired
is given instead of clothes by both the parties. (of sickness) twelve years ago. Twenty five
Usually 25 persons are allowed in the jan or years ago, the otber elder brother renounced the
marriage party, but there is no restriction on inviting world affairs after tbe sudden death of his wife
more persons by the bridegroom's party if mutually and daughter. Some one told me that he has
agreed upon. No cases of divorce in the past are become an ascetic and attends a temple in
heard of. There is a custom of widow remarriage Lucknow. But I am not sure about this infor-
in our caste. A sum of Rs. 150 is to be given to mation, as I do not know his whereabouts. The
the father of the bride at the time of remarriage. third brother Dabyalal, residing in Dhana Suthar
There is no specific custom for presenting ornaments Pole, Ahmedabad, does not carve now as he is
and clothes during such remarriage. The cere- suffering from astbma for the past 10 years. He is
mony of remarriage is colloquially known as also a skilled craftsman in wood carving and in
natrun. This custom started 75 years ago. fixing silver plates on carved articles. His son i~
Lunavada village does not fall within the gol engaged in making of silver ornaments like crowns,
or cluster of certain number of villages· say, 17, etc., for Jain idols in Jhaverivad, Ratanpole,.Ahme-
42 or 52, within which betrothal and marriage dabad. One of my sisters is married at Pilvai and
take place. For a breach of this regulation, the the other at a Sardarpur, about 6 and 12 miles away
defaulter who arranges betrothal or marriage of respectively from Vijapur, the headquarters of the
his son or daughter outside his own circle has to taluka in which these villages are situated. I had
pay Rs. 25 as fine to the panch, locally known as trained six sons of these two sisters in the craft of
pan-soparina paisa, which I duly paid. In urban wood carving. Somnath, son of the elder one
areas Mevada Suthars generally arrange such serves in Kalabhavan at Baroda as a teacher in
remarriages for their sons but they do not allow minute wood carving, and Chhotalal, son of the
their widowed daughters to remarry. They ask other sister makes wooden patterns or models of
them to pass their lives in the worship of God machine parts for artisans who prepare engineering
instead. spare parts on lathe machines. He works in
(c) Death-The death ceremony resembles Dariapur, Ahmedabad.
that of other Hindus. The relatives are feasted My betrothal was arranged when I was 8 or 9
on the 12th and 13th days after death. A gol years old and my marriage took place at the age of
or circle of 42 villages has been formed with a view 17 at village Manekpur, one mile away from my
to facilitate the administration of such social native place Limbodra. My wife gave birth to
matters as betrothal, marriage and death ceremonies. two daughters. She died of fever after passing
About 50 years ago, 900 utensils were required to a happy life for 20 years. I then married a widow
be distributed as present among the total house- at village Ajul, 10 miles away from Limbodra.
holds of the circle. This distribution is known She also gave birth to a daughter. She expired of
as lahanu. Thus the entire sub-caste consisting fever 9 years after marriage. Ten years ago I
of 900 households was invited and feasted during ~married at Lunavada another widow who came to
the death ceremony. But there is no such com- my home with her 15 year-old son. That son is
pulsion now. engaged in wood carving and in building
 APPENDIX II 35

construction work. My eldest daughter is married education only. Nowadays they give their children
at Tetudar of Vijapur taluka where her father-in~ secondary and higher education, especiaUy
la w is engaged in making wooden implements for preferring technical and engineering lines. They
agriculture. He also works in building construction have adjusted themselves with the growing demand
work as a carpenter for regular customers; The of the changing times so far as education is
middle one is married at Dholkua of Mehsana concerned.
taluka and the head of her family owns a shop of 7. TRAINING
furniture making at Bombay. The youngest
daughter is also married but lives with me as she About 60 years ago there were 100 shops of
is not keeping well. Her husband, a native of village Mevada Suthars in Navi Wadi, Kolbhat Lane,
Gerita in Vijapur taluka of Mehsana district, Kalbadevi, Bombay. They were skilled in making
owns a furniture shop at Bombay and sends a small of furniture with minute wood carving. New
amount for her maintenance. All these daughters apprentices received their training there. English
have studied up to primary standard II to IV. In and other European people and Parsis were
Mevada caste, female literacy i& improving after patrons of this craft. We found that Germans
Independence. could understand and appreciate our work much
I migrated to Baroda from Mehsana district better than others. Their study was always deep
as many households of my caste comprising about and they used to raise doubts when they could not
70 persons are settled there and also because my understand any point. My brothers worked
father-in-law stays there. I purchased a house there on daily wages of Rs. 2 to 4. Mistri Kachara-
at Baroda at Rs. 3,000 eight years ago and spent lal Govindlal from Kukarwada of Mehsana district
Rs. 3,000 after its repairs. Its present value is which is 10 miles away from my village, ran a shop
estimated to be Rs. 10,000. I have given some of furniture making in Bombay. His patrons were
portion of this building to two tenants on hire to Englishmen living in that city. One of my
supplement my income. relatives who was his friend recommended my name
to him and I joined his establishment about sixty
6. EDUCATION
years ago and learned the art of wood carving.
I passed six primary standards in village He was thus my guru who showed me the path
school in my native place. I completed the six of earning my livelihood. I went to Bombay in
standards within 3 years. In those days students V. S. 1961, and left it after V. S. 1971. We worked
were examined by the teacher or Darbar, i.e., in the firm of Messrs. Devji Kanji and Amarji Kanji.
chieftain of the Village. The instruction which Such reputed firms used to get orders from princely
was imparted 65 years ago, was divided into four states and employed 200 artisans at a time. All
stages of multiplication tables, (1) upto chalisa or these workshops have been closed down and
40 x 10, (2) pa, adadha, i.e., fractional multiplica- replaced by other shops. During my stay there,
tion by 1/4, 1/2, etc., (3) agiari, Ram, i.e., squares, I got an opportunity to show my art and work-
(4) 16 ghat, i.e., 16 degrees. For completing manship to fulfil a contract for making carved
each stage a fee of Re. 1 was charged. Over articles at Sir J. J. School of Art, Bombay to be
and above these cash amounts, a student brought displayed at an exhibition in America. I worked
sidhu consisting of rice, dal, flour, vegetables and there for 6 or 7 months and prepared 12 photo
ghee as well as firewood for the teacher from his frames of life-size, i.e., 6' in length and a throne
parents according to turns fixed for all the students with two elephants having accommodation for 3
in the class. The student fetched drinking water persons for which I received a merit certificate.
also from the well. In case of poor performance They paid me Rs. 4 per day which was a com-
in studies or for not preparing lessons or home- paratively high rate at that time. From V. S. 1972,
work, the teacher used to punish the student with I concentrated on structural wood carving in
a ruler after tying both the hands with string or temples and worked for two years at Sikandrabad
inflict similar hard punishment. In those days, in the Decan in the firm of Govinddas Khajamiya
the artisans were satisfied with acquiring primary and Co. One of the owners was a Bania and
36 APPENDIX II

the other a Muslim. I was also called to Gadhada, work throughout the year. The doors} door
Ahmedabad and other places for work. In frames, pichhvai and sukh-shaiya in the Swamina-
V. S. 1984 I prepared a chariot for the rayan temple at Bombay were all made by me. I
Swaminarayan temple in Karachi where I stayed have also done work for the Swaminarayan temple
for more than a year. at Vadtal where I fixed gold plates on a brass
Artisans are trained in wood carving at Baroda cradle. I can fix silver or golden plates on brass
in Kalabhavan, a training school run by the State lattice work without the help of nails. I have
Government. Only a few students are trained and prepared several of the silver jalis or screens in
given a small stipend. Present day workers can be Ahmedabad.
satisfactorily trained, if the Government gives
employment to reputed artisans in any institute 9. WORKING CONDITION
for training in wood carving. I do not know about I work here in Shantinath Jain derasar as a
any financial assistance at present given to the wood carver. I replace the damaged parts of the
artisans carving in wood. dome by carving new panels, figures, etc. I charge
8. WORKMANSHIP Rs. 8·50 per day because this is the work of a
religious place and I have come here on the re-
Some of the best articles prepared by me, commendation of Shri Kasturbhai Sheth, a patron
including caskets presented to leaders and digni- of my workmanship. Generally I charge Rs. 10
taries are listed below: per day. The prevailing wages of the traditional
0) Casket presented to Queen Elizabeth wood carver are Rs. 12 to 15 per day. I work
by the Ahmedabad Municipal Corpora- from 8 a. m. to 12 noon and 2 p. m. to
tion. The toran of Vadnagar was carved 6 p. m. The. period of 2 hours, i. e., 12 noon
on one of the four panels, another had to 2 p. m. is my recess. I have chisels for ordi-
a scene of a bhatwari having a child on nary as well as minute wood carving along with
her waist and looking at a dandia ras the traditional tools and implements of a carpenter.
or folk dance performed by 4 Kathia- In the past the blacksmith charged Re. 1 for four
wadi farmers. On the third panel were chisels. Now one chisel costs one rupee. For
depicted a farm with a mango tree, fixing golden or silver plates on a carved wooden
thorn-fencing, heap of grass, and a piece, types of chisels required are different. An
plough with two bullocks ; and on the artisan engaged in wood carving nowadays requires
fourth, a water room and a hut having tools and implements worth Rs. 500.
two sparrows on it and a buffalo on the
10. HEALTH AND HABITS
ground.
(ii) Casket for presentation to Dr. Rajendra I take food cooked by myself when I go for
Prasad-a perforated cylindrical box for wood carving outside Baroda. During that
the address period I prefer mango in the season and chapa!i
(iii) Casket with a symbolical flame (jyoti) or pauva and milk once in a day. I visit Swami-
for Pandit Jawaharlal Nehru presented narayan temple twice as'I follow Swaminarayan
at the time of the inauguration of Sampraday. I read religious books of the sect
Jyoti Sangh in Ahmedabad. whenever I get time. Though I am old. I am
(iv) A dining table of sisam wood for Shri healthy. I do not take tea, betel leaves or bidi.
Chinubhai Sheth ( price Rs. 5,000 My wife also has no such addictions. Uptil now
including carving charges Rs. 800). I have never visited a teashop, restaurant or board-
(v) Pedestals for the deity and doors in ing house during my life and have seen drama only
Swaminarayan temple, Ahmedabad. four times and cinema twice for the sake of accom-
(vi) Doors in Jain temple on Taranga panying my family members.
Hill in Mehsana district. Swaminarayan is my family religion. I read
I also do the work of metal plating of wooden religious books, like Satsangi Jivan, Shiksha Patri
articles as wood carving does not provide full time Bhashyam, Gopalanand Swamini Vat, Gunatit
 APPENDIX II 37

Swamini Vato, Vachanamrit, etc. So far as seasoning. Sometimes practical devices are used
philosophy is concerned, I am atmadarshi, to correct defects. For instance, if a plank is bent,
brahmadarshi and swarupnishtha. I am preparing water is applied to the concave side. The plank is
a philosophical chart explaining the concepts of then laid down with that side underneath, touching
janma, maran, moksha, bhakti, dey. etc. earth. On the top side heat is applied, which cor-
11. TIMBERS
rects the defect. Another way is to prepare a
clcave in the side likely to bend in a concave manner
I believe that the timbers of a place resemble and drive a wedge into it. This prevents
the people inhabiting it. For example, trees on bending.
Surat side have a stunted growth. Rising to a
short height, they get bent this way or that. People 12. WOOD CARVING

on that side are also flippant. The timbers of Wood carving in our country is such an ancient
Malabar are straight and taIllike its people. The craft that its origin cannot be traced. Salats or
people of vilayat are honest. Trees of North stone carvers also admit that they have taken up
Gujarat are not deformed, but elegant, as are the stone work in imitation of wood carving which
people there. preceded stone carving. Designs were formerly
Before selecting timber, the temperament selected according to shilpa-shastra which was the
(swabhav) of wood must be studied. Ancient ultimate authority for all designs. Khadi or chalk
works contain general directions about timbers to and ramzi, a red dye, and later on, stencils were
be preferred and avoided, but not the detailed in- used for preparing rough outlines, but much of
structions as to how and which type of wood should the carving was done by free hand. Certain for-
be selected for different types of carving. They mulas and tools no doubt helped the craftsman in
only contain broad suggestions. The details can this work. Formulas when strictly followed auto-
be kn own only by practical working. matically gave the desired angles and shapes.
Wood requires seasoning before it can be used. Tools, properly used, made for the desired curvature,
Fresh timber was never used in the past. For depth, etc. Besides, the artisans who did excellent
seasoning wood was kept fOf some time in the sun carving had truly divine minds. The modern
to remove dampness. If more heat was artisan cannot do such minute work.
required to be applied, it was kept near fire. For- I do not know about colour applied to wood
merly wood was in abundant supply and freshly work because that is not my subject. The excellent
hewen timber always lay unused for,sufficient time finish and smoothness of the ancient work done
to get itself seasoned automatically. Nowadays, without the help of the modern files and polishing
because it is in short supply, fresh timber is used materials show the skill of the craftsmen. According
with the result that work suffers. Sometimes to my conjecture the old artisans must be rubbing
artificial seasoning is done by new methods which some stone or other substance for giving polish
have been evolved, but the result is not like natural to the finished work.
 CHAPTER VI
ARCWTECTURE

RICHNESS AND DIVERSITY OF WOOD CARVING 1'< TREATISES ON WOOD WORK

GUJARAT
The use of wood in art and architecture was so
WOOD WORK in Gujarat has taken various forms, extensive and based on such scientific principles
carving, sculpture, painting, lacquer work, silver that various treatises on the subject of wood work
and gold plating, inlay work, marquetry, etc., which have been written by master craftsmen laying down
have afforded to the wood artist the greatest scope in minutest details the quality of wood to be pre-
for the expression of his artistic talents. Archi- ferred or discarded for various objects and archi-
tectural forms in particular had the fullest play tectural purposes, measurements of various parts,
because of the large variety of parts wherein-wood their length, breadth and thickness, the parts to be
carving can be done, the pliability of the material decorated, subjects of ornamentation, etc. Raj-
used, its relative cheapness, easy availability of the vallabh, Pariman Manjari, Brihat-Samhita, Shilpa-
material and labour involved. Compared to stone, shastra and many other works have been written
wood because of its plasticity lent itself to a variety for the benefit of the craftsmen giving the details
of adaptations in form and design. and quickness in of construction of temples, palaces, dwelling Douses
execution. There was a severe competition of different strata of society, the rich, the middleman
between the stone and the wood carver to excel and the poor, etc. Even the particulars to be noted
each other in the perfection of his workmanship in the making of limited furniture then in use, such
by introducing elaborate details and variety of as sinhasan or lion-legged pedestal for the king
ornamentation. The rivalry between the two was and the like have been minutely stated. The
healthy. each imitating and accepting the best of height of the wall, the doors and the various parts
the art evolved by the other. It is for this reason are meticulously regulated by tenets of construction
that there has been in Gujarat great kinship laid down in these works. These rules prescribe
between wood and stone sculpture, both of which that the entire breadth of the room should be equally
have displayed unique similarity in design and divided into 24 parts, 14 in the middle, 2 each at
form. But no other art has shown that diversity and the end to be left blank, the remaining two portions
richness which wood carving has done. Whereas to form windows or jalis. Likewise, the space
constructive architecture and idols are the principal between the upper storey and the plinth was to be
subjects worked in stone, wood has, besides these divided into 9 parts-one for the base of the pillar,
two, many other alternatives in furniture, vehicles, 6 for the column, one for the capital and one for the
articles of household use, etc., the decoration of beam overhead. Any departure from this injunc-
which has not been the good fortune of stone carver tion is strictly prohibited. 1
to attempt because of the innate limitation of the The art of wood carving for which Gujarat has
matter. There has thus been a rich assortment been so famous is primarily architecutral. "As far,
and diversification of the ancient art of wood at least, as Western India is concerned, the art of
carving, which was both constructive and decorative, wood carving for architectural purposes most
architectural as well as utilitarian, capable of assuredly belongs to Gujaratis." U The diversity
abundant display of such a wide array of splendid of form and design and the variety of ornamenta-
forms and designs. tion it has displayed in twin aspects of house and
1. WATT, SIB GEORGE, Inddan Art a f Delhi, p. 12;;, 1903
2. The Journal of Indian Art, p. 127, 1884
38
 PREFERENCE FOR WOOD 39

temple construction have evoked appreciation and work. The use of wood had another advantage,
admiration from all those who had an occasion to namely of reducing weight without affecting the
witness them. But the unique peculiarity of the strength of the structure, which was amenable to
architectural woodwork as developed in Gujarat elaborate ornamentation on diverse parts not
is its application and acceptance by the common possible in brick or stone. There are certain
man, which has made of wood carving a real 'folk parts, however, of constructive architecture which
as well as classical art. For, every carpenter was completely rule out use of any other material
an artist inborn. Any man of some means would but wood. These are doors and windows and
have some carving at least either on the pillar or framework enclosing them. In modern times the
on the door or window frames of his house, the use of wood is reduced to the:minimum, as R. C. C.
extent of elaboration increasing with the financial has replaced even the most commonly used ,con-
status of the builder. Wood carving in residential structive features like beams, rafters, lintels, railings,
buildings has been such a common feature of houses brackets, jaU or pierced lattice work formerly
in Gujarat that one has ceased to be conscious of done in wood.
its existence and lost all measure of its excellence.
GREATER SCOPE AND FREEDOM OF EXPRESSION IN
It had been the very life and soul of the people
WOOD
who had an innate sense of appreciation of all that
was artistic. Doors, windows, jambs, balconies. The large number of parts wherein wood
walls, brackets, lintels, arches, architraves~ was used in house construction in Gujarat made it
capitals, ceilings and supports formed the various possible for the wood carver to devise various
objects of decoration which gave ample oppor~ artistic forms and designs, which were from time
tunity to the wood carver to exhibit his artistic to time elaborated and refined under the impact
ingenui r. of various styles that influenced art and architec-
ture in Gujarat. Stone carver has assimilated all
PREFERENCE FOR WOOD
the various motifs formerly worked in wood, and
Constructive architecture in Gujarat is a at times excelled the wood carver because of the
unique combination of brick and wood. Stone is nature of his material which has enabled him to
also used but not to that extent to which brick or produce some of the artistic forms and motifs,
wood is. Stone is an alternative for brick when which could not be worked so well in wood. He
it is used in the roughest form conjointly with mud has tried even to imitate and work at some place
in areas where it is easily available from local doors along with panelling entirely in stone. as in
quarries. In temples, churches, mosques, tombs, wooden structures. Conversely domes and arches
palaces, etc., it has replaced brick where massive- which are the special features of constructive art
ness and ornamentation are desired. In other in stone and brick have been successfully adopted
structures the entire facade encased in a wooden and executed in wood. The most unique feature,
framework is so nicely alternated with brick ani however, where the wood carver has had the
wood work as to produce a pleasing effect in eleva- greatest play because of the possibility of deep
tion and give the fullest play to the wood carver under-cutting, which is possible in wood alone,
for the expression of his art in diverse forms and has been the madal or bracket which is the most
designs. Such an ornamentation is not possible notable speciality of constructive architecture in
when wood is combined with stone, when its use Gujarat. The sculptor has not been able to carve
is mainly confined only to doors, as balconies, in stone the numerous motifs and designs worked
struts, brackets, lintels are all worked and carved in wooden brackets. A fanciful combination of
in stone. Till the commencement of the twentieth floral scroll work, animals, birds, human figures
century, the wood carver's fancy for extending the and deities intermixed with intricate geometrical
field of decorative art replaced brick to such a designs is the distinctive feature of wood sculpture,
large extent that the front facade, particularly in as expressed in the carving of brackets. Brackets
the upper storey, was made of wooden panels are no doubt utilised in supporting the dome of
either richly carved or worked in pierced lattice a temple but the subjects treated are limited only
40 CHAPTER VI-ARCHITECTURE

to human figures which are heavenly musicians posite effect produced by the play of light and
and dancers, carrying musical instruments, and shadow and variation in the colour of wood
standing in different poses of classical dance. The and brick work was at once pleasing and
variety and rich assortment of decorative work in charming.
modal that is to be found in the old houses of
WOOD CARVING IN VOGUE SINCE ANCIENT TIMES
Gujarat is reproduced in Plates XXII-XXVII
given in this Monograph, which depict from Carving on wood is a common feature of
simple to the most complex of artistic designs, house construction practically in all parts of the
which the fancy of the wood carver has sought country because of its antiquity and the precedence
to portray in this marvel of constructive it has enjoyed in the construction of human habita-
architecture. tion since ancient times. The use of brick and
stone is a later innovation introduced to ensure
GUJARAT HOUSE A UNIFIED STRUCTURE
greater permanency and durability. The unique
The plate opposite shows the various parts nature of wood carving in Gujarat and its popu-
of a building where wood carving can be introduced larityeven with the common man have been the
and elaborated according to the artistic ability of object of appreciation and admiration by many a
the craftsman on the one hand and purse of the connoisseur of art, who had the occasion to see
builder on the other. The entire construction the dwelling houses in the towns of Gujarat. Some
was so devised as to combine art with utility, of the superb specimens of Indian wood carving
regulated by climatic conditions, the mode of which were displayed at various exhibitions held
living and social and economic status of the people. in India and abroad during the close of the 19th
It has been not infrequently observed that wood and commencement of the 20th century were so
being a perishable material for house construction, greatly appreciated and attracted such a wide
discounted durability in the structure that made notice that numerous articles in The Journal oj
use of it. But years of experience have proved Indian Art and an interesting series of monographs
otherwise and established excellence of the com- describing the unique qualities and peculiarities
bination of the twin materials in house construc- of wood carver's craft as was then practised in
tion-brick and wood. The entire fabric was so the different parts of the country were published
well proportioned as to give support to different by the various Provincial Governments during the
parts in a manner which conduced to durability, first decade of the present century_ Gujarat,
greater permanency and harmony. Moreover, the however, seems to have attracted greater notice
teak used in the construction of houses was of such because of some of the excellent masterpieces of
a quality as made it practically indestructible and picturesque wood work which were contributed
immune from the attacks of white ants. The to the Colonial and Indian Exhibition held in
builders had also mastered the art of treating wood London in 1886 and dis'played in the various courts
with oil and various other ointments which added erected by the ruling princes of the time. The
to the durability of this apparently destructible partiality for wood work that Gujarat has, has
materiaL The various ointments to be applied to persisted till the beginning of the present century.
wood in the construction of buildings offered not when change in the economic conditions of the
only immunity from destruction by insects but people and the influence of . modern ideas and
also increased the strength of the wooden material education put a stop to any further evolution of
manifold and gave it a natural colour. Encased this ancient art.
in a wooden frame filled in with brick work, BETWEEN TEMPLE AND HOUSE
DlSTINCTION
the entire structure formed a complete whole by
ARCHITECTURE
joining together various parts in a unified pattern
which besides being artistic was marked by distinct There is well-defined distinction between the
utility in design and construction. The entire temple and household architecture in this country,
facade from plinth to roof was so arranged and based upon the fundamental difference in the
alternated by brick and wood work that the com. outlook of the people who place God above
 I . !.-wubhi (liasl') ; 2. Sla",""" (Shaft ); :1. Krll/{/,,; l. Blrarmlfl (Achinus ) ; 5. Shinn (Capital ) ; 6. ChhndYfi (Roof ) ; 7. Udlllllbara (Thrcsh!)old ) ;
R. D I'{Jf{/\'/lllkha ( Door frame ) ;
9. Pralid(,(/ffl d'flkhfl !: Srcond Door frawe ) ; ! O. Uflarnflga ( Li llt! 'l ~ ; 12. "·"k,hl/'f/I/I/. GfIl'ak,hn (Balcony ) ;
II. }v/allga/chihna;
1~. SlnmMn (Pillar supporting K'ilbiu/.'{Jlla ., ;
J I. .I[w/n/I/ (Bracht ) ; I:>. J'aln)'IIII.'I (Win<iow) ; Ill. r;rihadl'flro (Door) ; 17. PilI/II lBcam ) ; IR. Pil/1I1 (Plinth ).
 DISTINCTION BETWEEN TEMPLE AND HOUSE ARCHITECTURE 41

everything. God was satyam, shivam, sundaram. The various parts decorated in a dwelling
Everything that was beautiful was dedicated to bouse are pillars, window and door-frames, doors,
God. And so the best specimens of Hindu archi- lintels, brackets, arches, ceiling, wall panels, etc.
tecture, sculpture, painting have all been devoted These will be referred to in brief in order to appre-
to the glorification of God. The temples are, ciate the nature, quality and extent of wood work
therefore, more profusely and elaborately carved done on each of them (Plate facing page 40 ).
and ornamented with a variety of designs and
Door
forms, figural patterns, statuettes, etc. God lives
in heaven. It is, therefore, but natural that the The door is divided either into square or
temples which are the abode of God should have rectangular panels enclosed by thick wooden frame
been lavishly decorated, particularly in the dome, running vertical and crosswise. The doors are
which represents heaven or the dome of the universe. studded with metal knobs nailed down at the point
God lives in the innermost recesses of human where planks meet. The door panels are either
heart. And so it is the inside of the temple, the plain, carved or perforated with jali work. In
rang mandap and dome wherein the greatest temples they are very elaborately carved by images
elaboration and the richest of carving have been of gods or overlaid by intricate geometrical designs,
attempted by the artist. Not so with human which are often plated in gold and silver. The door-
mortals, who live on earth and love outward frame which is usually plain in ordinary houses
display of their material possession. In a and shows the minimum of decoration is exquisitely
dwelling house, therefore, it is the front carved in temples. The entrance gates to temples,
portion which is usually decorated. And that haveli or ma-nsion of the -- well-to-do persons have
too it is the first storey which catches very large and massive doors constructed on the
the eye and is within the normal range of a man's same design but provided with a small window
vision that is the subject of all ornamental decora- gate for entrance and exit when the main door is
tion. While the ground storey is comparatively closed. The lintel over the door-frame has some
simpler, those above the first are simpler still and floral decoration with the image either of Ganesh
practically devoid of any ornamentation. Plates or Shri Lakshmi or kalash or pot in the centre. The
XI and XII show the exterior of a facade and upper corners of the door-frame or todla are either
exhibit the various parts where wood is used plain or ornamented (Plates XXIX-XXXIX).
and embellished. Whereas the exterior presents
Windows
a greater scope and opportunities for decoration,
the interior though not completely devoid of it has The windows are either built in or projecting.
comparatively less of ornamentation than in the The window-frames on the ground floor are done
front. And naturally so, as what is sought to be in a comparatively simpler style. But on the upper
presented is the entire elevation of the facade storey the ornamentation is profuse and varied.
which meets the eye. This explains the reason Grey band jali or iron rods are fixed in the frame,
why the first storey and the pillars that support as a measure of security and protection. When
it had received the greatest of attention from the the jali or screen is worked in wood it has exquisite
artist. floral designs carved with interstices left for air and
PARTS DECORATED light. Such pieces as shown in Plates LIV and LV
which were the speciality of Patan are highly prized
(i) DWELLING HOUSES
and purchased at fancy price, when some old house
The usual style of house construction in Gujarat is dismantled. While the decorative work gave
is the erection of the structure on a raised plinth. full play to the chisel of the artist, it embodied
There is usually a small otta in front, whereon all the essential features of utility and pr;actical
pillars supporting the upper storey stand on stone convenience by warding off excessive heat
bases. The front wall is divided into various which marks the climatic conditions of Gujarat.
sections by wooden bands filled in between by brick Such devices while allowing free use of air
work. tended to restrict excessive light and heat and

(Bk) Y-3-f,
42 CHAPTER VI-ARCHITECTURE

ensured a cool and peaceful atmosphere in the specimens of wood temples in Gujarat belonging
house. to any other faith, except the prosaiC haveli type
temples of the Vaishnavas. The Muslims that
Pillars, Capitals, Brackets, Beams, etc.
came later had greater fancy for stone archi-
The pillars which support the upper storey tecture in the construction of mosques, which
either stand on a raised oUa or platform or are developed in Gujarat by the adoptation of Hindu
built into the wall. They are mostly square but form in a manner suited to Islam.
not infrequently round and fluted, sometimes Carving in wood as it existed in the past and
tapering as they go upwards. The capitals, is found in some of the living specimens of Jain
struts, etc., are the common objects of temples .built in wood at Patan, Ahmedabad and
ornamentation. From the simplest to the most Surat reveal uniform and common traits, as des-
profuse, they are ornamented at the top either by cribed below.
half roundels or geometrical designs. The archi- The stone and wooden temples the Jains
traves and beams which support the upper storey have erected are generally enclosed by a wall, the
are decorated with festooning, lotus flowers, inner side of which has niches for the various
string friezes and foliated designs. (Vide Plates Tirthankars of lainism. The main temple is thus
XX and XL-XLIV). The frieze and capital at well protected from rain and weather. This
the top frequently bear floral and geometrical peculiarity has tended to protect some of the wooden
patterns. The two devices to support the upper sculptures of Jain temples to the present times by
storey arc either pillars with or without struts, sheltering them from the. onslaught of weather.
joists, or projecting brackets. The artist has shown A Jain shrine, like any Hindu temple consists of
the greatest ingenuity and fancy in the carving two parts, namely, (i) the mandap where the devotees
of bracket or madal, wherein foliage, geometrical congregate and (ii) the principal shrine where the
designs, birds, animals and human forms are deity is installed. It is the former of the two which
interwoven in a variety of ways. The master shows profusion and details of carving and has
craftsman has found in the bracket a very fertile given the greatest scope for expression in wood
field for the manipulation of his art, which dis- and stone. In fact, the wooden sculptures exhi-
plays wealth of details. The subjects treated bited in Jain temples are the exact replica of those
range from the simplest and archaic to the most masterpieces in stone and marble erected at Mount
complicated and include mythological episodes Abu, Girnar, Shatrunjay and various other places
and legendery incidents (Plates XXII-XXVII and in Gujarat, as the artist believed that whatever
XCIV-CI). A remarkable feature of constructive was possible in stone was equally adaptable in
architecture in Gujarat is the jharukha or the wood and vice versa.
balcony, which helps relieve the monotony of plain
Rang Mandap
walls. In the upper storey, the front has either a
balcony or projecting window, the intervening Entering through a main gateway facing either
portion being panelled either by relief or pierced east or north, one has a glimpse of the mandap
lattice work. The second storey is a complete erected on a series of pillars which support a beauti-
contrast to the one on which it stands marked as ful and exquisitely carved dome on architraves
it is by the greatest of simplicity, except for stringed and beams, all of which are elaborately ornamented.
friezes or some fluted supports or lightly ornamented The dome is generally constructed in concentric
brackets. On the inside the ceiling has not often circles reaching its apex from which a lotus like
received good attention in the homes of the well- pendant is made to hang. There are certain
to-do and displays a variety of geometrical designs temples where the pillars support a flat ceiling
in wood. of geometrical designs as in the Chintamani
Derasar at Surat. The mandap portion every
Oi) TEMPLES
inch of which is full of rich carving is replete
Temple architecture in wood in existence with figural wood sculptures representing statuettes
today is entirely Jain. There are no and relief panels in frieze depicting animals,
 THE DOME 43

birds, flowers, foliated and tasselled design, sun feature of house construction and the circular
flowers, roundels and festooning and shows the dome of temple construction, the artist has worked
perfection the art of wood carving attained in them both in stone as well as in wood. The quality.
Gujarat. Another innovation which is not infre- however, of their performance in either material
quently introduced in the mandap and is aho an has varied. Whereas the stone carver has had the
imitation of the temples in stone is the balconies fullest scope for the expression of his artistic ability
or jharukhas projecting inside the mandap and in dome, because of the firm and solid nature of
supporting the dome, as in the temple of Wadi the medium at his disposal, it was the madal or
Parasnath in Anhilvad Patan, which is now housed bracket which enabled the wood artist to give full
in the Indian art section of the Metropolitan play to his imagination in the expression of varied
Museum, New York. forms and designs in relief and under-cutting
The Arch possible only in this plastic material. The wood
The most unique feature of temple architecture carver has doubtless tried his hand at the construc-
is the conception of an arch formed by successive tion of a dome in wooden temples and not without
layers, each projecting beyond its predecessor until success, but the execution is not so exquisite, as
it reached the centre. The number of layers varied it is in stone or marble. And naturally so, as the
with the size of stone and became less where the limitation of the matter or the media through
slab was larger. Such an arrangement gave a flat which they work cannot but influence the mode
rather than a pointed arch, which later developed of expression and subjects treated. While wood
undt:r Maratha and Muslim influence. carver has been at his best in producing a rich
assortment of floral scroll work combined with
The Dome
animal and human forms in the madal, the perfec-
The dome is made circular by the arrangement tion with which human figures, celestial musicians,
of pillars 12 in number erected equidistance and dancers, etc., have been delineated by the stone
bridged by architraves, the number of pillars carver are unrivalled in their life-like proportions,
increasing according to the length and breadth form and expression. This is but natural. The
to be covered. Bracketed capitals and struts various figures which are possible in stone cannot
were further devised to give necessary strength to attain the same degree of excellence in wood. It
the structure. These devices, while meeting the is, therefore, to be wondered at that the perfor-
architectural needs of the edifice provided a very mance of the wood carver despite the handicap
fertile field for the presentation of the most ornate of the material should have been so exquisite and
features of wood carving. It was over these remarkable even in the construction of a dome.
brackets, struts and architraves that the dome
JALI OR PIERCED LATTICE WORK
in concentric circles came to be constructed on an
octagonal base. About this form of architecture, Jali or the pierced lattice work, one of the
Sir George Watt remarked, varied innovations which the architects of this
"Lastly there being no lateral thrust land have devised and introduced very liberally
the necessity for a keystone did not exist and both in the house and temple architecture, deserves
in consequence the stone that completes the special mention. Decorative as well as utilitarian,
dome was developed within the structure into it is a product of the peculiar climatic conditions
a superb pendant which hangs from the centre of this country where bright sunshine and blazing
of the dome more like a lustre of crystal drops heat are the characteristic features of a tropical
than a solid mass of marble or of stone. " 1 country that India is. The necessity, therefore,
of devising means of introducing shade and cool-
The same device has been very faithfully and ness is bound to appeal to the people. The jali
artistically repeated in wooden domes, wherein or pierced lattice work known as pinjara work
both architecture and ornamentation are the exact in the North had its origin in the physical conditions
replica of stone. While bracket is the most artistic under which the people live. While affording
1. WATT, SIR GlllORGE, Indian Art at Delhi, p. 120 .. 1903
44 CHAPTER VI-ARCHITECTURE

protection from oppresive heat and excessive light, art in the windows of the Sidi Saiyad's Mosque at
it ensures adequate ventilation, light and air. All Ahmedabad, which has caught the imagination
structurcs large and small have, therefore, resorted not only of the stone carver but also of the wood
to the device of ja/i work, which has been evolved carver as also of the local weaver, all of whom have
in India since very ancient times. Even the most introduced this exquisite design into the wood carved
primitive structures, the hutments of the aboriginals, and silk and jari brocades woven by thcm. Since
as well as the royal palaces have adopted this all the forms and designs of architecture, which
unique feature of constructive architecture, which were worked in stone were also executed in wood,
is varied only in design and material according to we have some of the exquisite panels carved by
the financial capacity of the owner. Starting from the wood artist, framed in the windows and houses
a modest beginning of introducing appertures in of Anhilvad Patan (Plates XLI and LV). In
walls, encased by wooden or bamboo chips or Northern India, jali work has taken the form of
bricks, the jali has developed into the most artistic geometrical designs, which are also to be found in
feature of building construction by means of pierced the houses and temples of Gujarat (Plates LXII,
stone or wooden screens. The lattice work, LXIII, LXXXV, LXXXVI and ClI). Carved screen
which adorns the various structures, temples in work as an important feature of wood carver's
particular, consists of a series of square openings art was found to be so attractive that the various
filled in with tracery or scrolled plant forms, birds, Indian courts at the Colonial and Indian Exhibition
animals, human figures and geometrical designs. held at London in 1866 were enclosed by screens
It has been incorrectly believed by some authorities beautifully carved in wood and donated by the
that pierced lattice work is an innovation the various ruling princes of Gujarat. It has also
Muslims introduced in India. This appears to be established its popularity by finding a place
far from truth. For, jali work has existed in this in the massive edifices built by the English
country since Buddhists times, which fulfilled a architect Mr. Baker at the Indian capital of
very important function in building construction. New Delhi.
Dating as far back as the Ashokan period, it has
GHAR DERASAR
been very freely made use of in the Buddhist
chaitya halls and viharas attached thereto, as Any reference to temple architecturc in Gujarat
evidenced by its existence in the earlier caves at would be incomplete without a mention of ghar
Bhaj in the Western Ghats. As the architectural derasar, i. e., the household temple or place of
art advanced in India, a variety of forms and worship which occupied a very important place
designs were introduced in jali work, which passed in the dwelling of any Jain of means. Ghar derasars
through various stages of evolution and reached are also to be found in Hindu houses, though
perfection in the pierced stone screen enclosing considerably reduced in size and proportion, and
the verandahs or corridors of the temples. The not characterised by that degree of ornamentation
jalis also came handy to the Muslim invaders, who which is the principal feature of ghar derasars
made use of the material of the temples they demo- of Jains. The latter are the exact replica of their
lished in the tombs and mosques constructed wooden and stone prototypes which are repro-
immediately after their coming to India. Such duced in a miniature form for family worship.
structures are to bc found in all parts of the country. Some of these ghar derasars display exquisite
To women observing purdah systcm the pierced workmanship and rich carvings which are the
screen was a great advantage as it enabled them to pride of the family (Plate CXXVIlI).
attend the royal functions unseen by others. The
PARABADl OR PIGEON HOUSE
Muslims naturally took fancy for such a device
which was freely introduced in the magnificent Wood carving embellishes not only the
structures and edifices they erected. The pierced dwellings of man and gods but also of the
stone screens in the Taj and the palace of Fatehpur denizens of sky. Built as an act of piety by
Sikri are world famous. In Gujarat the art of philanthropic persons, parabadi or pigeon house
pierced lattice work shows the culmination of the which serves as a watering and feeding place
 ARTICLES OP DOMESTIC USE 45
tor domesticated birds-pigeons, sparrows, parrots. keeping pots of water, pataras (chests ), etc., were
peacocks, etc., is the commone~t feature exq uisitely carved, as the artistic taste of the people
of towns and villages in Gujarat. Some of demanded art in every article they made use of
these are exquisitely carved and ornamented with (Plates CXXXII and CXXXIII). Even in royal
statuettes worked in stone or wood. A beautifully palaces the sinhasan or the throne of the king was
carved pigeon house which was got prepared the only added piece which the kingly dignity
by H. H. the Gaekwad by local craftsmen and made use of by embellishing it in gold, silver and
displayed in the Baroda Court was very much precious stones.
admired at the Colonial and Indian Exhibition MODERN TRENDS
held in London in 1886.
The life of the people has changed after the
ARTICLES OF DOMESTIC USE
advent of the British rule and is very much influ-
Wood work must also include pieces of furni- enced by modern trends. Use of furniture on
ture and articles of domestic usc, which have be- western lines has come into fashion to an extent
come popular obj~cts of dec.Jration by wood hitherto unknown. When the foreign pieces of
carvers. The use of these articles is primarily furniture came into vogue, they adopted Indian
goyerned by the mode of living of the people and forms and designs deeply undercut in pieces which
climatic conditions of this land. The diverse and were mostly made of blackwood or sisarn. Wood
intricate pieces of furniture, which are common in carving in furniture was getting popular in the
Western countries were not in vogue in India. beginning of the present century at Bombay, where
By tradition and habit, the people were accustomed local as well as foreign firms of cabinet makers
to a simple way of life, which required very few employed craftsmen from Ahmedabad and Surat
articles used as furniture. Chairs, sofa sets, side- to turn out what was then known as Bombay
boards, teapoys, mantelpieces, dining tables, cup- furniture. The carving was largely perforated and
boards, etc., which are essential and indispensable to adorned by scrolls, foliage and grotesque figures
the western style ofliving, were not needed for the of animals and birds executed under skilled Euro-
Indian way of life, which restricted to the minimum pean supervision which attempted to preserve the
the pieces of articles required for domestic use. native character of work by adopting the designs of
For people usually squatting on floor, a simple carving from the temples and mosques of Gujarat.
carpet or dari would suffice. The only articles that These firms sent their designs for execution at
came into fashion for the common m:lll were pat, Ahmedabad where quality work was required to
bajoth, or a bedstead, to which was added a jhula be done. But in course of time the taste of the
or swing for those of the middle and higher classes. people changed from artistic to simple and the for-
The Indian way of life has been marked by simpli- mer patronage vanished. There was a shift in the
city in all its phases. The stratification of society taste of the people who craved for simple designs
into high or low and the distinction of class which which would meet the requirements and purse of
mark the present day society were totally absent the people living in the modern age, which prefers
in the past. The rich and the poor lived alike, the utilitarian to the artistic.
ate the same food, wore the same clothes, used TEMPLES IN WOOD
similar pieces of furniture, though living in houses
of different dimensions and space. The people 1. Particulars of the wooden temples referred
were contented and lived as eq ual members of to or illustrated in this monograph are:
society in a common fraternity irrespective of Ahmedabad
economic status. The jealousy and the envy
which the class distinction harbours these days had (i) Shantinath Derasar in Haja Patel's Pole,Kalupur.
little scope to exist. Decorative furniture that Ahmedabad. ( Plates LXXXVII, XCIII,
came into use was restricted to articles limited in CVIII-CX, CXII-CXV and CXVIII-CXXI )
number. Some of these, viz., the tran-khania, the The temple is a masterpiece of exqUISIte
Ilav-kflallia (built in cupboards), paniara for beauty. According to a stone inscription the
46 CHAPTER VI-ARCHITECTURE

temple was completed in Vikram Samvat 1446, belonging to one particular period as parts of an
that is, 1390, A. D. by one Sheth Somji. The earlier temple belonging to the third quarter of 19th
entire temple is a wooden structure with a mandap century have also been added and fitted into the
enclosed by a dome, 14 ft. x 14 ft. which has 17 con- mandap. A detailed description of this mandap has
centric layers of carving, made of 248 pieces. been reproduced as an Appendix to this Chapter to
Though the pillars supporting the dome are plain, give an idea of the general structure and design of
they are adorned by brackets and architraves which this impressive monument of the art of wood
are richly carved with animals, chariots, dikpalas, sculpture in Gujarat. Details about its plan,
celestial musicians and dancers in classical pose. structural analysis. iconography. ornamentation
Because of the rarity of such a monument, this and style history will be found in a special bulletin
temple has been included in the documentary film of the Baroda Museum and Picture Gallery, Vol. VI.
entitled Jain Temples of India, produced by Govern- Part I and II (August 1948 to April 1949).
ment of India.
Patan
(ii) The exquisitely carved facade and dome in
Jagvallabh Parasnath Derasar in Nisha Pole, (iv) The temple of Wadi Parshwanath popularly
Ahmedabad. called Parasnath in Zaverivad, Patan.
Baroda The temple of Wadi Parshwanath in Zaverivad,
Patan was built in 1594 and was in existence at
(iii) Rang Mandap, Baroda Museum, Baroda. that place when Burgess and Cousens carried out
This temple, Me. H. Goetz, then Director of their survey of the architectural antiquities of
Baroda Museum, believes to have been erected Northern Gujarat about the year 1890. This
by Jain Marvaris from Jodhpur or Bikaner, who temple was later purchased for the Metropolitan
were the agents of Raisingji Rathor, a prominent Museum, New York, where it is housed at present
general of the Mogul Emperor Akbar and a friend and forms one of the most exquisite treasures of
of Jehangir and likewise the leading Jagirdar in Indian sculpture in wood (Plates CII-CVIl, CXXII
that part of Gujarat. This monument was acquired and CXXIlI ).
about the year 1917-18 by a Bombay firm of art The edifice has been described as under :
dealers, Messrs. Gazdar Brothers. Its richly " Turning now to the temple of Vadipura-
carved mandap was brought to Bombay in the hope Parsvanatha ill Jhaveri street, built in 1594,
of selling it to some American museum. But the we find it covered by an elaborate and well
restrictions that were later imposed by Government carved roof (Plates IV, XX and XXI). It is
prohibiting the export of art treasures from this in the form of a dome rising to the height of
country came in the way of its disposal abroad. 11 t feet, and 11 feet in diameter. Round it
This mandap was acquired for the Baroda Museum above, and completely enclosing the dome
in 1947 through the good offices of the then ruler, against bats and swallows, is a wire grating or
His Highness Maharaja Pratapsinhrao of Baroda. cage. The roof is decorated in concentric
Me. Goetz has stated that whereas it is not possible circles with figures and bands of ornament,
to determine with certainty the particular place to and has a lotus-shaped pendant hanging
which this monument belonged, he has from certain from the apex. Eight large bracket figures
facts concluded that it came from some Jain temple are placed at equal intervals round the inside.
in a place located in South Gujarat between Broach These are female musicians and dancers;
and Surat in the neighbourhood of Sinor which and between each pair of these is a seated male
then formed part of the former Baroda State figure with two attendants. These are the
territory. From considerations of style which bear ashtadikpalas or eight regents of the points
the impact of Mogul and Maratha influence, he of the compass and are arranged in the ceiling
has come to the conclusion that the decorations according to their proper quarters, and each
which this mandap exhibits show the influence of with his vahana or conveyance carved below
Gaekwad Court between 1850 and 1870. The his seat. Some fine carving, now much
structure as now erected is not a single whole injured, has filled up the corners or spandrels
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 TEMPLES 47
of the octagonal roof, between the lowest lorans having images of the Tirthankars. Orna-
circle of the dome and the lintels ( Plates mentation is the richest on the front wall of the
XX and XXI). Under the dome and helping to inner sanctum which has three doors. It is beauti-
support it are four balcony windows, pro- fied with flower-creepers and animal figures like
jecting inwards from each side of the apartment, elephants, horses and tigers painted in pleasing red
which are very delicately worked. Lower and golden colours. The painted door-frame
still is a dado running round the four walls, looks as if it is gold plated. The todlas or struts
and carved with musicians and dancers in on either side of the door are shaped like elephants
niches, with row of geese and other ornamental holding toran in their trunks. It is said that years
carving below. The rosettes in the spaces ago some Englishmen offered to buy the whole
between the brackets below the window-sills structure for Rs. I lakh and to rebuild it in matble.
are rich and effective (Plates IV and XX). The pillars are tastefully carved, while bold and
All the carving, designs and figures, in this thick lattice screens which enclose them lend grace
wood work are precisely the same as are found to the mandap. On the walls as well as on the
in stone. With the Hindu workman, whatever ceiling and the dome are numerous paintings large
was practicable in stone seems to have been and small, depicting mythological stories and
regarded as equally so in wood, and vice events painted in the traditional style (Plate
versa. In the group of figures on the ledge of LXXVI ). The ground plan of the temple
the window-sills is Gaja-Lakshmi in the appears on the opposite page.
centre, with musicians playing and a couple II. Other masterpieces of wood carving are
of girls-hands joined and feet together-
whirling round in true school-girl style."l Ahmedabad
Plates depicting its rich carving are given in (i) Three hundred years old Jain derasar
The Architectural Antiquities of Northern Gujarat of Shri Parshwanath in Shri Samet
by James Burgess and Henry Cousens published Shikharji's Pole, Mandvi Pole, has fifteen
by the Archaeological Survey of Western India. feet high wooden model of the holy
Some of these with others from photographs mount of Shri Samet Shikharji with a
through the courtesy of the authorities of the rotating contrivance, which is not
Metropolitan Museum are reproduced in this working now (Plate CXXV).
Monograph (Plates CII-CVJJ, CXXII and CXXIlI). (ii) Exquisitely carved wooden nari-kul1jar
Sural in the derasar of Shri Ajitnath (2nd
(v) The temple of Shri Chintamani Parshwanath, Tirthal1kar) in Vaghan Pole, Zaverivad.
Shahpur, Surat (Plates LXXXVI, LXXXVIII This nari-kul1jar was formerly carried
and LXXXIX). in religious processions (Plate CXXIV).
Intricate wood carving on wooden pillars of (iii) The pillars in the dome of the rang
Shri Chintamani Parshwanathji Derasar at Shahpur mandap and wooden wall panels in the
is unparalleled in the Jain temples of Gujarat. famous derasar of Chin tam ani Parshwa-
The temple is said to have been originally built on nath and Sahasrafana Parshwanath in
another site before 1540 A. D. Two centuries Nisha Pole. All of them have been
later the entire structure was shifted to the pre- well preserved.
sent site where the idol was installed in V. S. 1701. (iv) The derasar of the fifth Tirthankar Shri
Entirely a wooden structure supportcd by 29 pillars, Vasupujya Swami has richly carved
the temple has not only exquisite carving but is walls, door-frames and dome on the
also adorned with beautiful paintings depicting rang mandap. The bases of pillars of
the wedding of the Tirthankar. In the bhamti or another derasar of the 10th Tirthal1kar
circumambulatory passage around the main shrine Shri Shitalnath Prabhu in Shekhpada,
IS a series of niches with carved pillarets and Zavcrivad are simply superb.
1. BURGESS, JAB. AND COUSENS, HENRY, Arohaeological Survey oj Western India, Vol. IX, The Architectural Antiquiti€8
of :Northern Gujarat, p. 49,1903
48 CHAPTER VI-ARCHITECTURE

(v) The pillar-bases of Shri Suparshwanath (xvii) Shri Chintamani Parshwanathji in the
(7th Tirthankar) Derasar in Shri bazar.
Ramji's Pole, Baja Patel's Pole are (xviii) Shd Navapallav Parshwanathji's sinha-
marvellous. san at Bolpipla.
Patan (xix) The derasar of the third Tirthankar Shri
Sambhavanathji in Vaghmani Khadki,
(vi) Exquisite pieces of wood carving of the Bolpipla.
family derasar of Shri Lallubhai Danti
OTHER BRANCHES OF WOOD WORK
at Maniati Pada.
Carving was not the only direction in which
(vii) The most ancient wood work of pillar- the artistic faculties of the Gujarat craftsman were
bases and domes of rang mandap of directed. Other branches of wood work had an
Shri Rushabhdev Swami's derasar at equal opportunity to expand because of the artistic
Kumbharia Pada. taste of the people, who were always eager to see
(viii) Dancing girls carved on wooden pillars art expressed in all the various phases of their life
and figures in an encircling fashion and living. These may be referred to in brief
on domes of the rang mandap in Kapur with a view to give a comprehensive idea of the
Mehta Pada, diversity of this remarkable art.

(ix) The lotus-seat in the family shrine Painting-Painting has -been a necessary
of one Vaishnava bawa. adjunct of temple carving. It has not been resorted
to, to that extent in residential wood work to which
Palitana it has been done in temple architecture. The wood
work in houses, either plain or decorative, was in
(x) The family derasar of Jain Gurukul earlier times generally allowed to remain as it was
of Shri Yashovijayji at Palitana is also so that its mellow grace and beauty may not be
a fine piece of wood carving, spoiled. Outer application, if any, consisted of some
medicated oil or ointment which acted as a preser-
Radhanpur
vative and offered protection against white ants and
(xi) The derasar of the 16th Tirthankar Shri vagaries of weather. But colour was invariably
Shantinath at Bha's Pole. applied to temple carvings to embellish and en-
hance their outward beauty. In temple architecture
(xii) First derasar of Shri Rushabhdev in the Jains have made a unique combination of carv-
Kadvamati Sheri. ing and painting by depicting in colour religious
and mythological incidents, as seen in the panels
(xiii) The Adishwar derasar In Adishwar
in between carved portions of the Chintamani
Sheri at Panjrapole.
Derasar at Surat (Plates LXXXVI, :LXXXVIII
(xiv) The Chintamani Parshwanathji Jain and LXXXIX) In recent times wood carving on
derasar in Bhonyra Sheri. dwelling houses is also being painted to protec
(xv) The Nana Chintamani Parshwanath. it from deterioration by rain and weather, as the
derasar in Akhi Doshi's Pole. carving has a natural tendency to wear out as years
advance. While the first coating of paint gave
Cambay some added attraction to the carving by bringing
it into greater relief, subsequent coatings tended
(xvi) Dancing girls with various musical to disfigure its natural beauty by hiding the original
instruments around the pillar-bases and form and outline of the sculpture. The paint,
other figures on the dome of the rang however, proved to be a blessing in disguise by
mandap in Shri Simandhar Swami's preserving wood for a longer period. The derasar
derasar. of Shantinath to which reference has been
 OTHER BRANCHES OF WOOD WORK 49

made before, had its carving painted all over. The not only in this country but also abroad (Plates
management of the temple realising that the original CXXXVI and CXXXVII ).
beauty and grace of the excellent wood carving
Gold and Silver Plating-Not satisfied with
which this temple possesses was spoiled by paint
carving alone in wood, particularly for the doors
have undertaken the work of removing it and
enclosing the principal shrine in the temple, orna-
exposing the original (Plate V). The
mental work is plated in precious metals like silver
painted dome which enclosed the mandap had
and gold, the use of which is extended to articles of
to be dismantled some years back, as it was threat-
ceremonial worship like rath or chariots, bajoth
ened with damage because of age and deteriora-
( stool), chamar, chhadi, swings for cradling the
tion. In the process some of the parts were de-
deity and numerous other objects used in religious
stroyed or lost. The management propose to put
worship (Plates CXXVI and CXXVU). The art
up the dome in its original position once again by
of metal plating has developed a unique process
giving proper supports to the existing structure,
whereby thin sheets of gold and silver are so applied
after the replacement of the missing parts and
that the entire piece appears as if made of gold and
removal of the paint. The coats of paints are
silver. Some artists who know this technique still
removed with great effort. The surface is first
exist in the city of Ahmedabad.
tapped with thin chisels removing crusts of dry
paint. Thereafter the carved piece is rubbed with Marquetry-Surat is famous for wooden
a chemical solution with brushes made of grass· marquetry. Beautiful boxes of various shapes and
as are used for whitewashing. The process is time sizes, like ornament and toilet boxes, tie-boxes
consuming and also involves a great deal of manual and caskets are made of sandalwood or of inferior
labour and expense. But they are worth it, as the wood on which sandalwood panels are fixed. The
original work emerged in its full glory after these panels are beautifully carved in relief, the common
operations as can be seen from the plates of the designs consisting of popular deities, natural
fourteen dreams and dancing apsaras and kinnars scenery, etc. Around the panels and sometimes
reproduced in this monograph ( Plates XCIII, all over the box beautiful inlay patterns are executed
CXII-CXV and CXVIII-CXXI). The desirability by a special technique. Thin triangular strips of
of inventing a suitable preservative which can ivory, ebony, red wood, green bone and tin are
be applied at an interval of a few years will stuck together with remarkable accuracy so that
doubtless prove to. be a great boon by protecting the cross-section shows the required design. From
such monuments for the posterity. The search is the rod so formed slices lr;" thick are cut off and
reported to be still on. fixed on the box to form the desired pattern. The
work is so fine and minute that a hexagon measuring
Lacquer Work-Lacquer work is an art of r 31J" may contain as many as 69 different
the turner or kharadi found in every town of pieces, 33 of tin and 9 of ebony, redwood, green
Gujarat, making bed posts, bed legs, toys, tops, bone and ivory each. There are only a couple of
sticks, fruits, cradles and various other articles of establishments which have kept alive this highly
domestic use. The articles are made into the prized art in Surat to this day (Plate CXXXIV).
required shape by turning on the lathe, where-
after they are coloured by pressing sticks of colour Block Engraving-Another craft involving
to the revolving surface, according to the design minute wood carving is that of engraving blocks
and effect sought to be produced. In Gujarat for textile printing. The most important industry
lacquer work has acquired special importance at of Gujarat since ancient times has been textile
Sankheda,Baroda district, where a special technique weaving, dyeing and printing in numerous artistic
of lacquery in transparent colours has been evolved forms---cotton, silk and brocade. It is, therefore,
through the use of a liquid solution of tin. Chairs, but natural that the ancillary craft of block making
sofa sets, cradles, swings, toys and various other should also thrive in Gujarat. It is at present
articles of household use are manufactured at this localised mostly at Pethapur in Mehsana district,
place, the products of which are in growing demand Ahmedabad and Rajkot. Block engravers use
Inl~\ ~r' n r-t
50 CHAPTER VI-ARCHITECTURE

teak wood from which they cut pieces 1t" to 3" however, added a glorious chapter in the history of
thick. After smoothening one of the surfaces and this industry during the nineteenth century, after
applying chalk mixed with gum, the design is traced the British acquired Bombay in 1818 A. D., when
on it from a stencil. The intervening spaces are e"pert Parsi shipbuilders from Surat were settled
then chipped out with gouges as in ordinary wood at Bombay as master builders for the East India
carving, with this difference that in block engraving Company. This important position the family of
the work is very minute and in deep relief. Designs Lavji Wadia retained till the third quarter of
are mostly traditional, with flowers, butta, creepers, that century. Ships built by them proved good for
leaves and geometrical motifs. A handle ll" the British Navy even after 15 years' use by the
high is fixed or carved out on the other side of the company.· The teak wood ships built by Gujaratis
block. The printer goes on repeating the same were better than the British ships built with oak.
block in straight lines on the cloth while printing They lasted four to five times longer and were
the design. There have to be as many blocks as four times cheaper. Jt is said that the Victory,
there are colours in the design to be printed. The the famous vessel of Nelson was built in 1766
full design is, therefore, split up by the engraver in A. D. by ship-builders of Gujarat. Weighing 2162
a number of blocks which together give the complete tons, it was 106 feet long and 52 feet broad. con-
picture. Though facing keen competition from tained a hundred guns and accommodated 700
machine and screen printing, the craft still survives • persons.
because of the variegated effects, combinations and
colour schemes which block printing alone can
Though credited by some to be the origin of
permit.
all wood carving which is said to have started with
Shipbuilding-Gujarat, which has the longest rudder and deck chairs, shipbuilding did not pro-
coast-line among the maritime States of India, has vide much scope in ornamental carving as archi-
been well-known for its sea-bound trade since pre- tectural wood work. A little carving that was
historic times. It is but natural that with its thriv- done on the front, deck, etc., was meagre. What
ing sea trade, a number of ports on its coast-line and the art of shipbuilders really required was' expert
forests yielding timber of good quality, the industry selection of the wood of most durable quality
of shipbuilding should also flourish as an important which would not be affected by constant contact
aspect of wood work in Gujarat. In olden times with water and also withstand the salty climate
Mandvi in Kutch, Veraval near Somnath or Prabhas of sea. The craft required high profficiency in
Patan in Saurashtra and Surat in South Gujarat joinery and strength of construction besides swift-
earned high fame for building country crafts of ness, manouverability and overall efficiency of the
various types. With the advent of mechanisation vessel in stormy weather or naval battles, in which
in shipping, the marine traffic and consequently the the artisans excelled. The industry survives even
shipbuilding industry of Gujarat were adversely to this day, though on a much lesser scale at ports
affected. But the maritime trade survived, though like Veraval in Saurashtra and Bilimora in South
on a smaller scale, in some of the native States on Gujarat where country-crafts are built to cater to
the seaboard of Kutch and Saurashtra, notably the needs of a fair amount of traffic, still carried
Mandvi, Jamnagar, Okha, Porbandar, Veraval not only in the coastal waters but also with Near
and Bhavnagar. Shipbuilding in Gujarat had, East and African countries.
 APPENDIX III

JAIN MANDAP IN BARODA MUSEUM

EXTRACT FROM A Monument oj Old Gujarati Wood Sculpture by H. GOETZ in Bulletin

of the Baroda Museum and Picture Gallery, Vol. VI, Pt. I-II pp. 3-4, 1950

General description-The Mandapa is 21 feet together from various fragments of small pilasters,
9 inches long, 11 feet 2 inches broad, and 10 feet jalis, bas-relief panels, etc. The central dome ,
3! inches high. It is supported by six columns rising on top of two circles of stylized lotus petals
( figs. 3, 4 ) and two pilasters ( fig. 1 ), and at present (figs. 14-16), is covered with a multitude of single
is open in every direction. Its central dome (fig. 19) figures and relief panels (figs. 19, 32-45, 49·60),
rises from an octagon on top of a square supported some originally belonging to it, more, however,
by fdur architraves ( 11 '2" x 11'2") (figs. 12-16). added at later dates. First, there is a series of
The two wings have flat ceilings (11' 2" X 4' 2" ) twelve figures, i.e., eight lower godlings playing
(figs. 29, 31). The columns (figs. 3, 4), in musical instruments (fig. 16), another female
cross-section cannelated dodecagons, rise from figure, two horsemen (fig. 40), a Yaksha or Dikpala
very late Mughal bases, and go over into late sitting on a lion (7) (fig. 15). Next there -are
Gujarati capitals below which, however, an inter- four chapel-like niches again enclosing Dikpalas
mediate cube is inserted. The pilasters (fig. I) ( fig. 60). Between these chapel niches eight
are decorated merely with rich friezes of lotus figures of angels, heavenly musicians, Apsaras or
roundels. These columns and pilasters are again Surasundaris (figs. 32, 34, 42A5) and sixteen bracket-
interconnected, in front, by three very rich late panels (figs. 32, ~4, 49-52) are arranged, the latter
Maratha arches on the sides and on the back by of which show, each, a heavenly dancer musician
a sort. of "sun screen" formed by parallel vertical on top of a Yaksha (Kichaka). The third set
boards cut into oval "windows", but interconnect- is formed by seven brackets shaped like balconies,
ed only along the architrave, whereas the beams and supporting small wooden horses and other
separating the lateral ceilings from the dome are animals (fig. 19). Between every two of these,
supported only by some brackets (figs. 6, 12, 13, 16). two small-reliefs of "Yakshas" have been placed.
The architraves (figs. 12-16) around the central Next there comes a small frieze of Jaina saints
dome are covered with relief panels showing some in niches (figs. 19, 35 ), thereafter a circle of conch-
Jain legends, those around the lateral ceilings (fig. 7) shaped half-roundels filled, each, with a flower
with ornaments of various types and times, and finally the voussoir pendentif in the form of
one with peacocks, others with single figures, or a gigantic flower (fig. 19). From this latter again
panels representing Sri-Lakshmi or Ambika. Out- four brackets with divine musician girls are standing
side, there are likewise ornamental friezes, most off. Also to the columns and pilasters similar
of late date, but also some older figural reliefs bracket figures of heavenly musicians and dancers
subseQuently added. The lateral ceilings are pieced are fastened.

51
 CHAPTER VII
ART
of time to another. Viewed from this angle, wood
ART THE HANDMAID OF RELIGION
sculpture in vogue in this part of the country may
THE ART OF wood carving is basically architectural be classified into 3 periods, namely, (i) the purely
and constructive not only in its origin but also Hindu style before it became susceptible to Sara-
in its later evolution and persistence through present cenic or Muslim influence, and (ii) the Muslim period
times. The profound influence religion has exer- when adaptations of Muslim forms and designs
cised on the minds of the people of this land is were made in the art and architecture of this country
revealed by the spontaneous efforts that have been during the era of intense building activities which
made since ancient times to dedicate all their earthly characterised the construction of mosques, tombs
belongings at the altar of the deity of their accepted and palaces. We can also add a third period,
faith. This has been true of all the races of the when all sorts of arts either in wood, stone, metal
world which have expended their energies and or paintaing degenerated for want of royal and
wealth for the deification of their gods by building religious patronage during the British regime.
temples to house them. In days bygone, it has Though specimens of wood carving in temples
been the religion which has carried the torch of and houses constructed ·prior to the fourteenth
civilisation and culture and stimulated arts of peace. century are not found to exist to this day because
Human heart in its endeavour to please God the of the destructible nature of the material that
Almighty has at all times erected some of the most wood is, the perfection of the wood and the stone
magnificent monuments of art. Chaityas, temples, carver's art noticeable in the 14th century structures
churches and mosques built in ancient as well as go to show that the style was not evolved and
medieval times are the living embodiment of this perfected all of a sudden. The wood carving in
innate desire of mankind to subserve material vogue at this period must have been the prototype
prosperity to the needs of earning religious benedic- of the stone architecture, seen in the temples of
tion. The primitive and the civilised alike have the time. The style which was basically Hindu
revelled in the glory of God and sought to deify in origin, persisted unaltered in Jain temples
the supernatural in human form according to their wherein certain innovations, refinement, elabora-
own light and understanding and endowed them tion of details and richness of carving were later
with all that is the best in the service of God. introduced. The period that followed was marked
Besides temples, churches and mosques, objects by Saracenic influence which led to the adoption
of worship and articles dedicated to the deity- of some of the characteristic features of Muslim
idols, clothing, ornaments, etc., have given the architecture in the construction of dome and arch
greatest impetus to tbe evolution of art in various and in the delicacy of form and design. The
forms-architecture, sculpture, painting, music and Muslim style of architecture which flourished
dancing. in Gujarat was, however, different from the gran~
STYLE
diose structures which were erected by the
Mohammedan rulers in the North and other parts
Stone and wood carving as developed in of the country. The style which came into vogue
Gujarat is based on the same principles translated in Gujarat was rather dwarfed but marked by
into two distinct media by the same artist. There profusion of exquisite and artistic forms, which
is no differentiation, therefore, between the two more than compensated for the loss of massiveness
in the evolution of their style from one period and size. Tbe Maratha influence, though not
52
 STYLE 53

appreciable, made itself manifest in the construc- Mandir or the Sun temple at Modhera and various
tion of arch which differed from the one seen in others built of stone in Gujarat in no way differ
the Hindu and Jain temples of the Solanki period. from that adopted in the construction of Jain
The advent of the British and other foreigners temples built in marble or stone at Mount Abu,
was marked by gradual degeneration of art. Some Girnar and Ranakpur, all of which have been
of the foreign forms and floral designs then adopted similarly constructed and adorned by the same
appeared lifeless and out of tune when compared motifs of ornamentation in design and form. The
to the elaboration and richness of carving seen in shastras or treasises followed by both were one
earlier structures (Plate XXXIX). and the same. The artists who executed the one,
Wood carving, as evolved in Gujarat, is a erected the other. The art was the same; the artist
purely indigenous art of the local carpenter and was also the same. It is, therefore, not correct to
not an industrial art displayed in shops for sale. make any such distinction and dub the architectural
The artisan was equally capable of making the style either as Jain or Hindu. Moreover, except
most commonest and simplest of structures as for certain difference in their philosophy, the
well as the most beautiful and ornate edifices followers of both the faiths do not show any funda-
decorated by rich carving. For, the stone carver mental divergence either in their cultural or social
was also the wood carver before the two occupa- outlook. The only innovations that were
tions were separated and specialised by two distinct introduced during the era of temple building
schools of workers. Moreover, wood carving undertaken by Jainism about the twelfth
owes its development in the manner in which it century was in the adaptation of mythical forms
has done in Gujarat to its geographical, botanical and concepts and elaboration of some of the details
and geological peculiarities, which ruled out the which such a fine material like marble permitted.
use of stone to any appreciable extent. The plains Later, when Gujarat was ruled by Muslim Sultans
of Gujarat had abundance of wood but not of and Mogul Viceroys, the Saracenic influence
stone, which· was the good fortune of some of the came to be keenly felt. While the Muslims in
other parts of the country to possess. The teak India adopted all the forms of art and architecture
wood available in the forests of Gujarat supplied that were basically indigenous, certain innovations
a very strong and durable variety of wood in the to suit the tenets of Islam were introduced in the
local sag. which was amenable to the expression structures they erected through the local craftsmen.
of all the diverse forms and designs worked in The process of assimilation which was thus at
stone. Apart from temples even the palaces Were work had inevitable repercussions on the Hindu
built of wood and brick and the use of stone structures either temples or residential buildings
in the construction of palaces came into vogue only in the construction and sculpturing of which the
during the Muslim period. All these factors coupled new style which was coming up under the Muslim
with the artistic taste of the people and the innate influence was unconsciously adopted. Gujarat has
faculty of the artisan made wood carving parti- thus evolved a truly synthetic style of architecture
cularly popular in Gujarat. of its own, unique in the details of ornamentation
The architectural style with particular reference of stone as well as wooden structures.
to temple construction, has sometimes been The temples in wood last longer than dwelling
described as Jain. It would be hardly proper to houses, because the former are well protected,
make such a distinction. If one goes deeper into better cared for and made of more durable material
its origin, it is noticed that the beginning of all strongly built. It is, therefore, possible to find
the styles in Gujarat were laid into Hindu style specimens of wood carving in temples about five
of temple architecture, which developed and centuries old ranging between 14th and 19th century.
flourished in this region under the patronage of a Whereas frequent additions, alterations, renova-
succession of rulers who constructed some of the tions. repairs and replacements take place in houses
magnificent shrines of the time. The architecture to suit the taste of the people and change in the
and sculpture exhibited in the Rudramahalaya at mode of their living, a temple once constructed is
Siddhapur, Maha Meru Prasad at Somnath, Surya not generally demolished, unless a better structure
54 CHAPTER VlI-ART

in more durable material is erected instead and flutes (bansi), trumpets, sitar, tambur, tabla, vina,
the idols reinstalled with necessary religious rites. shehnai, cymbals, sarangi, manjira, etc. The
It is, therefore, but natural that carved houses columns that support the dome are either square
older than 150 to 200 years rarely exist, though some or round surmounted by capitals of cross-corbels in
of the local authorities have reported houses as shridhar and ghatpallav (pot and foliage) type.
old as 500 years. Since the style of architecture The shrine proper has the traditional door frame
and the manner of decoration, both in temple and with the 14 dreams the mother of the Tirthankar
house construction, were the same except for had at the time of his birth carved on the lintel.
certain variations in design and form. the continuity The door panels are richly carved with figures of
of the art and its existence in the past can be traced gods and goddesses, at times with floral designs
from temple architecture, as specimens of the 14th and patterns, either embossed or perforated and
century carving are still in existence in the remains not infrequently plated with silver and gold. The
of Wadi Parshwanath Derasar of Anhilvad Patan inner sanctorum has a high pedestal on which
constructed in the year 1594 A. D. The images of God are enshrined in a beautifully carved
excellence of carving which is noticeable in this sinhasan.
monument shows the height of perfection attained
ORNAMENTATION
at that time. This was not done all at once. For,
it had its origin and continuity in the distant past Man is the product of his environments.
much earlier than the 13th century. It, however, Art is the product of the environment in which
seems to have developed in the direction it did he lives. Any form of art and literature, whether
during the era of intense temple building activity it is carving, sculpturing, painting, dancitlg, music,
which gave to the world the most exquisite master- folk-art, folklore or classical literature, depicts
pieces at Mount Abu and other places between the the surroundings, the spirit and the atmosphere
eleventh and thirteenth centuries. For, in Gujarat its creator breathes. The potter while painting
though wood was the most popular building his earthenware, the artist while spreading colours
material in house construction, temple building on his canvas, the goldsmith working on his trinkets
favoured both the media. And what was worked and jewellery, the sculptor while carving, the poet
in one was also done in the other. while writing a poem or drama, all derive inspira-
tion from the objects of their environment. The
TEMPLE ICONOGRAPHY
extent to which they find expression in the work of
The general iconography of the mandap in a art is influenced by the artistic taste of the people
Jain temple consists of frieze panels either narrative which plays no small role in the development of art.
or representative. The narrative frieze depicts An artist living in the midst of a people without
the various episodes in the life of the Tirthankars any liking for or appreciation of art will not find
and other legendary and mythological incidents. any encouragement in the land of his birth.
The story of the renunciation of Lord Neminath, Instances are not few where the best of artists have
who returned from the wedding pavilion when had to migrate to alien climes for want of patronage.
he saw a large herd of cattle waiting to be slaughtered Gujarat has had the good fortune of a happy
for feasting the wedding party is the most popular combination of these fundamental essentials
theme depicted. Another such theme is preaching required for the development of art, viz., (1) environ-
by a Jain acharya surrounded by his devotee. The ment, (2) patronage, and (3) an appreciative people
frieze panels usually consist of all the 24 Tirthankars, with an artistic sense of the highest order. This
Jain saints, Shrilakshmi or Gajlakshmi, Ambika unique circumstance has l;>een instrumental in
and Chakreshwari. Another circle has the 8 dik- giving to Gujarat some of the best and exquisite
palas or kshetrapals surrounded by yakshas and masterpieces of art. It is not only the deities and
gandharvas, apsaras, sursundaris and kinnaris elements of nature in human form which have
( celestial musicians and dancers) are usually provided the subjects of artistic expression by the
depicted in brackets in the classical pose playing wood and stone carver, but also the atmosphere
such musical instruments as drums (pakhvaj), and objects, trees and flowers, birds and animals
 ORNAMENTATION 55
in the midst of which he has lived have found the this city who would omit to see this masterpiece
fullest expression in a variety of forms in the works of artistic beauty in stone. The banian tree grows
of art he has created. It is but natural that a out of and around a smaller palm tree and branches
community which regards the flora and fauna of off with equal spacing, wherein the distribution of
the land as part of the same fraternity should. have various parts filled in with rich tracery represents
provided along with human beings, a very favourite the highest domain of conventional decorative art.
theme for the portrayal of his art by the artist. This motif has been so popular with the artist and
the people that it has been repeated times without
F/ora number by craftsmen working in various materials,
i. e., stone, wood, cotton, silk or gold, and was
Among the flora which have commanded
copied in all its intricacy and elaborateness also by
popular appeal are certain trees, creepers and
the cabinet makers in the furniture they produced
flowers. The banian tree, the pipa/ tree and later
for foreign market. A replica of this window
the cyprus tree have been the subject of much
displayed at the Colonial and Indian Exhibition
ornamentation both in sculpture and wood carving.
held in London, in 1886 attracted great admiration
Some of the finest traceries have been inter-woven
and praise.
in the exquisite panels carved out in wood with
a realism which is at once exquisite and natural. Fauna
Among the flowers, the most popular and one that The fauna claim a variegated array of birds and
is most amenable to a variety of forms reproduced animals such as peacock, parrot, swan and animals
in architecture and sculpture is the lotus. The lotus wild as well as domesticated such as elephant,
flower reproduced in a variety of forms has found lion, alligator, horse, bullock, cow,. etc. The
universal acceptance in the temple architecture of reasons why some of them have caught the fancy
Gujarat. In the interior of the temple, the of the artist deserve special mention.
pendant that hangs from the dome blooming into
numerous petals, surrounded by endless human Peacock
and animal forms and geometrical designs worked The peacock is one of the few birds which are
alike in stone and wood is the marvel of artistic popular with the peoples of the world since earliest
workmanship. (Plates CVI and CIX). The artists times. Mentioned in the Old Testament, referred
were always particular to choose for their motifs to in Ramayana, and profusely dealt with in
objects which have great religious significance, classical literature as well as folklore, it has been
when expressed through the medium of symbols. the most widely accepted theme of expression in
In addition to its being the favourite flower of the architecture for thousands of years because of its
Goddess of Wealth, lotus among flowers is innate beauty of colour and form. The sweeping
beauty incarnate. It has colour, form, design, and graceful colours of its neck, body and plumage,
charm and beauty all its own. Such an object artistic features, its melodious voice and its unique
can never fail to attract the attention of a dance have endeared peacock to the people of India.
genuine artist in whose hands it becomes an in- In ancient times, it was the dynastic symbol of the
valuable means of picturesque presentation. Mauryas, considered sacred by the Greeks and
Leaves, creepers, branches of trees all assume a imported into Europe and Africa through Iran.
new shape and spirit under the inspired chisel It is the national bird of India, Burma and Japan.
of the carver as will appear from the beautiful The claim of peacock to national status has been
wood carving reproduced in numerous plates in vindicated by the pride of place it has occupied
this monograph. in the literature, art and architecture of this country
since time immemorial. The Indian peacock is
Banian Tree unique in its grace and beauty, colour and form
The most famous and the most popular design which distinguish it from the spotlessly white pea-
ever evolved is that ofthe banian tree in the window cock of Africa, yellow peacock of Java, Malaya
of Sidi Saiyad's Mosque near Bhadra, at Ahme- and parts of Assam and the green species of Japan,
dabad. There would hardly be a tourist visiting Indo-China and China. A favourite of Lord Krishna
56 CHAPTER VII-ART

the cowherd whosc crown its fcathers adorn, it is also as holding a string of pearls in its beak.
popular both with the princes and the populace. The panel and friezes bearing the patterns of
The takhte taus or mayurasan of the Mogul hamsa with muktamala have been the favourite
Emperor Shahjehan was fashioned after peacock. subject of treatment by the artist in colour, stone
The village potter and the carpenter never missed and wood. Hamsa-thar has been an essential form
an opportunity to decorate with peacock the earthen of decorating the exterior of a temple, as well as
wares, the cradle and other articles he made for in theinner frieze of the dome. The great popularity
domestic use. The peacock has been the most this bird has acquired with all artists, the wood
popular theme of expression in literature, music carver, the sculptor as well as the painter since
and dance, art, sculpture and painting, ceramics ancient times is evidenced by a variety of swan
and brassware, cotton and silk fabrics and folk- motifs depicted in rock-cut cave temples at Ajanta
art of every description which has shown a and Ellora.
special partiality for it. The peacock has thus come Elephant
to symbolise beauty in all its aspects. The display
of its feathery train stands for exquisite beauty, Among wild animals, elephant, the carrier of
conquetry and even roguish trickery. Its dance Lakshmi, the Goddess of Wealth, has been the most
is an expression of sheer ecstasy and its songs like popular with the artist. It is usually represented as
the tune of Malhar, the harbinger of rain. The watering that deity with a kalash or pot. It is also
tribhanga or triple aurve of its neck typifies the symbol of royal insignia. As a common man
beauty of form and pride in its posture. It has can never afford to maintain such a costly animal,
replaced swan as a carrier of Saraswati, the Muse there is a popular saying that an _elephant can adorn
of poetry. Thus attracting one and all by its beauty, either a raj darbar, i.e., a royal court or a dev darbar
it supplies one of the most widely used forms or the court of gods. This animal has, therefore.
of art, adornment and ornamentation. The pea- received a special recognition in the gaja-thar of
cock or morli elaboration of the protruding joist the temple. It is also depicted at the entrance of
ends, pendants, brackets and capitals has been the the royal palace and the temple and the decorated
delight of the Gujarat carver as will be seen from pedestal of gods and kings. Its slow and majestic
some of the numerous motifs, reproduced in gait is considered to be one of the traits of a beautiful
Plates LXXIV and LXXV. woman described as gajagamini. In wood work, it
appears both in temple as well as building architec-
Parrot ture.
Among domesticated birds, parrot holds an Lion
unchallenged popularity in human households. Felis leo as a lion is called is the most famous
It is alike the favourite of a child whose cradle it of the wild animals known to the human race since
adorns and of the elderly householder who nurses prehistoric times. Its only habitat in present times
and feeds it as a regular member of the household. is the countries of Africa and India, where Gujarat
It is the favourite topic of decoration by the village enjoys the unique distinction of being its only abode
artisan, potter, carpenter, coppersmith and bras- in the forest of Gir in Saurashtra, which, it is said,
smith. It pleases all-those in the countryside as was once joined to the African continent. Old
well as those in the towns by its imitation of human and New Testaments mention it as the symbol
voice which no other animal or bird can. Such of Jesus Christ who was styled the Lion of Judah.
a bird would naturally acquire the popularity it The Persians, the Assyrians and the Greeks had
has enjoyed with every strata of society to which a given to the lion a very high place in their civiliza-
wood carVer cannot be an exception (Plate tion, as the emblem of their gods, Sun and Fire.
LXXIII ).
Among the constellations, the sign" of Leo is the
Swan house of the Sun. Lion hunting was a sign of
great bravery which dates back to the performance
. Sw~n is a~other such bird. Proverbially cre- of combats of unarmed Roman gladiators with
dited WIth eatIng pearls, the artist has depicted it lioDs in the colosseum. The lions are mentioned
 SYMBOLISM IN ART 57
in the Vedas, Puranas, epics like Iliad and Odyssey synonymous with mysticism and rituals which
and in the Bhagavadgita wherein Lord Krishna are considered to be the privilege only of the adept
has said that he is the lion among animals. It i, to practise and understand. Symbolism is also
also the lanchhan or the sign of Lord Mahavir the favourite of the people in the political and
and carrier of Amba Bhawani, the Mother Goddess. social life, because of the facility which symbols
For these reasons lion has acquired a distinguished afford in the expression of their aspirations and
position in the art of various races and regions. ideals. Symbolism has thus developed itself into
The ancient Egyptian represented their god Shu a science, with a language all its own. Only
and goddess Shechmat with the heads of lion and those who are well-versed in it can decipher it.
Jiones~. Lion represents kingly dignity. The Hinduism, Buddhism, Jainism, Christianity and
throne on which kings held public audience is Islam all have devised symbols which represent to
called sinhasan or lion-legged throne. The lion their followers the essence of their faith. The
capitals of Ashok on several monolithic pillars are swastik of Hinduism meaning auspiciousness, the
world famous. They guard many a Hindu shrine dharma-chakra of Buddhism representing the wheel
and also take the place of knobs, handles and of religion, the cross of Christianity denoting the
gargoyles in the West. The qualities of bravery crucifixion and sacrifice of Christ, the crescent of
and strength arc represented by martial commu- Islam indicating the advent of good times after a
nities like Rajputs and Sikhs who append the word period of slaughter and hardships are the symbolic
sinh or sing as a suffix to their names such as expression of what the various religious faiths
Ranjitsinh, Pratapsinh, Udaysinh, etc. Its majestic stand for. Hinduism has evolved an entire tantrik
gait and powerful strides combine immense muscular shastra. which has been embodied in a treatise
strength with alertness and agility. But it stands written by Shri Adya Shankaracharya in Saundarya
for much more than mere physical prowess. It Lahari. The yantra worshipped in place of the
personifies valour, majesty and nobility of character. icon symbolises the various forms of Divine Power.
It does not hunt unless it is hungry and does not The various caste marks betoken the religions
attack human beings unless provoked. It does practised and the philosophy they have preached.
not lurk in the dark as does the tiger. It is not The 14 dreams which are carved on a lintel oCa
cunning like the leopard or cheetah. Its very Jain temple symbolise certain auspicious omens
bearing is replete with dignity and magnanimity. which his mother had prior to the birth of Mahavir.
Such a noble and majestic animal which has secured The dharma-chakra of Ashok and the lion capitals
such a high place in the hearts of the people cannot which adorn the monolithic pillars stand for the
but appeal to the artist as a natural theme for any rule of Divine Law. The various dance mudras of
artistic expression either in wood or stone. Natya-shastra are the symbolic expression of the
various moods, passions, actions and sentiments.
Mixed Animal Forms
The various national flags, their colours and
Mixed animal forms such as lion and horse, symbols represent in essence the ideals and aspira-
elephant and lion as well as mixed animal and tions of the countries they represent. The coat-
human forms rank among some of the favourite of-arms has been a popular mode of illustrating
subjects treated by the wood carver in temple the history and tradition of the family it stands for.
architecture, (Plates XXIV, XXV and CXXIII). Symbolism has thus played a very significant and
important role in' the religious, social and political
SYMBOLISM IN ART
lives of the people.
Symbolism is both an art and a science ex- In a country like India where symbolism ha!l
pressing ideas and concepts through symbols, repre- caught the imagination of the people to an unpre-
sented by objects and marks. The symbols take cedented extent, the use of symbols has permeated
the form of some object, sign, token, numerals, every walk of life. Even the very gods they worship
alphabets, words or designs which clothe the inner symbolise elements of Nature and divine characteris-
meaning of the idea or concept sought to be con- tics which they represent. Hindu religion is thus
veyed. In religion, symbolism has come to be symbolism par excellence, where the highest
58 CHAPTER VII-ART

concepts are expressed through symbols. A people severe. Jainism has made the greatest use of the
with such a great fascination for symbols cannot material wealth renounced or dedicated by its
but adopt symbolic motifs also in the expression of followers. The renunciation by the laity under
their art. No art has resorted to symbolic expres- the preaching of the sadhu$ has taken various
sion of its subjects to that extent to which it has forms and practices which have encouraged the
done in India. The form of a Hindu temple is an accumulation of dev dravya or wealth dedicated
expression in symbols. The spiral tower and the to the deity. The dev dravya is considered so
dome seen in the temples of Gujarat and the viman sacrosanct that its use for any purpose other than
in the temples of the South convey the celestial worship of idols or the repairs and maintenance
abode of God living in heaven. Lion, kalash or pot, of temples is strictly prohibited. Jains being a
lotus flower, lingo-the phallic representation of well-to-do community have tried to maintain the
Lord Shiva-the Divine Spirit, Shakti the Cosmic influence of Jainism through wealth. Their
Energy, Ganesh and numerous other deities are sadhus, who are dedicated missionaries made them
the symbolic expression of well-known religious spend their wealth on temples, installation of
concepts of universal powers. Every door-frame idols of Tirthan_kars, spread of knowledge and
in a house or a temple is decorated either with a philosophy of Jainism and thus became instrumental
swastik, kalash or pot or the idol of Ganesh or in patronising and developing arts. Vaishnavism,
Gajalakshmi, which represent wealth, prosperity and on the other hand, could not have any appreciable
auspiciousness (Plates XXIX-XXX, XXXII to impact on art, as bhaktimarg or the path of devo-
XXXIII and XXXVIII ). Animals, birds, tion that it has preached is based on love for God in
flowers, trees, etc., likewise represent qualities the incarnation of lord Krishna: It was the deity
described earlier. Symbolism has thus made a unique which assumed supreme importance. And so,
contribution to the development of art in this it was on the idol that all the good things of this
country by conveying ideas and concepts through world, viz., garments, ornaments, food, fruits and
symbols so dear to its people. flowers were lavished. The arts which Vaishnavism
INFLUENCE OF RELIGION ON ART
encouraged in Gujarat are music and painting,
and not sculpture and architecture. as in the case
The two principal religions which flourished of Jainism and Shaivism. But to Jainism goes the
in Gujarat were (i) Shaivism before the advent of credit not only of keeping the artistic traditions of
Vaishnavism preached by Vallabhacharya in the Gujarat alive, but also of their revival in modem
15th century, and (ii) Jainism. Of the two, it was times, through extensive repairs and renovations
Hinduism which held the ground in Gujarat before carried out during the last decade at Mount Abu,
Jainism made itself felt under the powerful influence Girnar, Shatrunjay, Ranakpur and other places.
of such a distinguished and learned acharya as It has thus resuscitated an ancient art which was
Hemchandracharya and patronage derived from a on the verge of dying for want of patronage. It is
series of rulers like Kumarpal and others. because of the greatest importance which the Jain
All religions preach renunciation and dedica- community attaches to the upkeep of their temples,
tion of earthy belongings for the glorification of that the Jain temples are spotlessly clean and in the
God. But the renunciation preached by lainism and best state of preservation, when compared to similar
practised by its ecclesiastical order was profound and structures of other faiths.
 CHAPTER VIII
THE FuroRE

IN THE MODERN AGE, temple building activity has of the artist to be an exquisite work of art. Where-
been very much at a discount. Even in construc- ever wood was capable of being used, the material
tive architecture so far as house construction is was transformed into beautiful objects in use not
concerned, wood carving has been totally eliminated only by the wealthy and well-to-do but also by
without any hope of renewed activity in the future. the common man. Thus, apart from temple
The religious enthusiasm and fervour which charac- architecture and dwelling houses, articles of common
terise a community in the initial stages of history, use like paniara, tran-khania, nav-khania, damachia,
gradually diminish as the influence of original bajoth, patla, pat, lakadiyu, divi. snuff box, dholia,
preaching becomes less and less with the passage toys, dhinchaniya, sticks, cooking utensils,receptacles
of time. The basis of all building activity in the for taking alms-all received equal attention at the
field of temple construction, in India as elsewhere, hands of the wood carver. The synthetic process
lies in the renunciation of wordly objects and their at work in the evolution of all types of art in this
dedication to the deities of the faith professed. country enriched the art of wood carving in Gujarat
Renunciation encouraged simple living, promoted by the adoption of forms. designs and motifs
contentment and made people look to heaven for worked and developed in stone under the influence
salvation from the bondage of flesh. Such an of the Rajput and Muslim styles. For the
attitude of mind made them willingly offer all they artist imitation was no crime, it was a virtue.
had in the service of God, and made itself first What mattered with him was not the source from
manifest in the construction of temples, a process which innovations were derived, but the excellence
which was accelerated by royal patronage and of work that guided all his artistic activities and
religious preceptors. made wood carving a living art. The relatively
perishable nature of the material that wood is
WOOD CARVING A UNIQUE ART
obviously restricts the life of such works. as they
The artistic taste of the people and the acute do not possess that durability and life which mCire
sense of perception of the carpenter to whom the solid material like stone does. Compared, how-
varied qualities of wood unfolded vast possibilities ever, to the deplorable fate and decaying condition
in the art of wood carving have given to Gujarat of various stone monuments in Gujarat, the limi-
a wide array of sculptures in this material. The tation from which wood carving suffers may not
expression of this art has been far more extensive appear to be so great owing to the quality of local
and elaborate than in the case of any other medium teak which bas been described to be practically
adopted by the artist, It is unique not only be- indestructible.
cause of its antiquity but also because of the splendid THE SETBACK
display of fOfm and variety of subjects delineated Art and architecture which flourished in
in wood work. As already seen, the principal Gujarat during the Hindu and Muslim period
characteristic of the style of wood carving evolved received a sudden setback on the advent of the
in this part of the country is constructive architecture British. Artistic activity, which was so intense
and ornamental wood work. The artist derived in days gone by. suddenly waned; established
his inspiration from the various monuments in tradition of arts degenerated; and the workers
stone which abound throughout the length and in stone and wood gradually disappeared for want
breadth of the State. Even the smallest article of of former patronage. The awe and the reverence
household and domestic use turned out in the hands in which the foreign rulers were held by the people
59
 60 CHAPTER VIII-THE FUTURE

of this land surrounded them with a kind of ever possible. Other fortuitous circumstances were
halo, which inculcated in the minds of the people the general prosperity of the people, religious
a sort of inferiority complex that came to regard devotion to the faith practised and the cheapness
everything that was foreign as something worth of labour and material used. To this should be
imitating and all that was indigenous as useless added the contented nature of the artist who had
and valueless. The former architectural styles not become materialistic but was satisfied with
evolved and perfected by patient working through wages paid if they were sufficient for his living.
centuries fell into disuse. Even the well-to-do In the present day, everything is different. The
who could well afford to keep the tradition alive former contentment no longer exists. The strain
took fancy for bungalows of European type, of living has immeasurably increased. Rather
where the usc of wood was reduced to the minimum. than restriction of wants, its multiplication is the
Even the Indian Princes while constructing new philosophy of the day. The needs of the people
palaces adopted a hybrid style of mixed oriental are rising day by day and with them the dissatis-
and western designs and made the least use of faction and discontent from which the modern
wood. Popular taste for wood carving so commonly society suffers. The inevitable consequence of
found in towns and villages of Gujarat was adversely such a condition has been that what was within
affected by new ideas in architecture imported the reach of the common man has now become the
from abroad. The extent of carving diminished with monopoly of a limited number whose wealth can
the gradual reduction in the use of wood. afford any departure from simplicity and want.
Simplicity in construction discarded all carving The gradual disappearance of the art of wood
in wood and the very little that was done was carving in our own times despite highest perfection
lifeless, dull and prosaic, which required minimum in the days gone by can be easily understood under
of artistic skill, ornamentation and elaboration. such a variance of circumstances existing at the
Doors and window-frames remained the only places present and in the past.
where wood could be used in house construction. The ornamented wood carving that adorned
The deterioration which set in thus was responsible the houses of Gujarat attracted great notice from
for the fast disappearance of the art of wood carv- foreigners and British Civil Servants serving at
ing from Gujarat and elsewhere. The age of that time in Ahmedabad who took a keen fancy to
iron and cement eliminated the use of wood still this work and got models prepared for some of the
further, as the ceiling, beams, pillars, etc., which exhibition" held in the country and abroad. Some
were formerly made of wood are now replaced by of them were so enamoured of its beauty and
similar structures in concrete. Since iron frames richness, that the entire facade of old and dilapi-
with glasses have taken the place of wood in dated hOtlSes, and parts of wooden temples were
windows, the only part where wood has been purchased for museums in England and America
retained are the door-frames fitted with simple and as also for the decoration of private houses in New
prosaic flush doors. Under these circumstances, York. At the Colonial and Indian Exhibition
wood carving cannot have any chance of survival held in London in 1886 carved wooden screens
either in constructive architecture or in the making were exhibited in various courts donated by
of articles for domestic use In this machine age Indian princes. The sections that have been
when glass, cement, iron and plastic substitutes specially mentioned are the Baroda, Bhavnagar,
are comparatively much cheaper. The use of wood Kutch and Junagadh Courts, some of which were
in furniture has been greater than ever before, got constructed locally by expert wood carvers.
but it is incapable of reviving the art of wood Others were made at Bombay under the supervi-
carving as it aims at anything but artistic. sion of Mr. Griffiths, Director, Bombay School of
The popularity of wood carving in the con- Art. The entire screen of the Indian pavilion
structive architecture of Gujarat was due to a consisted of two lengths, each 80 feet long,
variety of causes. But the most important among divided into 8 open bays, each 10 feet wide,
them all, as already seen, was the genuine taste of with 4 ends each ] 2 feet wide, making a
the people who were eager to express art where- total Jength of 208 feet each with a uniform
 BOMBA Y FIRMS OF CABINET MAKERS 61

height of 10 feet, illustrating the most picturesque down to such a deplorable extent that in 1902 it
wood carving executed in this part of the country. had work only for a dozen artisans.
In addition to these screens, the Baroda Court
BOMBAY FIRMS OF CABINET MAKERS
had a large pigeon house worked in exqUISIte
details, a heautiful State carriage worked in silver There were some foreign firms of cabinet
and various other works of art. The Bhavnagar makers then working in Bombay. The Wood
Court contained the facade of a house in the Carving Company, an American firm, used to
traditional style of architectur·e. This specimen manufacture carved wooden furniture in the last
was so attractive that it was purchased by the quarter of the nineteenth century. It prepared
Indian Museum at Calcutta, where it has been at replicas of some of the famous stone jalis of
present erected (Plate LXXX), Specimens of Ahmedabad. Mr. Wimbridge of the East India
wood carving were also displayed at the Exhibition Art Manufacturing Company prepared in 1886
of Indian Art organised at Delhi in the year some beautiful specimens of wood carving which
1886. In the Calcutta International Exhibition included designs from famous mosques of Ahmeda-
held in the year 1884, a doorway and balcony bad like Muhafizkhan, Shahpur, Dasturkhan and
taken from an old and dilapidated building Sipri mosques. Artisans of that city had prepared
at Dabhoi in the former Baroda State were for Mr. Forbes models of Rupvati and Muhafiz-
exhibited after they were cleaned by local khan mosques at a cost of Rs. 800 to 1,000 each.
artists whose services were specially reqUISI- The designs in the niches of Shahpur mosque were
tioned for the purpose. The work was so much employed in furniture as in the backs of chairs,
appreciated that the artisans engaged in cleaning etc. Replicas of thejalis in Sidi Saiyad's mosque
this facade were awarded a gold medal for their near Lal Darwaja, costing Rs. 1,000 were also
work. While the trends of degeneration in the reproduced in furniture. l Mention must be made
wood carver's art were becoming apparent towards of an American gentleman, Lockwood de Forest,
the end of the nineteenth century, these exhibitions whose' own apartment at 9, East, 17th Street, New
s.erved a very useful purpose in drawing the atten- York, was decorated with wood work produced in
tion of the world to the excellence and richness North India. Such was the fancy for the Indian
of wood sculpture in Gujarat and elsewhere and wood work in those days that a 17th century
the need for its revival in the country. The only balcony at Ahmedabad was reproduced for a
direction in which this new-born interest could projecting window on the house at No.7, East
help this ancient art was in the making of furniture, 10th Street, New York."
which could be manufactured in this country and It would be interesting to observe that when
exported abroad. There were at that time certain such exquisite pieces of wood carving as were
firms which carried out trade with foreign countries, exhibited in the various provincial courts attracted
United States of America in particular, by supply- universal attention of the people who visited the
ing some of the exquisite pieces of furniture to Colonial and Indian Exhibition at London in 1886,
that country as well as to England. In Ahmedabad, it was hoped that a great demand for carved
the firm of Messrs. Mulchand Hathising Brothers furniture would be created in England. But as
turned out some of the most covetable pieces of remarked by Mr. Henry James in his article in The
furniture in wood carving which adorned some of Journal of Indian Art published in 1894, .. this
the American houses of the time. This firm had hope has proved illusive. Americans, as already
at that time sent its exhibits for display at the remarked, are the only foreigners who patronise
Antwerp and other Exhibitions where it was Gujarat carving. Would that Mr. Blundell Maple,
awarded certificates of merit. It has been recorded M. P., or some of our great furniture purveyors
that at one time this firm engaged as many as 125 in England, would shew equal enterprise. English
artisans to cope with the demand of foreign market. people in India prefer English furniture, which
In course of time the demand dwindled and went reminds them of their home beyond the seas, just
I. R-\T'-'AMA'-'IRAV BHIMR.AV, G"jaratnl'" Patlwyar Ahmedabad,p. 53.;, 1929
2. LA"C.\STER, CLAY, Indian InflH~/ice on the American Architecture of the XI X Centl.,ry, in i,I ar!J, Vol. VI, Xo. 2, p. 29, 1953
62 CHAPTER VIII-THE FUTURE

as they strive to grow violets and La France roses drawn by him in pencil. Gandhiji was very much
rather tban tube roses and champahs; and Mr. impressed by the masterpieces shown. The workman
Wimbridge in Bombay has of late years completely who had poured his soul into his work was full of
driven the old heavy blackwood carved furniture tales of woe for the absence of former patronage,
out of the field, in favour of English • bigh art • which had resulted in the disappearance of art of
designs, which are prettier, lighter and better wood carving from the land where it had reached
suited to a hot climate; but jf Mr. Maple would its zenith. Somnath's brother, Chaku, was an
send a designer of furniture out to Ahmedabad, equally great artis't who designed and made for
to stay for six months, and instruct the local Sir Evan James, then Commissioner, Northern
carpenters how to adapt their art to English furni- Division, a beautiful screen based on the carvings
ture and mantel-pieces, I feel sure that be would on the panels of a ghar derasar or house chapel
return loaded with valuable spoil. Such furniture in Kaira, which he had specially visited for this
exhibited in a London show-room, might soon purpose (Plate XC).
become tbe fashion. and the English capitalists
REA WAKENING
and the humble carpenters of Ahmedabad would
profit alike. Wboever is first in the field has a The art of wood carving which has been
great opening before him"l. But these expecta- forgotten and neglected for a number of years has
tions have been rudely shaken by the force of suddenly evoked enthusiasm and appreciation on
circumstances which have created among the people the part of wealthy Gujaratis who have now deve-
of this world a fancy for naked simplicity. loped a craze for art collection. Pieces of exquisite
wood carving in the dilapidated houses at Patan,
MISTRI SOMNATH BHUDAR AND CHAKU BHUDAR
Ahmedabad, Cam bay and other towns have caught
The notable contribution which these two their fancy after their inherent beauty was appre-
brothers, Mistri Somnath Bhudar and Chaku ciated and prized by the art collectors and Museum
Bhudar of Ahmedabad, have made in arousing authorities in foreign countries who acquired some
interest in the art of Gujarat wood carving abroad, of them for their art sections. The Baroda Museum
has hardly been recognised. They had reproduced in Gujarat, the Prince Albert Museum at Bombay,
in wood some of the exquisite designs worked in and the Indian Museum at Calcutta, have parts of
stone found in the famous monuments which are wooden temples and other carvings procured from
scattered all over and round about Ahmedabad. Patan, Ahmedabad or South Gujarat. The Wadi
Some of the excellent pieces worked by them are Parasnath Derasar at Anhilvad Patan referred to
marvels of carving in wood. They were highly in such glowing terms by Burgess and Cousens
appreciated at various exhibitions held in Europe in their Antiquities of Northern Gujarat was acquired
and America, and won for them gold and silver by the authorities of the Metropolitan Museum
medals. Their workmanship was of such a high at New York, and is now erected in its Indian Art
order that the late Dr. Hariprasad Vrajrai Desai Section. Sir Purdom Clarke acquired the front
took Mahatma Gandhiji to the residence of the of an entire house in Ahmedabad, which is now
late Somnath Bhudar to witness some of the erected in the South Kensington Museum.
beautiful pieces executed by bim. Besides two Foreign yoke of nearly two centuries has inculcated
panels of excellent workmanship, namely, one the in the people of this land a tendency to take fancy
banian tree in the window of the Sidi Saiyad Mosque for objects which are appreciated and in demand
and another in a purely Hindu style showing Lord by the ruling race. Wood carving has not been
Krishna playing flute seated on a kadam tree, the an exception to this trend which bas been instru-
mistri showed him jalis and balconies, the work- mental in reviving people's interest in this native
manship of which resembled that found in the art. But this consciousness has come rather too
step-well at Adalaj. Some of these are reproduced late after much vandalism had been wrought
at Plates CXLII-CXLIV along with a few designs and some of the most exquisite pieces of wood
1. JAMES, HENRY E. M., Note8 on an Ahmedabad OaNJed Screen and Brll('kets in The J01,rnal of Indian Art. Vol. V,
Nos. 38-41., p. 10, 1894
 REAWAKENING 63
carving destroyed or burnt as fire-wood when the that they can work traditional forms and designs
streets of Ahmedabad were widened to make the to suit new ideas. From the high quality of carving
present Relief Road, which is said to have contained which some of them still do, there is no doubt
some of the remarkable pieces of wood sculpture that given proper guidance and encouragement.
in that city. Even then, much still remains in they are capable not only of reproducing old wood
many of the older localities inhabited by the sculptures but also of blending this ancient art with
middle class people, such as Khadia, Sankdi Sheri, modernity to suit the tastes of the time.
etc., where specimens of architectural wood carving Attempts are being made these days to revive
in dwelling houses bear testimony to the highest the art of wood carving through the Schools of Art
perfection, which this art had reached till the started by various local Governments which have
middle of the 19th century. But these also will included wood carving as one of the subjects of
soon disappear, as the fancy of the people for their curriculum. The efforts that these institu-
structures in modern style and the perishable nature tions have made at the regeneration of this lost
of wood do not give any good hope for their art are directed more towards carving of small
permanent preservation. Information about existing pieces and introducing some engraving in such
specimens collected through the municipalities, and furniture as teapoys and dining tables. without
nagar and district panchayats of the State is any significant success. The reason is obvious.
presented in Statement I printed in this Mono- The people have neither the taste nor the money
graph which gives the name of the owner, location, which formerly enabled them to go in for such
type and age of the building and the portion where articles which were made comparatively cheap.
carving is done along with a brief description of the Moreover, in this atomic age, everything has to be
nature of carving. Statement II gives similar done in haste and in the quickest of time. The
particulars about furniture and other articles carved people have no patience with anything which takes
in wood. time. Under such circumstances. any hope of revival
Of late, connoisseurs, museum authorities, of the art of wood carving would be vain and limited
art collectors and the well-to-do people in Gujarat to the making of smaller articles, which will have a
and outside have been hunting for brackets, lintels, selected market either in this country or abroad.
friezes, balconies, window and door-frames,
PRESERVATION AND PROTECTION
panelled doors with jali work, figural work of
celestial mUSICIans and dancers from wherever Query regarding the existence of craftsmen
they are available particularly from such reputed who could execute wood carving in the traditional
centres as Patan and Ahmedabad. Those among manner has disclosed that such artisans do survive
the well-to-do who are endowed with artistic taste to this day, though they are few and far between.
beautify their houses by making skilful use of these The services of those conversant with the technique
articles. For example, small madals serve as are utilised either in the rejuvenation of former
pedestal for lamps and larger ones sawn vertically structures or in the carving of door panels in
into two provide hand rests for a sofa made temples, mostly Jain. Since their work is not
from carved friezes and bands. Jali work of much in demand. a few of the wood carvers in
windows is converted into teapoy tops and door- traditional style who still exist, will, it is feared.
frames, wall panels and other pieces are fitted into gradually disappear. Every lover of art would
almirahs, chests of drawers. built in cupboards or feel that the superb art of wood carving which has
used for interior decoration. Traditional designs been cultivated and perfected since olden times
judiciously used in making household furniture cannot be allowed to be completely wiped out
give a striking and beautiful effect as in the case from Gujarat. The tradition must be kept alive,
of a dining table having legs shaped like temple and no efforts should be spared to revive it. The
pillars. Such enlightened interest by the elite art is dying but not dead. The technique still
augurs well for the revival of this ancient art, survives and has been preserved intact. While ,it
albeit in a limited way of furniture making, and may not be possible to retrieve it in the constructive
justifies the claims advanced by skilled craftsmen architecture of modern times in house or temple
64 CHAPTER VIII-THE FUTURE

building, the decorative art assiduously cultivated value can be acquired by Government wherever
through ages must be revived in smaller pieces and old structures are demolished. The Act relating
household furniture. Schools of Art can utilise to protected monuments should be applied to the
the services of master craftsmen in devising new preservation of monuments of wood carving.
forms and designs pursuing the former technique Plaster casts of genuine pieces of art which cannot
of work. Government can also keep this art living be reproduced should be prepared and preserved
by having in Rashtrapati Bhavan, Raj Bhavan in National Museums. By this way, this ancient
and other public buildings some rooms wherein art of wood carving, which has such great
wood carving in traditional style can be executed. antiquity and artistic merit can be saved for the
All the extant pieces of wood carving of artistic posterity.
 PLATE NOTES
AND
PLATES

(Bkl Y-3-9
 PLATE NOTES

Different aspects of wood carving which is 4.50 long. Plate II C shows tankana or chisels
is both an art and a craft are sought to be portrayed scrapers and gouges 2.3" to 7.8" long and 0.4" t~
in the following plates numbering 149. All the 0.6" wide. Plate II D shows thinner chisels used
salient and noteworthy points about the various for minute work varying in length from 2.2" to 6.2"
items illustrated are described in the Plate Notes and in width from 0.1/1 to 0.25".
giving architectural details, designs, motifs, along
with their location, age and details of measure- PLATE III
ments, wherever available, so as not to make the Chisels and gouges of different shapes and
legends below the plates unduly lengthy. sizes employed by skilled artisans for low and
deep under-cutting, relief as well as incised carving.
i'REES-PLATE I
ARi'mAN~PLATES IV-V
PLATE I
Sag or teak wood, Tectona grandis, is a lofty PLATE IV
tree, the prince of timbers. Bulsar sag from The technique of carving involves deft strokes
the Dangs forest was used extensively in architec- of chisels with a mallet and movement of hands
tural wood carving, because of its durability and roughages being removed by small files.
indestructibility against white ants.
PLATE V
roOLS-PI.ATES II-Ill
Paints were initially used to beautify and
PLATE II protect wood _carving which is distingured by
Common tools used by ordinary carpenters. successive coatings. Layers of unwanted paint
Concave shaped blades of various shapes and in the Shantinath Temple, Ahmedabad, are scraped
sizes are useful in carving circular designs. out with chisels and cleaned with chemicals.
DESIGNS-PLATES VI-X
PLATES II A-II D
Tools used by Mistri Somnath Bhudar of PLATES VI-X
Ahmedabad, a skilled master craftsman who worked Pencil designs by Mistri Somnath Bhudar
in the first quarter of the present century. Plate II A of Panch Patti, Kall1pur, Ahmedabad, a very
shows farsi, gouges, nakhiyu, chorsu and girmit. skilled master craftsman who worked in the first
The flat chisel is used for straight carving. The quarter of the current century. These designs
gouges vary in length from 5" to 9" and 0.1" to which are all frayed, faded and torn have been
0.4/1 in width and used for round carving with the obtained from the collection preserved by his
circular blade. Nakhiyu, 6.5/1 long and 0.2" wide grandson. Plates VI and VII show various designs
has a nail-shaped blade while chorsu, a little smaller, for panels, Plate VIII for pierced screen work,
has square-shaped blade. The girmit with grooves Plate IX for a round table-top and stand-and
like a screw is used for punching. Plate II B shows Plate X for modern wall brackets having per-
small saws varying in lenb>th from 6.2" to 8.8" forated and extremely intricate designs copied
the smallest one having teeth on both the edges. from the stone monuments in and arotln:!
Kanas or marfa are very thin files, 6·2" to 7" in Ahmedabad.
length and 0.1" to 0.2" in width used for smoothen- HOUSES: FACADES-PLATER XI-XII
ing intricate carving. Shardi or drills are about 6/1
long and pana or blades of pointed chisels from PLATES XI-XII
5" to 7/1. The randho has a thin blade 0.2" wide The front facades of the houses of Shri
while the small handy katkhuno (right angle) Todarmal Chimanlal Sheth, Panchbhai-ni-Pole,

&7
68 PLATE NOTES

Gheekanta Road, Ahmedabad and Shri Bhanubhai Jagjivanbhai Patel, Jada Bhagat-ni-Pole, Dariapur
Chhaganlal Panchal, Bobadia Vaid-ni-Khadki, Ward No.2, Ahmedabad (150 years old).
Raipur Chakla, Ahmedabad, constructed about Bracketless pillar with struts and panels
200 years ago. The various parts which were supporting the beam are always tastefully orna-
ornamented show that wood carving was limited mented.
in extent on the ground fioor, but rich, elaborate MADALS-PLATES XXII-XXVIII
and intricate on the first floor and very sparce
or non-existent on the second storey. PLATES XXII-XXVIII
PILLARS-PLATES XIII-XXI
Plate XXVI: Bottom left: Madal from the
house of Shri Gautam Sarabhai, Hansol,
PLATE XIII Ahmedabad. Right: Madal from the Haveli of
The stages of evolution of the pillar from a Lakshmiram Dhaneshwer, Kaira (250 years old).
simple and crude support to the most artistic, Plate XXVII; All the madals are from
varied in shape and design, with and without Ahmedabad. These at the top are 100-150 years
bracket. The gradual increase in the ornamenta- old, while the one at bottom left is over 70 years
tion of pillar and other parts like capital, bracket, old. The madal on the right is from the house
struts, beams, etc., leading to the upper storey of Shri Gautam Sarabhai, Hansol, Ahmedabad.
show the minutest details of carving and common Plate XXVIII: Carving done on different
motifs like festooning and morli or peacock line. parts of the pilasters and above them is found in
the Haveli of Lakshmiram Dhaneshwer at Kaira
PLATES XIV-XVI about 250 years old. The brackets on the pilasters
With the extension of carving to the whole are missing at present.
shaft of the pillar, it becomes heavily ornamented, Details of carvings on madals and capitals
and is not without foreign influences in the design which are among the most ornamented parts of
of the capital and shaft. the building. Madals offered unlimited scope
to the artisan in attempting under-cutting and
PLATE XVII incision of a large variety of forms and designs.
Ornamentation in various parts of the pillar While motifs of elephants, peacocks, creepers,
and ancillary superstructures like the kanda imme- foliated designs are quite common and popular
diately below the capital, the shaft, the capital in the sculpturing of a madal, the influence of
and the abacus. Pillars are single or in pairs. seacoast is seen in madals in Plate XXIV having
The rich capitals of twin pillars supporting the imaginary marine animals carved in Porbandar
entablature in the chl)wk of a 200 year-old house about 75 years ago.
owned by Mohanlal Chunilal and others in Hari- DOORS-PLATES XXIX-XXXvn
bhakti-ni-Pole, Ahmedabad, show intricate designs
in traditional style carved on various parts. PLATES XXIX-XXXV
Plate XXXI: House No. 1296, owner : Pratap-
PLATES XVIII-XXI bhai Jagjivanbhai Patel, Dariapur Ward No.2,
Plate XX: House No. 1041-1043 at the top Ahmedabad, 150 years old.
shows a portion from the Haveli of Lakshmiram Plate XXXIV : Left: House of Shri Gautam
Dhaneshwer, Kaira, built about 250 years ago. Sarabhai, Hansol, Ahmedabad.
The photograph at the bottom shows a section Right: House No. 4/1156, Juno Darbargadh,
of house No. 284/6, owner: Panalal Umabhai Porbandar, built 300 years ago.
Sheth, near Fatasha Pole, Khadia Ward No.3, Plate XXXV: Left. House No. 1/240, Taheri
Ahmedabad, about 200 years old. Masjid, South Bandar Road, Porbandar ( 100 years
Plate XXI: Left: House No. 1075, Lwner: old ).
Lalbhai Chandulal Vasa, Totalaji-ni-Pole, Kalupur Right : House of Shri Gautam Sarabhai,
Ward No.1, Ahmedabad (150 years old). Hansol, Ahmedabad.
Right: House No. 1296, owner: Pratapbhai In traditional house architecture, the front doors
 PLATE NOTES 69

served the dual purpose of security and ornamen- Mohanlal Trikamlal, Talia-ni-Pole, Khadia Ward
tation. Strongly built with iron straps, nails and No.1, Ahmedabad. Middle: House No. 1114,
knobs, the doors are beautified with carvings owner ; Lalbhai Mohanlal Parikh, Gundi-ni-
especially of floral motifs on the borders, overlaps Pole, Kalupur Ward No.1 (built in 1921 A. D.).
with door frames and lintels, heavily ornamented. While those who can afford still go in for carving on
Among the various illustrations, Plate XXXI shows lintels, the designs of late have changed both in the
a door set in the traditional fashion with its surround- theme depicted and deteriorated workmanship.
ings, namely, otta, pillars, architraves and en- These designs, all from Ahmedabad, show at the top
tablature. Plate XXXlll gives details of the upper a'portrait, probably of the owner, in the middle god-
portion of the door in the house of Shri Gautam dess Saraswati riding a peacock, and at the bottom
Sarabhai, Hansol, Ahmedabad, and shows the various aspects of community development with
auspicious sign of kalash carved in the centre of the figure from the life of Mahatma Gandhiji in
the uttarang or lintel. By contrast, Saracenic the centre. While the ideas and design" are modern,
influence is seen in altogether different floral motifs the decerioration in the quality of carving is COD-
on the door of Mullani Haveli, Saifi MohalIo, spicuouto..
about a hundred and fifty years old, in Jamalpur FRONT AND BEAD-PLATES XL-XLIV
Ward No.1, Ahmedabad, which bears an Arabic
inscription over the lintel. Plate XXXV displays PLATE XL
simple panels with very little carving which lend A corner of the courtyard showing a doorway
grace to the doorway. with lattice work, carved pilasters, entablature and
a projecting window on the first storey of the Haveli
PLATES XXXVI-XXXVII of Lakshmiram Dhaneshwer in Kaira, said to have
Plate X XXVI : Left ; A recent specimen of contained many other pieces of beautiful wood
relief carving on doors at Ahmedabad. carving about 250 years ago.
Right : House No. 638, owner : Surpani
Lakshmishanker Shastri, Lakha Patel-ni-Pole, PLATE XLI
Khadia Ward No.3, Ahmedabad, 20r) year~ old. Reproduced from one of the volumes of the
Plate XXXVII: Doors prepared in Ahmedabad Archaeological Survey of India, is the front view
40 years ago. of the upper storey of a hou"e in Patan wher.:in
Carving on the door panels is either in relief as ever~ inch is covered with elegant and delicate wood
in Plate XXXVI or incised as in Plate XXXVII. work alternated by perforated screen work of a
LINTELS-PLATES XXXVIII-XXXIX
very high order.

PLATE XXXVIII PLATES XLII-XLIII

Top : Lakshmiram Dhaneshwer's Haveli, Kaira Architraves and beams supporting the ceiling
(250 years old). are either simple or beautified with graded carving
Bottom : House No. 1075, owner : Lalbhai as in Plate XLII, which is elaborated with festooning,
Chandulal Vasa, TotaIaji-ni-Pole, Kalupur Ward modi or elephant lines as in Plate XLJrr.
No.1, Ahmedabad ( 150 years old).
Traditional lintels with saubhagyapatta or PLATE XLIV
shobhavatu on the top and massive todlas on both House No. 11/4/325, the ancestral house of
the sides. Besides flower strings and roundels, the Mahatma Gandhiji at Porbandar, about 150 years
lintel usually bears an auspicious symbol in the old, where he was born. The picture shows details
centre, namely, Lord Ganesh, a pot, Gajalakshmi, of carving on lintel, architrave and other parts.
etc. It may also have figures of attendants and
WINDOWS-PLATES XLV-LVII
elephants as at the top and peacock at the bottom.
PLATES XLV-LIII
PLATE XXXIX Plate XL V: Top : House No. 1296, owner:
Top and bottom House No. 1114, owner: Pratapbhai Jagjivanbhai Patel, Jada Bhagat-ni-Pole,
70 PLATE NOTES

Dariapur, Ahmedabad (150 years old). railing as seen in these plates. Projections of
Bottom: House No. 802, Tankshal Haveli, Haja windows as in Plates LI and LII are sufficiently
Patel-ni-Pole, Kalupur Ward No.2, Ahmedabad. roomy for a person to sit watching the street from
Plute XLVI: Left: House No. 1296, owner: above. The railings carved either in relief with
Pratapbhai Jagjivanbhai Patel, Jada Bhagat-ni- floral or geometrical design or with lattice work
Pole, Dariapur Ward No.2, Ahmedabad (150 provide a welcome break in the plain facing of the
years old). wall.
Right: House No. 2600, owner: Madhusudan
Sarabhai Joshi, Dhuna-ni-Pole, Raipur, Khadia PLATES LlV-LV
Ward No.1, Ahmedabad (150 years old). Jalis from Patan and Kapadvanj. Windows
Plate XLVII: House No. 2476, JagvaUabh are fitted with iron bars or beautiful wooden jali
Parasnath temple, Nisha Pole, KalupurWard No.2, or lattice work. They keep out the heat without
Ahmedabad (16th century). The exterior of Jain impeding the flow of air. The jali work in wood
temples was many times built exactly like houses. is perforated and very intricate requiring a great
Plate XL VI.I : Top : Hou3e No. 1064, deal of skill in carving and joinery. The lintels,
Purshotamdas Mathurdas Trivedi. Salvi-ni-Pole, frames and todlas are carved like their counterparts
Raikhad Ward No.1, Ahmedabad ( 150 years old). on doors, while immediately below the window a
Bottom: House No. 694, owner: Himatlal small shelf is also fitted.
Amrutlal Kolsavala. Lakha Patel-ni-Pole, Khadia
Ward No.3, Ahmedabad ( 150 years cld). PLATES LVI-LVII
Plate XLIX: Top: House No. 1296, owner: Plate LVI: Top : Lakshmiram Dhaneshwer's
Pratapbhai Jagjivanbhai Patel, Jada Bhagat-ni- Haveli, Kaira (250 years old).
Pole, Dariapur Ward No.2, Ahmedabad (150 Bottom : House No. 2600, owner: Madhu-
years old). sudan Sarabhai Joshi, Dhuna-ni-Pole, Raipur,
Bottom: House No. 1763, owner: Chandra~ Khadia Ward No.1, Ahmedabad ( 150 years
kant Shankerlal Doctor, Dhobi-ni-Pole, Khadia old ).
Ward No.3, Ahmedabad (200 years old). Plate LVII : Top: House No. 1075, owner:
PlateL: Left: House No. 1296, owner: Lalbhai Chandulal Vasa, Totalaji-ni-Pole, Kalupur
Pratapbhai Jagjivanbhai Patel, Jada Bhagat-ni~ No.1, Ahmedabad (150 years old).
Pole, Dariapur Ward No.2, Ahmedabad (150 Bottom: House No. 1763, owner: Chandra-
years old). kant Shankerlal Doctor, Dhobi-ni-Pole, Khadia
Right: House No. 920, owner: Somchand Ward No.3, Ahmedabad (200 years old).
Halabhai Parikh, Kalusha-ni-Pole, Kalupur Ward Details of decorative window panels.
No.1, Ahmedabad (150 years old).
BALCONIES-PLATES LVITI-LIX
Plate LI: House No. 1/239, owner: Bansilal
Biharilal Desai, Nagarvada, Nadiad (200 years old). PLATES LVIII-LIX
Windows either built in as in Plates XLV to L Balconies provide much scope to the wood
or projecting as in Plates Ll and LII received special artist for displaying his skill. Plate LVIII shows
attention in the decoration of the first storey which at the bottom a century and a half old ornamental
is usually the most profusely carved portion of the balcony from cambay supported by four madals
building. Arranged symmetrically among floral fitted in the wall. Its close-up at the top brings
panels all round they balance the front view of the out the details of wood carving below the balcony
house. In such cases the whole of the front wall and on wall panels and madals. Plate LIX shows
is wooden. The pilasters between the windows at the top the most beautiful round balcony of
which bear the burden of the upper storey stand Vaishnava Haveli at Nadiad, while at the bottom
out with a rising creeper and mada! at the top is a polygonal jharukha from Cam bay. The six
supporting the projecting balcony or roof overhead. madals joined at the base and fanning out at the
The portion immediately below the windows is top to support the balcony present a novel feature
many a time carved in the fashion of a balcony in the designing of this balcony.
 PLATE NOTES 71

ORNAMENTATION-PLATES LX-LXXV door-frames, beams, front facades (Plates LXV,

LXVIlJ, LXIX), built in wall panels (Plates LXVI,
PLATES LX-LXI LXVII, LXXII), balconies and pilasters (Plate
Plate LX: Top: House No. 920, owner: LXX), and over doors and door panels (Plate
Somchand Halabhai Parikh, Kalusha-ni-Pole, LXXI).
Kalupur Ward No.1, Ahmedabad ( 150 years old ).
Middle : House No. 478, owners: Mohanlal, PLATES LXXII-LXXV
Chunilal, etc., Haribhakti-ni-Polc, Khadia Ward Next to the ubiquitous flower theme, birds and
No.3, Ahmedabad (200 years lId). animals are the most favourite with the carver.
Bottom : House No. 899-900, owners: Dahya- Some of the numerous characteristic and beautiful
bhai Chunilal and Rameshchandra Jivanlal Shah, poses of the parrot (Plate LXXIII) and peacock
Tokarsha-ni-PoIe, Raikhad Ward No.1, Ahmeda- (Plates LXXII, LXXIV, LXXV) employed are
bad ( 100 years old). shown here by line drawings.
Plate LXI: Top : Mullani Haveli, Saifi
MohalIo, Jamalpur Ward No.1, Ahmedabad CEILING-PLATES LXXVI-LXXVIII
(ISO years old).
PLATES LXXVI-LXXVIII
Bottom: House No. 238, owner: Bansibhai
Dahyabhai, Doshivada-ni-Pole, Kalupur Ward Plate LXXVI : Lakshmiram Dhaneshwer's
No.2, Ahmedabad (70 years old). Haveli, Kaira (250 years old).
A variety of friezes and relief carvings adopted Plate LXXVll: Top: Sabhamandap of Swami-
in the ornamentation of different parts of construc- narayan temple, Ahmedabad (early 19th century).
tive architecture. Bottom: Left: House No. 2214, Dwarkadhish
Haveli, Khadia Ward No.1, Ahmedabad (350
PLATES LXTI-LXIII years old).
Highly ornate floral tracery and screen work Right: House of Shri Gautam Sarabhai, Hansol,
on wall and door panels. The exquisitely delicate Ahmedabad.
and pierced screen work have a charm all their Though not often ornamented, ceilings, can,
own, and show the genius of the good artist who nevertheless, be beautified with flowers and geome-
could match his work with that of the stone carver trical patterns.
with equal grace and beauty.
INTERIOR-PLATE LXXIX
PLATE LXIV PLATE LXXIX
Some of the terracotta designs found in the Interior of House No. 478 belonging to Mohanlal
recently excavated Buddhist stllpa at Dev-ni-mori Chunilal and others in Haribhakti-ni-Pole, Khadia
near Shamlaji, Sabarkantha district, belonging to Ward No.3, Ahmedabad, built 200 years ago,
the Kshatrapa period, i.e., second century- A. D. showing the open chowk, covered alind or verandah,
Their resemblance to wood work establishes the and pilasters with capitals and beams supporting
antiquity of wood carving in Gujarat from which the upper storey. This interior part of the house
stone carvers and other craftsmen derived their is carved also like the outer facade.
artistic inspiration.
EXHIBITIONS-PLATE LXXX
PLATES LXV-LXXI
Specimens of designs carved in wood in tradi- PLATE LXXX
tional style later influenced by Saracenic designs 1 and 2 show sections of the screen displayed
and motifs. Their variety is truly unlimited and at the Colonial and Indian Exhibition at J~ondon
no two pieces are exactly identical, because, even in 1886, and donated by two ruling princes from
if the basic motif is similar, some individual varia- Gujarat. They contain typical carvings on
tion is introduced by the artist in each piece. Such bharanu and sharu of pillars, modal, nirvyuhakas,
relief panels and foliated designs are found on falna, architrave, mouldings and balcony railings
72 PLATE NOTES

all worked in traditional manner of form and design. the wall of the garbhadwar. The figures are about
No. 3 is the front of Bhavnagar house exhibited 16n high and about 6" broad and the niches in
by H. H. the Maharaja of Bhavnagar at the which they are carved are about 3" deep.
International Exhibition, Calcutta in 1884, and now
displayed in the Indian Museum at Calcutta. PLATES LXXXVIII·LXXXIX
Carvings in different sections of Chintamani
PIGEON HOUSES-PLA TES LXXXI·LXXXIII temple, Surat (16th century). The first photo-
graph of Plate LXXXVIII shows the niches with
PLATES LXXXI-LXXXIII pillarets and torans in the pradakshina marg,
Pigeon houses, formerly made of wood were enshrining images of Tirthankars, while the other
also beautified like houses and temples. While shows the elaborate carving and painting on the wall
the one in Plate LXXXI is an exhibition piece, of the garbhagrilta. Plate LXXXIX shows details of
the remaining two are actual specimens from a carved and painted pillar from the mandap.
Ahmedabad and Cambay. The colours most used are red and golden.

TEMPLES: GATES-PLATES LXXXIV·LXXXV WALL PANELS-PLATES XC-XCIII

PLATE LXXXIV PLATES XC-XCI

The massive gateway of Swaminarayan temple, A general view and details from the very profusely
Kalupur, Ahmedabad, built about 150 years ago, carved facade of a household shrine in the Haveli
which is 22' high and 14' wide. The wooden of Lakshmiram Dhaneshwar, Kaira, built about
doors are strengthened with iron straps, knobs 250 years ago in Kaira. The specimen no longer
and pointed nails for security, while the simple exists now, but the pictures reproduced from The
pattern also looks highly decorative. Journal of Indian Art and Industry, 1916 show the
superb quality of the work executed by wood carvers
PLATE LXXXV of Gujarat in the past.
Doorway of Utkantheshwer Mahadev temple
Kapadvanj taluka, Kaira district, showing simple, PLATE XCII
lattice work with intricate and ornamental circular From the group (;f old shrines of Jagvallabh,
disc in the middle (nineteenth century). Chintamani and Sahasrafana Parsnwanath in Nisha
Pole, Ahmedabad, built about 16th century, the
PILLARS-PLATES LXXXVI·LXXXIX wall panels of Chintamani Parshwanath printed
here depict panch kalyanaks or the five auspicious
occasions in the life of the Tirthankar.
PLATE LXXXVI
The Chintamani temple in Shahpore, Surat PLATE XCIII
built in the 16th century has excellent wood carv- The panel above the door of Shantinath temple,
ings painted all over with attractive colours. The Raja Patel-ni-Pole, Ahmedabad, built in 1390
paintings relate to mythological episodes or con- A. D., depicting the 14th dreams of auspicious
temporary incidents. The picture shows a portion objects which are seen by the mother of a Tirthankar
of the mandap near the garbhadwar with elegantly before his birth. The whore panel is 10' long
carved pillar and jali, and a series of beautiful and 9" broad. The piece, like other parts of the
paintings on the wall in the background. temple, was formerly covered with repeated coats
of paints which have now been removed so that
PLATE LXXXVII the carving has emerged in its full glory with sharp
Shantinath temple in Raja Patel·ni-Pole, Ahme- and precise lines bringing out its real beauty and
dabad, built in 1390 A. D. is another shrine with workmanship, in contrast with the vague lines
exquisite wood carving. The photograph shows blurred with paint as can be seen by a comparison
the life-like figures of wdarpals on a pilaster in with Plate LXXXVII.
 PLATE NOTES 73

MADALS-PLATES XCIV-CI SCREEN, DOMES, ETC,-PLATES CIl-OXI

PLATES XCIV-XCVIII PLATES eII-CVIl

The mandap of Suparshwanath temple, Ramji Different parts containing superb wood carving
Mandir-ni-Pole, Ahmedabad which has been re- belonging to Wadi Parshwanath temple of Patan
assembled and preserved at Shantisagar Upashraya, built in 1594 A. D., later on removed to America
Kalupur, Ahmedabad after the temple was rebuilt and on display at the Metropolitan Museum of
in stone. The mandap is 8'-5/1 square and has Art, New York, since 1916. The Plates show
four pillars 7'-8" hig~. The massive madals the screen wall (Plate ClI) of the mandap. On
shown in Plates XCV to XCVIII admeasur<: the first storey are exquisitely carved jharukhas
and panels adorned with beautiful pillars and
Length 4'-10"
torans and have mythological episodes depicted
Projection at the top 2'-3"
on the railing and panels which surround it (Plate
Thickness 1'-3/1
CIV ). The dome rests on an octagonal base
Breadth 1'-6"
mounted over the quadrangle of the walls, the
Such large madals with bold carvings, both relief corners being filled up with spandrels having
and round, are very rare. The eight madals, two floral designs, kalpataru and masks (Plate CIII).
on each pillar, contain a number of topical repre- The dome rises with successive friezes progressively
sentations such as royal procession on elephants projecting upto the top (Plate CV). The dome
with courtiers, cavalry, attendants, mUSICIans, is most profusely carved with lotus petals and animal
winged creatures, minor deities, etc. The mythical forms, while the middle section of the dome carries
bird sharabh, which carries a number of elephants large images of dikpalas, minor deities, etc., alter-
at a time-seven-on various parts of its body, viz .• nating with celestial musicians and dancing girls
wings, claws, beak, etc., is a unique object depicted in graceful poses ( Plates CVI and CVII ). While
in Plate XCVII. The figures are sometimes entwined deities are carved in deep relief in niches set in the
in a thick creeper rising from the base of the madal dome, damsels are carved round and fitted like
and winding its way to the top. The entire struc- brackets. They, therefore, represent the acme
ture is painted with oil colours and the ceiling is of the art of the wood carver who was also an
beautified with wood carving interspersed with expert in statuary.
mica.
PLATES CVIII-CIX
PLATE XCIX The dome of Shantinath temple, Haja Patel-ni-
Damsels and musicians generally carved on Pole, Ahmedabad, (built in 1390 A. D.), before
temple brackets. and after resent renovation. Erected in the
traditional manner, it is 14' in diameter and rises
PLATES C-CI 8' high. Plate CVIII shows the dome before
Madals in the sabhamandap of Swaminarayan renovation painted several times over and damaged
temple, Kalupur, Ahmedabad, built in early nine- at the top. Pictures in Plate CIX taken after its
teenth century. The pillars with their capitals, renovation and experimental assembly show the
brackets and struts are all carved profusely. The lotus shaped pendant and a view of the dome
madals which are quite large measure : from outside. The pendant is 2'-9" long, with a
circumference of 6'-6" at the base.
Length 5'-6"
Projection at the top 2'-6" PLATE CX
Thickness l'
Picture at the top shows the central panel of
Breadth 1'-3"
the dome of Shantinath temple, Ahmedabad
They contain one or two prominent figures like a (built in 1390 A. D.) with a dikpala 1 '-2" high and
warrior, Lord Ganesh and Hanuman along with 1 '-1" wide flanked by heavenly musicians 2'-8"
other minor figures and animal forms. high. The picture at the bottom shows the less

(Bk)y.3-10
 74 PLATE NOTES

profusely carved wooden dome of Chintamani The whole structure is wooden fitted on an octa-
Parshwanath temple, Ahmedabad, built in the gonal base with each ~ide measuring 9'-5" and
sixteenth century. about 3' high. The mount, which is 39'-2" in
circumference at the base, is 12'-6" high. The
PLATE CXI shrine seen in the Plate is in the middle of the
Some temple carvings. mount and measures 2' x 2'-5" and is 3'-8" high.
The mount has a number of small shrines in aU
HEAVENLY MUSICIANS AND DANCERS directions and figures of visiting pilgrims, animals,
PLATES CXlI-CXXIII heavenly dancers, etc. A contrivance in the hase
of the mountain which helped it rotate is now out
PLATES CXU-CXXIII of order. The model is painted with oil colours in
Wood sculptures of heavenly musicians, damsels, emulation of natural scenery. A similar but
minor deities, gandharvas, kinnars and mixed smaller mount is also kept in Mota Derasar, Kaira.
animal and human forms which adorn the domes
of temples. This type of rup or figure work re- BINDOLAS-PLATES CXXVI-CXXVII
presents the highest skill of the artisan right from
selection of the wood to execution of the minutest PLATES CXXVI-CXXVII
detail and finish. Daml>els in Plates CXII-CXV Hindolas or swings in which the deities are cradled
and CXVIlI-CXXI from Shantinath temple, in the Vaishnava temples in the festive season of
Ahmedabad show the wood sculptor's art at its Dolotsava are very artistic and many a time plated
highest. Every piece of wood is .selected so care- with silver and gold. Plate CXXVI shows at the top
fully that the veins therein accentuate the charm the lathe turned and lacquered hindola of a Vaish-
of the figure. Ornaments and musical instruments nava tempI.;: in Kaira and the swing with shell inlay
are realistic, the expression on the face is serene work in Natvarlalji Haveli, Ahmedabad, which
and the pose is graceful. The total height of the has a total height of 8' -9" with the sea(2'-9" square.
figures in Plates CXII-CXIV is a little over 2'-6" At the bottom are silver-plated hindolas from the
while the breadth is 10". The figures of musicians Pushtimrgiya temple at Kaira and the Swami-
and attendants in Plate CXVI have been recently narayan temple at Prantij which is about 150 years
acquired by the management of the temple from old. Plate CXXVII shows the details of the upper
Patan. With a height of about 2'-2", they vary portion of the elaborately carved and plated hindola
in breadth from 4~" to lOH. of Swaminarayan temple, Ahmedabad having a
total height of about 13' .
ARTIST'S FANCY-PLATES CXXIV-CXXV
HOUSEHOLD SHRINE8---PLATE CXXVIII
PLATE CXXIV PLATE CXXVIII
Nari-kunjar or composite elephant made of Ghar derasar or household shrines with some of
female figures kept in Ajitnath temple, Ahmedabad the Jain families are generally delicately carved in
built in the 18th century. It is mounted on a the fashion of a temple. The shrine at the left
base 5'-3" x 2'-3" and I' high, and admeasures belonging to Sheth Narottamdas Mayabhai, Haja
without the howdah, 2 '-10" in height, 3'-3 H in Patel-ni-pole, Ahmedabad, is about 300 years old.
length and 1'-5" in breadth. The howdah and It is 5'-6" high, with the front side measuring 5'
the rider together add I '-3" more to the height. and the sides 3'-8" each. Besides the elephants
The nari-kunJar is fitted with wheels as it used to be at the base and the damsels in the brackets, it has
taken out in processioll on ceremonial occasions. peacocks in 16 different postures. The several
coats of paints applied one after the other during
PLATE CXXV
this period were removed 20 years back when the
The central portion of the model of the holy shrine was freshly painted and decorated with
mount Samet Shikhar kept in the Parshwanath golden foil at the cost of Rs. 3,000. The sisam
temple, Ahmedabad, built in the 18th century. doors of the shrine were also fitted at that time.'
 PLATE NOTES 75

Another ghar derasar belonging to Shri Ramanlal MARQUETRy-PLATE CXXXIV

Chamanlal Shah, Shantinath Pole, Ahmedabad
is about two ceuturies old. Its total height is PLATE CXXXIV
7'-2" with the front side admeasuring 5'-1" and Wooden marquetry box and carved sandalwood
the sides 5'-8" each. The shrine is erected on a box for \\-hich Surat is well-known.
10" high base with a large elephant on either side
which is 1'-7" high, l' _8 n long and I' broad, the FURNITURE-PLATES CXXXV--CXLI
rider adding 8" to its height. Both the shrines
are exquisitely ornamented with floral designs. PLATE CXXXV
Carved and perforated blackwood furniture
CEREMONIAL ARTICLE8---PLATE CXXIX in foreign style like sofas, tables and teapoys be-
came very popular in the first decades of the current
PLATE CXXIX century and was manufactured by the Bombay
The sukh-sha~}a where the deity rests and the firms of cabinet makers, European as well as indi-
chariot for taking out the god in procession are genous.
the ceremonial articles in use in temples.
PLATES CXXXVI-CXXXVII
LAMP STANDS-PLATE CXXX Specimens of the famous transparent lacquer
work from Sankheda, district Baroda. Designs
PLATE CXXX hand~drawn with tin solution are covered with
Traditional lamp-stands at the top are so transparent lacquer in gold and silver tints, while
contrived that the height of the light can b.! the background is red, green or purple.
adjusted according to 'requirement. Those at the
bottom are fitted on or near door frames so that PLATES CXXXVIII-CXXXIX
by rotating them the inner room can also be lighted. Old pieces salvaged from dilapidated houses
The peg at the centre can be hung from the ceiling. are utilised in making modern pieces of furniture
by the well-to-do connoisseurs who have developed
CUPBOARDS-PLATE CXXXI a taste for traditional carving. M adals kept upright
form the pedestals of lamps (Plate CXXXVIII).
PLATE CXXXI old panels can be fitted on the back and the seat of
Cupboards with traditional and modern designs. sofa sets and an old jali window can be turned into
the top of a teapoy with brackets forming the legs
MAJUS-PATARA-PLATES CXXXII--CXXXIII (Plate CXXXIX). Covered with a glass plate it
can be lighted from below.
PLATE CXXXII
Cupboard in traditional style called tran-khania, PLATES CXL-CXLI
i.e., with three compartments from Ahmedabad. Traditional designs can also be employed in
Strong as well as decorative, it is 3'-9" high, 4'_3 H
making modern furniture. The specimens got
broad and 2' deep. prepared about 20 years b:lck by a well-to-do
person of Ahmedabad show designs on a seat,
PLATE CXXXIII teapoy and divan (Plate CXL) and a leg of
A patara or ornamental wooden chest from a dining table designed like a temple pillar and a
Bhavnagar. A traditional article of furniture on low pat (Plate CXLI).
which embossed and perforated metal strips are
fitted. Lined inside with steel sheets, it is used NOTE: Pieces shown in Plates CXXXVIII to
by villagers for storing valuables, clothes, etc., and CXLI belong to Shri Chinubhai Chimanlal Sheth,
given to a daughter at the time of marriage. Ahmedabad.
76 PLATE NUTES

DECORATIVE PANELS, WALL BRACKETS, PHOTO framed in flower panels, surmounted by toran
FRAMES. ETC.-PLATES CXLII..QXLIV designs, with shelves fitted on supports at the base.
The total length of the bracket is 3' and breadth
PLATES-CXLII-CXLIV Ii". The mainjali is l' x 1'-3" and li" thick.
The railing of the shelf contains small jali panels
Some specimens of the exquisite wood work
I" square. Plate CXLlV shows a flower basket pre-
executed by Mistri Somnath Bhudar of Ahmeda-
pared by the same artisan from a single block of
bad, who died about 1930 A. D .. at the age of
wood and two photo frames. one with the photo-
70 years. They were displayed at several interna-
graph of the artisan himself.
tional exhibitions held in the country and abroad.
Plate CXLII shows the replicas of the famolls ORNAMENTAL PIECES-PLATE CXLV
stone jalis of Lal Darwaja Mosque, Ahmedabad
with patterns of banian and cocoanut palm trees. PLATETXLV
The jali plates measure l' -2!" X Si" and are til Ornamental pieces of wood like ash-trays and
thick. The ornamental frame is 1i" broad. animal figures prepared by skilled craftsmen from
Wall brackets in Plate CXLIII contain beautifuljalis Bilimora and Vi~nagar.
TREES
PLATE I

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PLATE 11 TOOLS

Tools :-- 1. Vice; 2 & 9. Hathodi (hammer) ; 3 & 4. Shardi (drill); 5. Compass: 6 . Jambu1' ( nail puller) ;
7. Katkhllno (right angle) ; ~. Randlw (plane) ; 10. Vanslo (adze) ; - -11 . Farsi (chisel) ;
12. Karvat (saw); ! 3. Gotilo (mallet)

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 TOOLS PLATE II A

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 PLATE IIB TOOLS

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TOOLS PLATE II C

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Top: Scrapers, chisels Gild gouges: LengTh: 2.3" fa 7 _8"-Width ': 0.5" fa 0.6"
Bottom : 'T(mkmw ' ( Broad chisels) : Length : 4" to 6.4"-Width 0.2" to 0.5"
PLATE II D TOOLS

Top : Flat r hisels and scrapers : Length 2.2" to 4.6" -Width O./" to 0.25"
Bottom : Fine chisels and gOllges : Length :3.2" to 6.2"-Width : 0.1" to 0.2"
TOOLS PLATE III

.,5 . j
ri It £ a

• 7 75'•
.- 1

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Chisels and gouges of various sizes and shapes

I
PLATE IV AR1ISANS

,Waster crarj 'tsmen al ll'ork

ARTISANS PLATE V
'PLATE VI DESIGNS

4 '
I
.j

i .

Pencil Designs by Mistri Somnath Bhudar of Ahmedabad

DESIGNS PLATE VI1 '

Pencil Designs by Mistri Somnatlz Bhudar of Ahmedahad

PLATE VIll DFSIGNS

LJesi}!n lor pierced screen work hy "fistri Somnath Bhuda,.

DESIGNS PLATE IX
PLATE X DESIGNS

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Traditional carvinR adopted in modern wall hmckets by Mistri Somnath Bhudar

FACADE PLATE XI

ArchiteCTural wood ~vork in (I house at Ahmedabad aboul two centuries old

( By Courtesy : C II/ture Centre. A hmedanad M IIl1iei pal Corporatiort)
PLATE xn HO USE '

Elaborately carved facade of a house at Ahmedabad aboul two cel1(u";es old

( By Courtecy : Culflire Centre, A !zlJle!lahad Municipal Cnrpora(infl )
 PLATE XIII

'j,

Evolution of carving on pillars

 HOUSES
PLATE XIV

Pillars, round, square and fluted

PILLARS PLATE XV

.1
I
II
I

I. A pillar in Corinthian style 2-3. Fluted pilfars, circular and square

PLATE XV]
HOUSES

Pillars can't:'d ill traditional and tioral designs

 PILLARS
PLATE Xyn

/'11,.,,, Il,ul srr "lIg,hc lI ull d ht'Ul/fi(y-A u'e//-IJropOl'liollt'd ('Oll/hil/a/ioll of . hhor £flll/·. • shanl·. . (edna' IIlId
, flOI • (bealll)
PLATE xvm HOUSES

Decorative motifs on props that support the beam

PILLARS PLATE XIX

/ /

/ //
, PLATE ,XX
HO USES

Elephal1t, mOr/i, and Festooning designs carved 01/ the heam alld ' I/akash .
CAPITALS PLATE XXI
PLATE XXII HOUSES

II
i ~
"'"',( .
I ~::rt/
Madals or brackets carved in traditioTUlI style
MADALS PLATE XXIII

Madals with floral and human motifs

PLATE XXIV HOUSES

.~
MADALS Pl.ATE XXV
PL A TE XXVJ
HO USES

Va riety and elaboration in

 MADALS
PLATE xxvn

' he Orlla ll/entation of madilis

PLATE XXVIII H OUSES

-_" ,.

Old pieces ure SO prized thar their 5UI'rep(l(lOu5 remlJl'a/ is not ullcommon as seen /i'OI/1 'he hlo ct;
spots ahol'e (he pillars ill Lakshmiral/1 DJwlleshl1'er's Hareli in Kaifu
 PLATE XX IX
DOORS

Unle! IIlId door (r/l1l1 1'

PLATE XXX HOUSFS

Floral designs Oil door and linlel oj' ' utlaranga' having 'ka/ash' and Ganesh in the centre
DOORS PLATE XXX)

(n traditional style
PLATE XXXII H OUSES

S rrclI '<;tli all d decora tiull gu /lund in

hand in (J dour like this

Carved dour set up in (/ mild p/ust" red

bamhoo wall. village Mag dalla .
District Surar
D OORS
PL ATE XXXIU

-
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 PLATE XXXIV HOUSES

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DOORS
PLATE XXXV
 H OUSES
PLAT E XXXVI

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DOORS
PLATE XXXVJI

.::::
PLATE XXXVIII H OUSES

Lintels with Gunesh in the ceJ1tre

LINTELS PLATE XXXIX

Dereriomliall film has ('ome up willi modnnisation

PLATE XL

Th e, , .
1/1/11 "" ('01/1'/\'(//(
" NUl 'ell,
' / II." I the -- f I_ ( Ik ,l/lIl1irul/l 1)/ IU /w ,\I! ,,'(:'r, Ka ir(/
II.
 Fno~n
PLATE XU

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PLATE XLIl HOC;SES

Carvill g 0 /1 beam lind supports

BEAr-rs PLArE XLIII

Traditional designs 011 beams supporting the ceilings

PLATE XLIV HOUSES

Wood CWTill,!! iii TIIf' hOllst' (/1 POf'hwulllf' l\'IIt'f'~ /\1alllll(/l111I (;(/lIdlliji 11'11.\ ho/'ll
( Rlock (/1 The hollol/l by courtesy : [)ep<lf'IIIIt'1lI (If .4 rc/ltlt'%,!!Y.
C On' mIlWI1! o j C I/Jaral )
WINDOWS
PLATE XLV

Elaborfllf' (·arvin.f! IIJ}Jirh dpl"f)r{/Tf!.r ,hI' IIppe! .I'lorey

PLATE XLVI H OUSES
WL ' DOWS
PLATE XLVll
 ,
PLATE XLVIII HOUSES

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Windows with beaf(tifully carved panels around

 W l :>.'DOWS
PLATE XLIX

Windows richly carved

:c~ .... t'~ " ~ =~ ~ ~ ' ~~" 4ll!,!!~~~_"

'"
':-~ ~"/
"'"

Peacock fine and festooning helow windows

PLATE L
H OUSES
WINDOWS PLATE LI

Window projecting like a balcony

PLATE LJI HOUSES
WINI)O,¥S PLATE LII1

.fharukha or balcony That lends grace and adds to Th e I/tiliTY of the strucwre
PLATE LlV
HOUSES
WINDOWS
PLATE LV

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PLATE LVI H OUSE S

A heautijlllly curved w indol1' from (/ h() /Ise in Kaira

Floral plll1elling o n windo w from

A hmed£l/)ari
WINDOWS
PLATE LVII

Decorative panels 011 window fronts

 PLATE LVIII HOUSES

Carved balcony from

Cambay

J. Close up from below

( By courtesy : Department
oj Archaeology, Govern-
ment of Gujarat)

2. General view
HAL CONIES
PLATE LIX

Circular Iharukha of Vaishnava Haveli, Nadiad

A balcony from Cambay

PLATE LX
HOUSES

Festooning, geometrical deslRns, and floral tracery

on beams and window fronts
ORNAMENTATION
PLATE LXI

A graceful frieze

Door panel
PLATE LXll
HOUSES
ORNAMENTATION PLATE LXUJ

o_
.......
-.:::;
PLATE LXIV HOUSES

•
•

Terra-cotta designs found in the Buddhist Stupa at Dev-ni-mori. Sharnalaji, Melzsana district
which are the exact replica of those worked in wood
OH":\ ~\lE:,\ TATION PLATE LXV

Relief pOllels ill io/i(/led designs

!I
PLATE LXV]

A simple hut efjective de,\'ign

Elephanf (/'I/d Chawri bearer

Mather Goddess
OR:-.1A]\IENTATION PLATE LXVII

~3
I. Sillh LlI/.:.s/lll1i 2. G(/ja L.lI/.:.Sllllli 3 E Ie {)lwl11 (lnd cr eepers
PLATE LXVIII HOUSES

Floral scrolls
 PLATE LXIX

Peacocks (Jnd creepers

PLATE LXX HO USES

Variety in the motifs of ornamentation

OHNAlI'[ENTATI():>; PLATE LXXI
PLATE LXXII H OUSES

P eacocks (lnd p(/rrots (,(IITed ill elegallt style

 PLATE LXXlIl
ORNAMENTATION

Parro ts in dh'('rse slwpes mul fo rms

10
PLATE LXXIV
HOUSES

Pellcnck , the most fm 'ol/rite of lh e I1'nnd artiSl, in a variety of grace/fll pOSlllres

ORNAMENTATION PLATE LXXV

._
,

.~
PLATE LXXV]
H OUSES

O rnlIlIl Pliler/ ceilings

CEILING PLATE LXXVll

lI"illi gemnetrical designs

PLATE LXXVIll
HOl ' SES

Floral fre! h'm" 011 ceilinRS

I:\ Tl::R!OI\
PLATE LXX1X

Wood C an 'ill,!.! 01/ /111' il/leri nr of (/ hOI/Sf! (// A hllledilhat/

 PLATE LXXX EXIllBrrro~s

1-2. Traditio/lal Wood CWTillg in rhe SCft:t:flS

displayed at Ihe Baroda and Blwvnagar Courts
at the Colonial and Indian Exhibitiurt at
London. /886

2
;{
3. Blwl'flQgar hOIlSt: ( Wood Carvint: in Hindu
stv/e of Kathiawar) disp/ayc:d at the
International Exhibition. Calclltta. 1884

/ :/lld:!. Reproduced from ' The journal of Indian Art. 1884-86':

3. From' Indian Art at Delhi. 1903'
P IGEO:-l" HOUSE PLATE LXXXI

Pigeoll hOllse, Baroda, displayed at tire Calcutta Illternarioll(// Exhibition, 1884

( Reproduced from ' The .tournai of Indiall Art', IflM-86 )

II
PLATE LXXXI] PIGEON HOUSE

f"
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.
11~~
.
f.~

! ,:,'.> I I t-.",.iJ

Plan, section and elevation of a pigeon house at Ahmedabad

( Reproduced from ' The JOlirnal of Indian Art ', 1896)
PIGEON HOUSE PLATE LXXXIII

Pigeon house at Cambay--General view and close up

PLATE LXXXIV

-_

, T

.M assive ,!.!m e ll ·(/_\ · -",,,dded wilh iron knohs and Slraps ;/1 .';" wWl1illaraYIlII T emp/l . A Jl/ l/ cdlli1m/
( Earl, · lIilleteell1h l-enl/lrv )
 PLATE LXXXV
G ." T ES

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PLA TE LXXXVI

Flet:III1/ly "tilTed IIlId {Iuil/ted pillw' (/11t! ,W'rl:'ell I'.'ith myt/r% ,! !icul [>aillTin g a n lhe It'lIl1

0/ ( 'hilll(JIII(/lIi Temp/ p. Sural . h"ill ahout f)IP sixteenth rl'ntury

PrL LAHS
PLATE I XXXVlI

Wond \'('/t/{JII11't' (/11 {!i/mlt'r of ~II/'hhw/lt'll/,. Shl/millllill Tell/Jilt,. AJI/fledah(ld Iwilt i n 1390 A . D .
PLATE LXXXV1U TEMPLES

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 PLATE LXXXIX

Rt'lIlIfi/lIllr {"(1fTi'd lIlid painted pillar with' madals ', ' hharnll " ' sham' and ' nil'\,.t'ldlllk{I.~ ,
frnm Chinfal1lal1i Temp le, S1l/'(/(, !milt ahollt the six fe(:,lIth centlll'\'
PLATE XC T E:\ l PLES

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WALL PANELS PLATE XCI
PLATE XCU T EMPLES

Wall panels depicting episodes from [he life of Tirt hankars Chiwwrluni
Parasnath Temple. Ahmedabad. built about the sixteenth centllry
WALL PANELS
PLATE XClll

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PLATE XCIV TEMPLES

Woodell Mandap of SlIparshvanath Temple. reassembled and preserved at Shantisagar

U pashraya. A hfl/edabad . after the Tonp/e was rebuilt in stone
Mal/dap- 8' -5" square: Height of pillars- 7' -2t"
MADALS PLATE XCV

Madals beal/tified with cal"l ·in~ of hI/mali figures , animals and birds
Rif,!ht : From Plate XCIV
PLATE XCVI
TE\IPL ES

/)I'/Ili/', of 1"'0 I//odo/., /rol'i PllIlt' XCIV .Ih(lll · ill~' roy{/I {}/,()(,l'.I,'.io!/ 1\';11, (', 'lIl' l i£'/'\
IIIII.I';('iol/.\', iI/fI'Ilc/(/lIls. !I/if/or deities, etc.
!_el U.! llJ of !//(frlul -·./'-111": Projection 'If IiiI' lOll -"-. ~)"

Tllic /.:.ne.ls 1'-3": Rreodlh /' _(in

 MADALS
PLATE XCVII

One ,)/ Ihe lIIussi\'(' II/uda/s frolll I'/{I(e XCIV hlll'ill /.! inta alia ,II(' lIlythiclil hinl callell
Sharab h ' which carrit's <I Illlllll>er ,,; 1'it'(JhIll1lS II' <I rim,

I '
PLATE XCVIII T E 1Vf P L ES

Details of another madal from Plate XCIV

MAOALS PLATE XCIX
PLATE C T E ?\l PLES

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MADALS PLATE CI

Madals with HI/Il/InIGIl lllld hlllllan figures in SW(llllillurllyml Temple , A hmRdabad

( Early nint'tf't'nrh ( 'emllt\' )
PLATE ell TLf',lPII::S
 PLATE ellr

Spandrel ill a corner of dame. Wadi Puru.Wlluh TempiI' of Pat(1/1

(Plates CIl and CIII--8y courtesy of The MetropoiiwlI Museum of Art. New York;
Cift of Robert W. lind LOckl\ood de Fores(. 1916 )
PLATE elY
TE.'IIPLES

FX(/lIisire/I' ('<In 'ed j/il/I'/Ik1Il1 , Weldi /J elr({.I'I/<lr/i Telllflh' of /Ji/(1II 1

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DO,\fES
PLATE CY

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PLATE CVl TDIPL ES

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D OMES PLATE CVll

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ANAHILAPATTA;\A ' CARVED WGJ DEN CE:Li'~G pAR SVANATHA ,

Line drawing lind PIIII/ of Pltlle CV I

(Reproduced from 'Al'ch'ileclllrai AII/iquirie.\' of Norrht'1'Il Gfljara( /Iv Bfl.l'ge.\'s alld CO llsem , 'Y(3 )
PLATE CVlll
T E \ll' L ES

DOll1e of Slwnri/l(l/h T ell/pIe, AIIIIlI'd.:lbad , hefOJ'e ir )!'{/s tiislI/(/llr/ed fOI In/OIY/lion

(By court~sy of rhe 1Il(1 l1agelll ent of rhe l ell1 p /(' )
 PLATE ClX

D OMES

1)01111' of S}/(/!1{i/l{/[h Tt'llIpk, Airmedahar/, afler ,Ill" ex[>erilllt'IIW/ ll,\'St'llIhly lIlIll rt'lIo\'lI1ioll.
(I) LOlliS shaf1ed pendi/l1 1 (2 ) Outside !'if''''
 PLATE ex
TEMPLES

Dikpa/a and celestial 11I1lSfC{(IIIS ,

Shantinath Temple. Ahmedabad

Dome of Chintamani Parshwanath Temple,

Ahmedabad (about sixteenth ceNtury)
DO}.{ES PLATE eXI
PL ATE e XII T .cMPLE S

A celestial damsel, charming, graceful and serene in the dome of Shantinath Temple, Ahmedabad
H EAVEYLY M USICL\NS AND D AKCERS
PLAT E CXIIl

Vina player. S /z(/I/fina th Temple. A hmedabad

PLATE CX IV T E:\J1'L ES
H EAVENLY T\1USICIA NS .-\ N D D ANCER S
PLATE CXV

Dalllseis with /IIllsical illstru/ll ellts clI/Ted ill c!wrtlClerisfic poses

PLATE CXVI T EMPLES
H EAVENLY .M USICIANS AND DANCE~S PLATE CXVII

Apsaras, musicians. dancers, etc., from temples

PLATE CXVlll
TEMPLES

Celeslhd dancer. Shantinath Temp/e, Ahmedabad

H EAVE NLY Mt:S IClr\~S c\'\1l DA:-..rCERS PLATE CXIX

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PLATE CXX
 H lc \VE:>.:I,Y M lJ S1CL"-.;rS A:>':1l DA"cEH s PLATE CXXJ

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PLATE CXXII TE~lPLES

MilloI' deir_\' and !S(/fldlwrvas. killfwrs (llId mixed

(By courtesy The Metropoli{(I/l MIIS C I/Ill of Art. N ew York ; Gift 0/
 H CAVE " LY Ml' SI(;TAX S AXll D .-\XC ER S PLATE CXXIIl

(/ I/il/l{// alld /)1111/(/1/ forms. Wadi Pari/Sllallz Telllple. P(I/(/I/

R overt W . (ll1d LnrJ.;, ll' o oc/ d e F o rest . 19/6 )
PLATE CXXIV
TE:-[f'I.ES

. Naf'i-KlIl1j(/f" or cOII/po.vile e!('plum! JJ/.alit' of fpl/w)t' figllres. Ajilllath Tel/lf'It'. Alil/letla/>(II/

(Eighteenth century)
 PLATE CXXV

A Irnnd artist's collception uf the }wl_\" shrine Of! Salllet Sh'ikhar hill. P(/r.l'hw({f!ath Tl.'lIIple. Ahllledabad
(Eighteenth cellfury)
PLATE CXXVI
T E.\II' LE5

Hilli/O/iiS or slI' illgs Ihill crlld/e IIie dl'itl' ill VlIisilllll\'(/ T ('/lII)/e. EXlfllisilely (,(// "I (:' d,
 Hl:'\J)OLAS PLATE ex XVII

l iz !:'." (/fe eiThef TIII"l1l' d. ill/aid Of p/({Ted \I'iTh si/I'ef Ulld gold
PLATE CXXVIIl HO US EHOL D SIiHI:;\IES-
 PLATE CXXIX
CUU;:\ lO"IAL AHTICLES

, Suk h-:>hniya ' \I,here IIII:' dl!ilY resl,\' : Bottom ProcessiOllil1 chariot
Top
1i
PLATE CXXX L AMP STAN DS

I
I "
i "'I
. ,•

T op: Lamp stands Centre : Han ging Peg Bollom : W(i/l lamps
CUPBOARDS
PLATE CXXXI

Wall cupboard with relief carvings

Lower portion of a cupboard made of

sisam or blackwood
 MAJUS
PLATE CXXXII
P ATARA PLA TE CXXXrH
PLATE CXXXIV M ARQUETRY

T op M{/f(/lletry box: Bottom : C an'ed s{/fU/a/\\'ood box

( Rot II from Sur{/{ )
FllR,\,ITURE
PL\TE CXXXV
PLATE CXXXVI FUIL~ITURE

Top : Beds/end: Bottom : Crudle Trallsparelll lacquer work

F UHNITURE
PLATE CXXXVll

.M odern lise in chairs

of Silllkhedli. Baroda district

PLATE CXXXVIIJ
FURNITUHE

Lamps

T raditional carving put to

 FUIlNITURE PLATE CXXXIX

Decorative chest

Centre Sofa Bottom Tcapoy

modern lise in furniture
 PLATE CXL
F U H:\'lTI ,HE

Moderfl fflrfliture
 F U H" IT OH£
PLA TE CX Ll

r
i

nlr l'l!d 1/1 fmdifinf1al stvle

PLATE CXLII
DECOR-\T[VE PA:\'ELS AXil W _\I.L Bu _-\ cKErs

The [([I/IOIIS slone wini/oll 's ( perforuted ) of Sidi S(/intd's Mosqlle. A iIlllet/(/b(/cI reprt )dllced in wood

( By courtesy
By MISTIU SO~I"ATH BHuDAR
PLA TE CXLlll

Wull bmckelS richly carved und perforated

(Early twentieth century)

Slil'i .I(/l/IlIad(/s Poncholi , A /lIllcdo!Jad )

PLATE CXLlV PlHrr()FHA~LES , LTC.

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 01{:'\ \\ 11-:'\"1" \[ . PI ECES
PLATE CXLV

01'1lamenta/ piecl?s

19
 STATEMENTS

(Uk) Y-3 -1
 STATEMENTS

The information regarding buildings and furniture and other articles with wood carving presented in
Statements 1 and II has been collected by inquiry made through local bodies like municipalities. nagar and
gram panchayats. Details of distinctive specimens of wood carving were called for in prescribed proformas
and the information which was received was scrutinised, and compiled after obtaining further details by back
references, wherever necessary. In the case of Ahmedabad City, the collection of data was doubly difficult
beca use of the large size of the city and the enormous number of houses having wood carving. The information
for that city had, therefore, to be collected by deputing special investigators from the Census Organisation,
the inquiry being limited to the oldest sections of the city formerly enclosed by the fort-wall.
Statement I presents thc information about cities/towns/villages arranged accordi.ng to their Census
location code numbers. It gives the details about the owner of the house, location, approximate age, parti-
culars as to whethcr the structure is a dwelling house or temple, the portion thereof containing wood carving
and a brief description of the nature of carving done. Statement II gives these details in respect of furniture
and other articles like sofa sets, cupboards, chariots, swings. thrones for deities. objects of household use or
religious worship and ceremonial rites. It cannot be claimed that these statements are fully exhaustive and
complete. Nor do they cover all the places where notable specimens of carving are to be found. Instances
wen. not few where nil reports wcre originally received as in a place like Sidhpur, where good specimens were
subsequently reported after their existence was pointed out. Moreover, whether a structure is worth reporting
or not cannot but depend on what the reporter thinks about it, and to that extent the entries given in the
statements reflect the subjective view of the person listing it. Looking to the sizable material gathered they
may be considered to be representative enough to give a fair idea of the extent and quality of wood sculpture
in the various districts of Gujarat. They cover a total number of 53 centres and relate to 1982 houses.
Furniture and other articles are reported from 89 households and places of worship. To these may be added
61 more centres which stated after necessary inquiry that no specimens worth reporting were in existence.
 STATEMENT I
Buildings with Wood Carving
Approxi·
mate age
of build· Type Portion of building Brief description of
Sl. Census household No. ing in of containing wood nature of 'wood
~o. Owner and location years building carving carving

1 2 3 4 5 6 7

JAMNAGAR DISTRICT

JAMNAGAl~ (TALuKA : JAl<L.'UGAR)

Sub·Regiskar's Lal-bungalow 51 Ollice Doors, \vjndo,\vs, balcony, Flower-creepers, human

Office (built in railing, Hgures, eIBphant,~ horses,
1913) monkeys, creepers, flo'wers,
parrots, butta, zumaru
2 Hatanbai Masjid Ratanbai Masjid W :\Iasjid Doors, ventilators Flower-creepers. ornamental
carving
3 Palace of H. H. Jam Bungalow 30 Hesidence Gall('ry Creepers, ducks
1,1", Maharaja of
Jamnagar
4 Tower J\fasjid Below J\Iandvi tower 60 :l\Iasjid Doors, \vindo"\vs Oblong-flowers, creepers
J l{,anLilal Vyas Xear Bhidblmnjan 43 ltesidence DiniI}g~"l'OOm Minnt,e oarving of creepers
Dhaliya

6 Jain Derasar Jain Derasar, 3.5 Ji:l..in Temple DoorR, balcony railings Flowor-creepers
Chandi Bazaar
7 Moti Haveli l\foti Haveli 50 Temple Doors, pillars Head of animals, design
8 Haveli Mandil' Havelinun l\Ittndir 200 Temple Door-frames, pillars; Flower-creepers, flower-butta
Vrjbhushan balcony
Maharaj
9 Girdharinu :Maudir Girdharinu Mandir 1;;0 Temple Door-frames, ceiling of Flower-creepers, flower-butta
door~fralnes
adsar
10 Vasantray He- Oza no DehIo 200 Residence Beams of imler and outer Flower-creepers, image of
mantray Oza rooms, capital of pillars Ganpati

11 ~fakim Somchand Makim Vadi 250 Residence Beams of door-frames, Flower-creepers, human
Kacharabhai shelf wi('h heads of horses, figures, flower creepers
upper portion of the with pitcher
pillar.
12 ~Iulchand Par· A~~nda Bavana 3.50 Shelf with horse heads, Flower-creepers, human
shotam Maheta Chakla, opp. Vaju end" of beams (whole figures, parrots, alligator,
Kandoino Dehla building i9 nearly full of and other beautiful pic-
(Bharanino Dehlo) ornament-al wood carving) tures, orname-ntal carving
todi on shelves and todi

RAJKOT DISTRICT

VINCHHIA ( TALuKA : JASDAN)

I Shri Jain Shve· D"rasil-r 100 Jain Temple Inner portion Human fignres, animals
tamber Murt-i-
PujakSangh
2 Shri Swadhyay Vishram Chowk 20 Temple Inner portion Human fignres, animals
Mandir
3 Shri Gram Pan- Po,l1chayat, Villchhi- 100 Omce Doors, 'windQ'\v8 Flower-creepers, anhnals,
chayat ya birds

'rAXKARA( TALUlu : ~I()lWI)

4 Rhagat :\fanji 108/A, 281, 338/3 7i; Templo Door8~ etc. Flower·creepel'S, anjlnals
I~"ramshi Shri Laxlninara-
yu,n ~Iandir, Tn,n-
kara
6

STATEMENT I-contd.

Buildings with Wood Carvinl

Approxi-
mat,e age
ofhuild- Typ" Portion of building Hri"r de.cription of
SI. Census hou .. ehold Xo. jug iu of eOllt.aining \\ ooLl 11ft ture of -w(_~od
No. <l,nd lociltioll year .... hnildinu: carvin~ carving

4 6 7

SURENDRANAGAR DISTRICT
MULl (TAL1:K_\ : l\IULl)

S,vlllninarayaJl 51:!, Lilnb<\di. Pa !I(, TemplE" Pillars UL"ualnental

Mandir
2 ~olnchand Bhnd,ll'- "113, :\hli P" 6,. Rn;-;idenoe Lower paet of gaHe!·.)!
hhai
3 Jain ~~P<-tR<\r.;-l 4/20/1, "'''pani PH 7,) JailJ. Ch\Uer.v HUn'1HIl figlll'(':S' faci:?'~,
:rt.IOll<-l~t,el·.\- elepJ"'"tR
4 Ke~llbha Dhirubhn 4i 2O/2, Kilkadiy" PH 60 RR.;;id.~n("E" Galler.,· HUnl<lH fHCP::-, desjgn

DHRA~GADHRA (TAY,UKA : DRRAi'iGADHRA)

5 Sookh Vila~ l:':'a.il,,-ay Dp.sign

6 Taluka Shal" Kot- Lattj('e~ railing Desigll
har
7 SWRlninarayanMan- ltailings .. archeioi
dir

HALYAD ('l'ALUKA: HALVAlJ)

R Shri Maharaja Saheb .Tuno Rajlllahel (00 .Tuno Raj.

of Dhrangadhra. mahel
Shri llfa.yurdllvaj-
Sinhji; Shri Ghansh-
yamKinhji

BHAVNAGAR ~DISTRIC'f

BHAVNAGAR (TAI,UKA : HHAVi'i"UAR)

Bahulal Premji 1/2/193/2, 1'\ear 80 Hesiden.('e Animal~, ftower-crt-fjperfl

Congress Offine,
Diwan Par" Road
2 Divynkant Kanftiya· ;">/1/35;', Diwan Para lOll i{.esidE'nee Anil11H Is. flo\n·r .. ('reeperz..
la.J Vaidya Road
3 Vijayku1ual' Govin- ;'/3/377-4. Vora 70 Residenee Ani 'naIs, flo\vcr-creeptora
dji BazHsr. MallisI'
Sheri.
4 Laxmilal Maganlal 6/1/48, Havoliw,tli Door;:;. -wind(Hv,.... vf'randah. Plower-crt-'(·pe'·.... , 3-llinla.la.
Vorn Sheri. Dehlo, l'\ear cho,d..: bird1'l. hllnl~n figUl'~;-; .
Hachubhai DHdh·
\vala
" Ruhitn,y Bha~kar­ 8/2/32. Aveda Rheri, I()(I f:{,e~idprwe Facadf-_'. dot)J··fnulles. arcll. Flo\\'er'('l't:_'eper:-o
ray Mehta Near 'Vater PORt balcon:,-"

6 Champakla) Amicha 8/1/43, Lathiano 9,. H,eRid011cC' FnCHd(~. dOOl'-frnnH:' ..... ft 1'('] 1 i\llirYlR1:-:, flowf'r-('l'f'E"PE'[,;'~
nd Dehlo Inunan figul'{>;.o
7 l\Juljihlm i Harj ivin- 9/1/63, Iudra-8hu· 11)(, Residence F«CI:\dt·, door."",", door- AnilnA 1;4:. floWpr-(·ffept"r.J.
d". van Opp. Barton framps. chowk human fignr"~
Librflr~1, Diwftn
Para Road
8 N.Hivcd\raklUTIaT V'id~ 9/1/1/66, Hari. 10(1 l . . £te.tdt·. do()r~. d()(,r-fran,e~. .Aninltl1:-'t Rowor-(:rf'tepf'C'ii~
yutra~" DeRal Bhnvall, Opp. Bar. pllOWk Ill.llllilll figure~
ton I..4ibl'ary, Di,\~an
Para Hoad
Dr. P,'"vinhhai Oza 9/ I /2'-;:1, ~"al' Con· HO
greS:4 0Ili(,8. Di\van
Para Road
10 Tallsl1kh),,) Chunilal n/l/2.)"], Near COli-
~re~~ Ofll("E'. Di\rau
p,,,,,,
Road
 7

ST A TEMENT I-contd.
Buildings with Wood Carving
Appl'oxi-_
mate age
of build- Type Port.ion Olf building Brief clflRcript.ioll of
81. Census household ~o. ing in Olf containing wood nature of wood
No. Owner and lo~ation years building carving eal'vjl]g

2 3 7

BHAVNAGAR DISTRICT-nJldd.

]I s. V. De~nj ;\Llhalaxmi XiVHH, Faeade, dooI'.fralnes, arch _-\_I.1inlal~, nO\vel'-cl'eeper~,

Dh\Tan Para Road human figures
12 I,:tlbhai Hamkrishnn Khal' gate ~ll' ~hop Flower-crtwl'ers
.-\('ha)'y"
1 :~ "hantilnl l\Iotilal Bhuga 1."al<1o, Lal~(:H' 201) Telnple and Door-fralne~, doors, balcony Flu\\·el'-crt~f-\pel'~, ~) niJn-als,
Havano l\[ath re:.;;;idftllCC human figureR
J-l l\ia!!"nlal Xan~ hha i Xcar Kala-nal .. tj:; }{eHidence Fi'l,ca.dp, door-frRlneH Flo"ver-cre{~pel's. decorative
arch
I.:; \'. C ..Mehta Xagar Pole ] 10 R".idencA Fnctl:ch', dool'-fralneA _-\_nilnal:..;, flower-cree-perF;

Jt) H.H.tll') ::\faharaju DarbtU' Gadh, &-\nllm 17.j 01lices, shops _-\reh F'lO\VE>l'-c)"t_·Apel'S
of Blu-lvnag-ar Chowk
17 \Ve::.;tprn Railway Bbavnagur City Station Doors, pillal'~, stOI'AY Flo\vel'-cref}pf'l'~, human
~tation ResPl'vatioll figl1l'Ps, allilTIal:-:
Offi""
(lHOGHO (MAHAL : GHOGHO)

DhHllprasad 793, l\Ioti Bajarna· ].}I} Re~idence Capit.<-tls of pinal'~

,inhprasad nake
HI Pil'bax l\Iosambhai 1174, ::\Iokawado 400 He"idence Capituls of pillars Creepem, flowers. pu rrot
2.) _-\mritrai Chandra- J,j.'f), Xagarwada 201) R,,"iuence Pillars, doors, dool'-fralnes Creeper!";, flo"\\oTer-el'eeperR
prasad Desai
21 Hn_rki~h1\ndaR Ma- IMl4, Neal' Hatke- 20U H,esideneo Capitnls of pille I'll, ~upportH, CreeperR, hUIllan figures,
l!anlulMehta shwcr ::\Iandir railing elephant., peacock

STHOH ( TALuKA : STHOR)

22 ::\lchtn llalvantray I, Paldivali Sheri I.}O Residence \Vindow, beam, pillm'~
Bhagvandas l\luni-chuwk
:!:~ DRrbar Gadh 4, Darba)' Gadb :?I)I} Hesidence 'Va.)), ,,·iadow, hew,In, piJ1ar.'i Flo,,·el'-(.'ret-~p€>l',"'.human
figures, othol' Ininut.e cRrving
l\IAHUVA (TALUKA : MAHLYA)

24 :-3hriIna,ti Kalnla,ben 1 ii>22.:!, Dhavdi ,,1) He8idenee Door, (1oor-fl'an1cl"i };"'lo"vpr-Cl'eepel'S

Devidas Chowk
25 ~wulllillarayaD rrem_ 3/229, "akha,··ne- 00 Temple Railing, pillars Horse, bulls, etc.
pIe Zampe (Built in
HJ04 _-\.D.)
:!ti ~hri ::\Iahuvtl 3/313, Haveli She)'; 0)1) Temple Door-frames, pillars Flower·creepers
Dwarka Xathji·ni
Haveli
27 Havdi :\Iandir :3/313·1, Haveli Road it) Temple Balcony, railing, lattice, HOl'He, hUlnan figureR
(Built pillars
in 189.5
A.D.)
2>l :\I"gar 8heth Hal'ilal 3/314, Havnli Boad 7.) Rosidence Door-fl·anlCS, pillars, long
),Iondas (Built balcony, railings
in 18!JU
A.D.)

29 Ill!.-th Hal'ilal :110- :J/47.i, H ... veJi She,·i t}f) J::esit]ellce D •.)ol', round la.t,tice Flower·creepers
hlln(t:l,S

TALAJA (TALLKA : TALAJA)

3.) Amiehand Vardha- \197, RO,1ntekari :.\Iain gat.e of the building
Blan I{,o . .ld
31 Soni Jeram Karsan II),i7, :\leal' :lIItI'kot 'lain ~ate of thl.] buildins;! G-anapat.i, chain design.
:\Iogul cOl'ving
 8
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Port,ion of building Brief description of
81. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving oarving

1 2 3 4 5 6 7

AMRELI DISTRICT

Aj\!RELI (TALtTKA: AMRELI)

Maganlal Prabhu· 4fi5/1, .J<1il Road, 37 Residence Pillar" of balcony, etc.

nas Varaipa W'ard (Built in
1927)
2 Kaba Hansraj Ad- 537, .Jail Road, 39 Residence Pillars of balcony, etc.
ministrator: 13ai Val.'aipa Ward (Built in
Ramkunwar 1925)
3 Shri Goswami 689/25. Haveli. rremplc Lattice of doors
Maharaj Vaghesh- Yaraipa "Vard
lalji

BAGASARA (TAT"UKA: KU"KAVAV-VADIA)

4 Durlabhdas Bhag- 1/263, Shivaji'Chowk 50 R,esidonce Doors, small pillars, beam Flower-creepers
wa,nji supports, balcon~-
5 ,Tanza Amarshi 1/399, Vanza Vad 100 Residence Front portion Human figures, animals
Devshi
6 Odhavji Virchand 1/551, Kachaliya 50 Residencfl Front portion Flower-creepers
Sheri
7 Rabiyabai Isabhai 1/630, Hospital 6r) Residence Windows, small pillars, Flower-creeporR
Road beam supports, balcony
S Arnarba 13haya- 1/640, Shivaji Chowk 50 Residence Small pillars, beam supports }i'lower·creeper~
vala (guest-house)

9Odhavjilalji Laxmi. 2/128, Haveli Sheri 5U TempI" Front portion Flower-creepere

lalji
10 lIrahant Keshavdas 2/241, Opp. bank 300 Temple Small pillars, tibda Flower-creepers, human
Asharam of the river figures, 3nimals
11 Bhagwanbhai Virji- 2/517, Vanza Vad 100 Residence Doors, small pillars, beam Flower-creepers
bhai supports, balcony
12 Mohan Mangalji 4/30, Opp. Sathwara 40 Residence Balcony Flower-creepers
Chora
13 Modi Prabhudas 4/31, Opp. Sathwara 100 Hesidence Small pillars Flower-creepers
ViTji Oho-ra

It Devchandbhai Pra- 4/284, Dangli Chowk 100 Residence Balcon~- Flower-creepers

gjibhai
15 Ravat.vala Amara- 4/531, Juni Post 200 Reside11ce Small pillars
vala Office
16 Narbheram Dhag- 4(568, Bazaar (,howk 64 Shop Small pillars, balcony :Flo\vcr-creepers, human
wanji figures, animals
17 Nannbhai Nanavati 4/624, Dalapir Gali 64 Hesidenee Small pillars, balcony Flower-creepers, human
figures, animals
18 Umeduhand Kapur- 4, Juni Post Office 64 Resid,mce Small pillars, balcony Flowcr+creepers, hurna n
chand figures, Hl1inU-ll~

LATHI (T ALeliA , LATH')

If) Lathi Nagar Pan- 2, Chavllnd Gali lUll Oili('p on \Vindo\vs, balcony, gallery F]owor-creepC'rs. ornamental
ch,,~'at, lifo in gll tC' eurving
 STATEMENT I-contd.
Building with Wood Carving
Approxi-
mate age
or build- 'rype Portion of building Brief deooription of
S1. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

1 2 3 4 5 6 7

AMRELI DISTRICT-contd.
RAJULA (TALUKA: RAJULA)

20 I3abubhai Nagar. 18/A, Sanghavi 60 Shop Balcony Tigers, elephants

das Chowk
21 Babubhai Nagar. 18/B, Sanghavi 60 Shop Balcony Tigers, elephants
das Chowk
22 Shamji Mnlji Sara. 266, Mochi Bazaar 50 Shop Balcony Tigers, elephants, parrots
niya
23 Hargovinddas Dur· 3 l 8/A. Hargovind 70 Residence Balcony, eaves Elephants, human figures
labhdas Vora Jasrajvala creepers
Khanche
24 Gordhan Kalyan 513/6, Sanghavi 50 Shop Balcony Elephants
Chowk

25 Durlabhadas Mak. 551/A, Mahuva Road 60 Residence Pi lIars, tibda Flower-creepers, leaves
andas
26 Tapidas Manmo· 551/B, Mahnva Road 60 Residence Pillars, tibda Flower·creepers, leaves
handas
27 N andlal Vashram 551/8, Mahuva Road 60 Residence Pillars, tibda Flower·creepers, leaves
28 Haveli 570, HavAli Chowk 50 Templc Balcony, inner portion Shehnai players, human
figures .
29 Andarji Vanmali 1386, Moehi Bazaar 60 Shop Balcony Tigers, human figures

lUNAGADH DISTRICT
JUNAGADH (TALUKA : JUNAOADH)

Ohit,ranjan Rugnath 0/3/462/7, Panch 160 Residence Windows, shelf Creepers, design
Raja Hatdi Opp. Daba
Road
2 Chitranjan Rugnath 0/3/46 2 /7, Near 100 Shop Doors, windows, balcony Creepers, design
Raja Dhal Road
3 N avinc handra D-8f28, Magnath 160 Rcsiden<1" Windows Creepers, design
Ohandulal Diwan Road
4 Rajnikant Harsha' D.6/440/1, Magnath 150 Temple Doors, windows Creepers, design
dray Vaishnav Road, Nichi Bari

MENDARDA (TALUKA : MENDARDA)

5 Uendarda Uiddle 18, On the bank of 100 School Door.frame, pillars Lion, horse, elephant, tiger
School Madhnvanti river human figures

MANGROL (TALuKA : MANOROL)

6 Lodhaviani Deli 2/4-, Verai Faliya 100 Residence Window_ Flower-creepers
7 Amirmiyan Bada- Saiyad Vada Badi 100 Residence Balcony Flower-creepers
miyan Medi
PORBANDAl:{ (TALUKA: PORBANDAR)
8 Jethva Harisinh 1(233, South Bandar 100 Residence Balcony Flower·creepers, design
Gajabhai Road
9 Building of Bhoi 1/235, South 100 Residence Balcony Flowers
caste Bandar Road
10 Daudi Vora Masjid 1/240, South 100 Masjid Doors Flower-pots, creepers
Bandar Road
II Vohra Samsuddiu 1/242. SouLh 60 Residence Balcony Varieties of designs
Mahamadali Bandar Road
12 Trustees of Shri 1/245, South 100 Residence Balcony Flower-creepers, design
Rajabali Mah,,· Bandar BOlld
madali

(Bk) Y-3-2
}O

STATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build- Type Portion of buildillg lirier descriptio" of
;31. Census household ~o. ing in of containing wood nature of wood
~o. Owner ,,"d lucation years building carving carving

3 4 i5 6 7

JUNAGADH DISTRICT-contd.
POl~BAXDAH. (TALlTKA : PORBA,..-nAR)-CQntd.

13 \"'"ohrH ~--\._Rgarit]i 1/246, South 00 ltosidenco Balcony b"'~o'vc_r-oreopel'f!, design

:H.thamadali and Bandar Road
Yu>,ufali slalla-
mada]j
14 Vohra .'\i>,hdhuH"n 1/249, HOllth 60 Residence Doo1'8
Hajiall Bandar Road
IJ Vohra '\fuollji Mum- 1/2JO, South 100 Hesidenco Door.." balcony Flowor-potH, flower-creepers
adbhai Balld"r Road
16 Vohra ¥u . . . llfnIJ ] !2.j2, South 100 J{e~iden(:e Balcony De!-;lgn~
M~haln~l(tlli Rnnnar Hoad
Ii Vohra 8nllunlddin 1/2.)3, Houth 12;; Residence J3alcony Fl(rwt"I'''(·I'('(>p('r~. ITf':-:igll
1\IIula HasaHali Ad· H,lnd"r Road
1111uistratol', H.uja#
hali I3haijibhai

IS \"'0 h l'fl, Yuoufali 1/21;;;, South 12.) H,t'sidf'nCfl Balcony

Nurbh,,i Bandn!' Hond
II) Voht°a, (}uLuuhu ... ell l ;2:>7. 801lth 12.; H.o-.;idnnco B.deouy, ,)il,.ns Flowor-creept:H"s, design
:'Ilahumudali Jivltj' Bandar Road
:lU \'rijlal Liladhar 1/ .• 46, Oza l?aliy" lUO n"sidenee HorRe slHlped pegs De~iglls
21 JChnl"va 'Sill',Lll Kala 1/;}50. Bund".!' 100 Rf'lsidence ~,oor-fI'<ll1le }.. . ]o,,,·(")'s, ol'nalnelttal arch
I:toad, Hhatiya
Bazaar
22 Hhat.iyu J'(I,lnna(lH~ 1/.,:>1, 13 unda r HOH..d 100 Re~idence Door-frcune :Flowol'S
Trik<11nil_;\s

23 \'ohra YIl"ufali 1/001. SOllt.h Ilo ROHid{~J}.Df' Ha..lcOll,v F'ower-pot.~, flowcr-c>reeperR

]'lusaji DO:-iaji BundaI' Road.
\'ohrl1 Vad
:H Vohr" Taiyabali 1/IlU4, South lUO ll.(~~irleJlce Balcony FlowerR, de8i~n
lsmlliji BundaI' Boac!
~5 Building of Vohra IJ605. South 100 i'lchool Doors Flo'\\"er-creepers, delSign
Cast." BundHr RORd
26 ..._\_lirHhenllt l l l{."t.hod 1/H.38, Rathod 100 Residence Door-frame Pen 00ek, ornanlont,aJ arch
Jfaliyun
21 Pl'anj i v;-"1uda K H:al'ji. I/S:?4. X"Q"llr V<Hh 100 f{.f'lsioE'HCe Door-fl'H!lle Plower-creepers
",lnGn R

:!8 F~h<\g"V<lllj i I'rag-ji :!/4.'. Hhativa 100 He~i(lf1n(~H Door·frame Pnnnovk, fIOW(~l"('l'Cepp,]'H
Gheowctl", Haz:aar, .Tnga-
nnathj ini Sheri
29 J. . uhallH, }[;Llwjun :2/77, BundaI' Road, 7.) Lihrary Ba]cony Vftri('tip.s of designs, crocodile
\ . . ::Illdi ~Toa,r Kamnat.h
}Iah"dev
:lO Slll'j (}oviuord ij i :?/331l. Shl'i Gopi- 1.30 Tf"111ple 13a Ir;on,\r, pill[\l'~
J{1l1H~hhodr'il,\~j i Jlat.hjilli Hnv~li
}fHhnraj
:ll 1{n,l' .... :tlHln:-.> /-{i"<l- :!/:l3:l, Virjibhai tal< -tS lte~id("n('f' IJoors
l'hall(l (Built in
HllG A.D.)
32 l"'alI1}}lag.~~.I('Jl;III(1 :!/flI 7, Senl' Gop;- 1,,0 Rm~idtJnp(· Dour- £1'/l1110
:\1A dallji Ihlthjini Hayoli
 11
ST ATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build· Typtl. Portion of building Brief description of
Sl. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
2 4 5 7

JUNAGADH DISTRICT-concld.
POHBA~OAi{ {TALuKi: PORBANDAR )·concld.

:13 ~rag~nlal Kftnji 2/742, Kasturba 100 H.esideneo Dool':-; Lattil'e

Gandhi Road
Liladhar ':\Iulchand 2Ji48, Kasturba 100 H,esidenco Door-fl'alUe .J:t'luwer.croepCl'H, design
Gandhi ROftd
3.3 Hha,g:w'LndaH 8Ull- 2/749, Kasturba 100 Residence
durji Gandhi Rond
36 Huiltling of Vil'pur- 4/bH, :NAar Shit.Ja 200 Polico Station Pilhlrr:; Flu\\rer .. creopf>I·:-;, d('Hign
wa 1..1 Bn.nhl H~thob Chowk
Darb<lril;ndh
37 .Ja:·nv<.l nt,knnvarba 4/1.,;:., :'ear Shitla 200 Hesiuenee Door·frame Gaupl:tti, elephant., orna-
Chowk mental df)sign of flowerf:

4/156, Juno DarbnI'· 300 Residonce Door·frftIue, pillars, doors C}anpat.i, elephant" pea.-
gadh cock, flo"-f'r-~reepers birds,
design '
:-;h,-i Gupnlji :\falm 4/244, ;><O;\}' JUllit 200 Temple Pillar" Parrot:>;, hLb~vl·jnt,h, df'sigu
rajni Haveli Darbargadh
40 DHI"bar·j Bui1diJig 4/246, 0PI" Juua 400 Residence Pilh,"s, beam Flowe .. -creerer~, birds_,.
Dnrbnrgadh deeign
41 Vipl'H. ~hivshnnknl' 4/36;;, Adhy,wu 100 Rosidcncp Door-frame Flowers, desigu
Mndhllvaji ~hori
42 Building of RhI·j 4/4lii, X'·,H Xarsang 1.)0 Residence Door-fralne
~at,hjini Hav(~]i Chakln

43 6/5;), l(edal'esln\~al' .30 }{.csid('llCP Bn.lcony

.Koad
~\dlllinist.l'a tOl", 6/78, KodalcshwHI' Flo\ver~. de:"igll
Taluk .. Mamilltdar Mandir
4,:; Darbari Building 6/366, :NeBI' Sudama 41)0 Sa.·".tanji.no 1'.1181"
(Protf':c-tert 1110nU- :lfftndir Choro
Inent)
4ij JaYHk"u.tllt\I' Jarnna- 10/100, 01'1'. Moti· 11)0 Residence Balcony Flower-ereBpel':-I, design
dnl--! pani "-rank
47 ViBllaBhrlluali 10/22~, Dolatsinbji 100 Residell"c BalcollY Desig1l8
Ytluik C'1Rte Y'undi Rond

48 Harkishanr<llnj i 10/IB5, Bhav HOi"pi. 101) Re~idence BH loony Desig]l~

Madhnvji hll Hoad
4\J Guj<ll'at Govern- 11/14, Juno Haj H. O. T. Balpony Flower-cl't'l'] )el':-.
menll'ubli" \V urk~ iHahel College
Depa rtment
50 ~hri K"sturbft J J/4/3:1.::', Building 150 Kil'ti l\1H,ndir Door-frames, pillars Bird::::, . orni:uuent.nl urch,
Trust of tho birth~placc Ganpat., Ridd11i Hnd ISiddhi.
of Hhri !Iahatma Consorts of Ganpati,
Ganc1hl lions, fairies, flower-croppers,
etc.

KUTCH DISTRICT
BH lJJ (T.\LlJJU : BHL.J)

:;')hl'l H.IZlH' Pt'iy~' J)tlrll(1l'g<ldh FlLn\"('r-cl'cepers.

Pnr;--(t'"
:! .LU"lladul' Chhutu- Tal<lti. HHtiya Hajiro }'Iower-creepers, lEttt,i~('
Iniynll
:{ Sh.ri ~W'_llllilli.\_raV<:1n l'aiE"sh\\-Hl' Tmnplc Door~, \\'indow~ Flowor-cleepel's,ltltti(:{:
:'.[nlldir .
12
STATEMENT I-c(}ntd.
Buildings with Wood Carving
Approxi-
mate age
of build- '.eype Portion of building Brief description of
:;1. CeI1$US household No. ing in of containing wood nature of wood
",0. Owner and location years building carving carving

1 2 3 4 .7 6 7

KUTCH DISTRICT-cantd.

){ANDVI ( TALl1KA : MANDVI)

-1 Rupshi Lalji 133, Chhaparavali Residence Lattice window

Sheri
.:i Achc halgachchha 205, Jhansiki Rani R(lBid"nce Doors Fourteen dreams of Jain
Derasar Road and religion (on sandalwood)
Jain Temple
() Kalyaneshwar 3357, Derasar Sheri Temple Idols
Mandir
7 Revagarno Math 3914, Near Nava Residence Lattice
Naka and Temple

:-.fUNDRA ( TALUKA : MUNDRA )

8 JalUnadas Khimji 2/4Q6/3, Sw"li 40 Residence Whole building Flower-creopers

Swali Sheri
9 Gangabai Ratan. 2/433/1, Near Tejdev 100 Temple Southern enclosure Flower·creepers, birds
ram Jivandas Chakla
10 Zaverbai Ke,havji 2/49'1/1, Swali 1)0 RMidence Whole building Flower-creepers
Damodar Sheri
11 Shri Gorji Derasar 3/571/5, Outside 100 .fa.in Temple Northern 6nol08ure Flower-creepers, birds
Shri Talak:ch .. ndji Raroivala N aka
eha turcha ndj i
12 Valibai Visanji 2/733/1, Near 50 Residence Whole building Flower.creepers
Gandhi Chakla

8ANASKANTHA DISTRICT
RADHANPUR (TALUI{A: RA.DHANPUR)

1 His Highness Navab A/1/2, Rajgadhi, 200 Residence Balcony, doors, windows Flower-creepers, human
Saheb of Radhan- Ayana Mahal figures, etc.
pur
2 .r",in Temple of Shri C/9/124, Bhani Polo 50 Jain Temple Doors Flower-creepers
Dhararnnathji
3 .J"in Temple of Shri C/l/138, Godijini 60 Jain Temple Doors Flower.creepers
Godi)i Sheri

SABARKANTBA DISTRICT

BHILODA (T ALcKA. : B:EtILODA. )

Shri Amrutlal 421, Xoar Post. office 23 Residence Doors Lotus, 8kehnai.players
Sankalchand Shah (Built
in
1941
A. D.)
 13

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
81. Census household No. ing in of containing wood nature of wood
~o. Owner and location years building carving carving

1 2 3 5 6 7

MEHSANA DISTRICT
PATAN (TALUKA PATAN)

WARD No.1
1 Ambabai Dharma- 72, Opp_ Post office 50 Dharmashala Capitals of pillars Creepers
shala, Administra-
tor, Mamlatdar
2 Harilal Jethalal 77,Opp, Post office 50 Residence Front portion, capitals of Creepers
pillars
3 Shantilal Lallubhai 90, Badva Vado 25 Residence Door-frame
4 Chimanlal Manek!a! 123, Badva Vado 50 Residence Door-frame, capitals of Creepers
pillars
5 Bai Rukhi Bhai- 132, Outside Badv.. 50 Residence Oapitals of pillars Creepers
chand Vado

6 Chhabildas Mul- 140,Otiyani Khadki 50 Residence Capitals of pillars Creepers

chanddas
7 Chhabildas :::I1ul- 142,Otiyani Khadki 50 Residence Capitals of pillars Creepers
chanddas
8 Divaliben Umedl'am 150, Main Road JO Residence Supports, niche Creepers
9 Vinubhai Manilal 154, Main Road 50 Residence Supports, niche Creepers
10 Mangaldas Jivabhai 170, Motano Vas 50 Residence Pillars, window, balcony Creepers

11 Shivlal Amthalal 191, Motano Vas 50 Residence Pillars, balcony Creepers

12 Kalidas Maya- 640/1, ~ arsinhjini 50 Temple Dool'-frame, capitals of pillars,
shankar Khadki balcony, base of pillars
13 Chhnanlal Tl'ikam- 652, N arsinhjini 50 Residence Partition
lal Khadki
14 Chimanlal Trikam- 653, Narsinhjini 50 Residence Doors, window balcony,
lal Khadki partition
15 Shantilal Nandrai 756, Ganpatilli 50 Residence Door-frame, niche
Pole

16 Eai Ganga Chirnall- 763, Ganpatini Pole 50 Residence Window balcony, door-frames
lal
17 Ambalal Gopal 764, Ganpatini Pole 50 Residen()e Window balcony, door-frames
IS Revashankar 77", Ganpatini Pole 50 Residence Support Creepers
Chhaganlal
19 Dalsukh Dahyabhai 784, Ganpatini Pole 50 Residence Support Creepers
20 Govindram Naran- 785, Ganpatini Pole 50 Residence Window, balcony, door-frame Creepers
das

21 Bai Ramu Bhogilal 777, Ganpatini Pole 50 Residence Door-frame, partition

Raval
22 :\lohanlal Zaver- 803, Ganpatini Pole 50 Residence Pillars, supports Flower-creeper£
chand
23 :\Iahipatlal Lajya- 808, Ganpatini Pole 50 Residence Base of pillars, partitions
ram
24 Ambalal Gopalji S09, Ganpatini Pob 50 ResiJence Capitals of pillars Creepers
25 K:ashiben Bhai- 810, Outside ,jO Residence Supports, door-frame
chand Ganpatini Pole
14

STATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build· Typo Portion of building Brief description of
81. Census household No. ing in of containing wood nat,ure of wood
No. Owner and location years building carvin!! carving

1 2 3 4 5 6 7

MEHSANA DISTRICT·contd,
PATAX (TALuKA : PA'£AN).contd.

\VARD No. I·conld.

26 Manilal Jethalal 827, Outside 50 Residonce Doors f door-fralna, pill.o.rs

Ganpatini Pole
27 8.3,), Near Hingala .10 Residence
Chachar
28 Rajnikant :\10han. 861, Ring"la 50 Residence Pillar;;, door·fran><- Creepers
lal Chachar
29 Bhogilal Lailubhrti 876, Ring"l" 50 Rosidence' Pillnrs, do{)r~ffiUne Creepers
Chachar
30 Gordhand", ahuni· 877, Hingala, Residelwe Creeper;:.;
lat Chaehar

31 Ambalal Chlmgan. S7ll, Hingala 50 R(-l):;LdenC4;-'! Pilla.rH, (loor-l'r<lIlHA GreepPI'S

lal Chachar
32 Chimanlal Hapalal 894, Near Ghivata 50 Residence Pillars, door· frame Creeper~
33 Manilal Gabharu· 895, Maniati Pado 50 RnsidoIlf'.e Rnpports, baRf) of pillrtrf-t Creeper~
chand
34 Bhagc]lItnd Manek- 900, )faniati Pado 40 Residence Base of pill'll'S, doors, door·
chand fralne
3ii Khllbchn,nd Hi!'H' 9(H. Maniati P"do 50 Residence Pillars, supports, capitals of
chand pillars

36 Champaklal Gan. 921, Maniati Pado 50 Residence, \Vinelow, balcony. support,

patchand
37 Bai Hi!''' R,lll1aubl 922, ]\faniati Pade .30 Residenue Capitals of pilhtl'i<
38 Kei,twvlal AmM· 92:{, iVlaniati Pado 50 Residenee \Vindow·b"lcony, sup!-,orts, uoor- areeper~
chand fralne
39 Naginda;; Ujam. 92i, MHIliat.i Pado ;;00 ltesideu('f-' Household shrine· Elephant, hUlnall
chand figures, ornamental
carving
40 Hiralal Jivanlul 931, Maniati Pado 51) Resiuonce \Vindow· b"lcony, door· [ra me Creepers

41 Sitabsn Sundarl"l 932, ?[aniati Pado 50 ReHLdenee \Vinduw-haleony, door-fr<_Jllll' Creepers

42 PopatlaJ Va,dilal 933, Maniati Pado 5n Residence WillUow.ha.Jeony, door·frame Creepers
43 P,tl1achand Ram. 956, Kumbllaria 80 Residence, BaRe and capital;; of pillars Creepers
chaml Pado
44 Popatla.l J\Iotilal (),,)7. Kumbharia 5n H.esidcnec Base and c<lpitab of pillar,; Cr('L'per.:s
Pado
45 Bai Chardmv 9;;S, Kumoharia 50 ResidenCB Croepers
Cit i11lR111n 1 Pado

46 SevHntilal Rut,lIl. !l50, Kumbharlu 50 H('sielence Baso lind capitab of pill,'l'B Creopors
chand Pado
47 HamAnlal G"bharn· !)6n, Knmbharia
ChMld P"do
48 Nmnchnnu Khem. !H12. Kumbharia 50
chand Pud"
49 ;\Inf" tl" I Bhikllil' f)72, KunlbharLH 40(1 Pillars, dOlliC HUl1Ulll figures
ehtllld P"do
50 Chhot,,,hd B"I'"lal 102(1, Khf'jad""o Ion \Vindo\\' b[llcon~', support BordeI'3
PndD
 15

STATEMENT I-contd.

Buiidings with Wood Carving

Appl'Oxi.
mate age
of build- Type Portion of building Brief description of
Ccmsus household )lo. iug in of containing wood nature of wood
Sl. building c£trving carving
No. Owner and location year's

5 6 7
3

MEHSANA DISTRICT-contd.

P \TA)l (TALUKA PATA~J.contd.

\VARn Xo. j·concld.

1027, Kll('jiltlano 100 n,,,,idence Window balcony, support Borders

.11 Chhotalal Hapulal
Pado
103:.!, Khej,ulano ]00 Residence \Vindow balcony, door·frame Creepers
52 Vrajlal S,'karlal
Pado
Chandnlal :\Iohanlal 1048, Khejadano 100 Residence Door·frame Borders
.'i:l
Pado
·~4 Ba' ""armada 10·19, Khejadano 100 Resideu(;A \Vinclow halcony. support
Pado
.',J Cililnanlal I3ha,i. 10.50, Khejaflano 100 It,,,idence \Vindow balcony. support,
chand Pado

Chandulal :lI,)h'lnI,11 10.,7, I(!wj "dallo 11)0 KU.'3idence Door·fl'tunos, pilIo.rR Bortlers
."i')
Pado
,-)7 10.")9, Khejadano 1(1) I~o"jdcnce Door·frames, pillars Borders
.Jasudben
Pildo
)~ Surend['abhai 1080,1080/1, 1081, 100 He~idence Door~fl"l::l.n)AS, pillarR llorders
""athalal Khejadano Peldo
:in 0}mncllllal Him~.tlal 1105, Panehyamiino ilO }=tesidf111Ce Hupports Creepers
Pado
flO Chimanl"l :\IOkOlU- 1115, Pan8hyamjino ,-;0 HeKidence Supports Cl'eepers
~hand Pado

,)I Chttndra,n1<~ ni 1116, P'lnsh~'8mjjllo ,')0 Hf'~idpne(', Supports ('reepe1'8, borders

Pado
I)J 1111;_tg V U11UUS .:\Iul. 1118, Pa..nshyolnjino :;0 Re"iaence Nllpport,s CreepCl'H 1 bOl'del'S
f~h:.\'ndda,s Pado
~l:l Khirnjibhiti Xan».- J 123, p".nshyamjino 50 RPside-llCI:-) MUppods Creepers, border3
hh"i Pado

\YARD ~o. :!

';4 S;lnt,okl)PJll'l',chha (In, Bh<llldari Pado .30 R('~idelLee Doo('-frHlllP, partition

"'hankar
65 Bapulal Lnllnbhoi 100, Bh'lnderi Pado :;0 R,esidnnce Dool'-fnnne, partition
66 Hap"lal Lnllnbhai IIRj2, Bhalldari Pado :iO Residenco Door·frame, pArtition
1)7 KR.ntil,,] (}Ol'(ltlan. 12011, Bl}a.ndal~j ,')0 R.8sid p nce Door, partition, capitals of
cln.... P"do pillilrs
tiS Ohhot,nlal Chh;t.gan. 1 +0, Bhandari Pacto :;0 ReRidenr,,, PartitjoIl
la)

139 D",hmthl,\ 1 Lal1u· 1+8, 8h"nd"1'i l'"do :in H(·~id('ll(·t' T\n'l it-iolt
hhni
io Ch'1I1dul" 1 PIlIlll_ll1- I HS/J ·2, Xi~al' .')1) H,t''':-;i{l('n('-l~ D()Ol'fo;, Pill't.jt inn of (loors
"hand Shahno P.Hlo
'it '-\'hl" 1 :\["'HllkhI" 1 171. Shnhno Pado .,)0 l{",idt'nco Pillar~, pdl'ht-ion
72 Ra.tila.l T,·ik" mhl :W~, ~ll<lllno Pado ,')0 K'i~:-·<idon('p Pill,,"". p"rrition
73 Jain DOI'H:-iar .:!l !)~ ~..:nl;1l1no P,,<]o cWO .JIt in rrp}np1~' Pilhn's. <IoUIt" supportR
16
STATEMENT I-contd.
Building with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
Sl. Census household No. ing in of containing wood nature of wood
No' Owner and location years building carving carving

1 2 4 5 6 7

MEHSANA DlSTRICT-contd.
PATAN (TALUKA : PATAN)-contd.

W AJID No. 2-confd.

H Amthalal Maganlal 221, 222, Shahno 50 Residence Partition, pillars, capitals of
Pado pillars.
75 Krishnalal Prema. 253, Shahno Pado 50 Residence Partitions, pillars, capitals of
nand pillars
76 Nanalal Lalluram 259, Shahno Pado 50 Residence Partitions, pillars, capitals of
pillars
77 Shantilal Popatlal 454, Jhaveri Vado 50 Residence Pillars Borders
78 Jasudben Popatlal 456, Jhaveri Vado 50 Residence Doors, capitals of pillars

79 Amritlal Mangal- 461, Jhaveri Vado 50 Rosidence Partition, supports, capitals

chand of pillars
80 Sarabhai Mansukh- 462, JhavAri Vado 50 Residence Doors, pillars - Borders
lal
81 Chandravati Mohan- 467, Jhaveri Vado 50 Residence Pillars, base of pillars
lal
82 Jaaudben JesanglaJ 468, Jhaveri Vado 50 Residence Doors, door-frames
83 Sarabhai Mansukh- 469, Jhaveri Vado 50 Residence Supports, capitals of pillars
lal

84 Kesharichand 471, Jhaverl Vado 50 Residence Supports, partitions

Mohanlal
85 Chimanlal J esanglal 477, Jhaveri Vado 50 Residence Supports, partitions
86 Kantilal Mulchand 479, Jhaveri Vado 50 Residence Supports, partitions
87 Jesanglal Manilal 481, Jhavel'i Vado 50 Residence Supports, partitions
88 Vadilal Dahya- 485, Jhaveri Vado 50 Residence Supports, partitions
chand

89 Amritlal Vadilal 501, Jhaveri Vado fjO Hesidenoe Doors, capitals of pillars
90 Gabh,ruchand 503, Jhaveri Vado 50 Residence Partitions, door-frames,
Vadilal capitals of pillars
91 Kanti!al Chunilal 519, Jhaveri Vado .50 Residence Pillars, capitals of pillars.
window-balcony
92 Manilal Snrajmal 520, ,Thaveri Vado riO Residence Pilltlrs, capitals of pillars,
window-balcony
93 Mangaldas Tribho- 522, ,Thaveri Vauo ,,0 Residence Pillars, capitals of pillars,
vandas window-balcony

94 Maneklal Vadilal 526, .Thaveri Va do 50 Residence Capitals of pillars Creepers

95 Jain Temple 552, Kapur Mahet ... - 300 .Tain Temple Capitals of pillars, dome, Creepers
no Pado pillars
96 Bai Vimala 553, Kapur Mahet,,- fiO Residonce Base of pillars, supports Creepers
Ka.ncha.Illal no Pado
97 JesaIlglal Ram- 559, Kapur l\1"ahet,,- 1;0 Residence Pillars Creepers
chand no Pado
98 Chima.nlal Bapul"l 560, Kapur l\iuhet,,,· RE'sidence Doors, partition Borders
no Pado

99 Bapul,t\ Ramchand 564, Kttpur MalLet,,- i{('sidenc{' Door-frame, capital:of pillars

no Pado
100 Rat,ilal Keshari- 565, Kapur Mahet,l. ,,0 Rosidence Door-frame, balcony railing
chand no Padu
101 Kisanlal GirdhHrlul 58[J, Tamboh V"do fiO i{esidence Supports, capital of pillars
102 Sarabhai Mohanlal 590, Tarnboli Vado 50 Residence Doors, capital of pillars
103 MahAndra1al 593, Tamboli Vado no Residence Window balcony, capital of Borders
Gabharuchand pillars
 17
STATEMENT I-contd.
Buildings with Wood Carving
Approxi:
mate age
of build- Type Portion of building Brief description of
S1. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 6 7

MEHSANA DISTBICT-contd.
PATAN ('l'ALUKA : PATAN)·contd.
"YARD No. 2·contd.

104 Kantilal Mohanlal 597, Tamboli Vado 50 Residence Doors Borders

105 Lilavati Keshavlal 598, Tamboli Vado 50 Residence Doors Borders
106 J"aykumar Raman· 614, Tamboli Vado 50 Residence Partition, pillars, capitals of
lal pillars
107 Amritlal Rikhav- 632, Tamboli Vado 50 Residenoc Window balcony, pillars, etc.
chand
lOS Chimanlal Manilal 634, Tamboli Vado 50 Residence Window balcony, partition

109 Maniben Surajmal 651, Tamboli Vado 50 Residence CapittLls of pillars Borders
llO Hameshbhai Amba- 666, 666/2, Dankh 50 Residence Pillars Borders
lal Mahetano Pado
III Sevantilal Surajmal674. Dankh Maheta- 50 Residence Pillars, capitals of pillars
no Pado
1I2 Sevantilal Vrijlal 680, Dankh Maheta- 50 Residence Doors, beam
no Pado
113 Keshavlal Bhanbhai 682/1, Pipala Sheri 50 Residence Partition, doors, balcony-
railing

114 Hiragavari Bapu- 803/2, Khada Khot- 50 Residence Door-frame, doors, window
lal dina Pado balcony
115 Bapulal Ratan- 805, Khada Khotdi- 50 Residence Doors, window baloony
chand no Pado
lUi Chandul,,1 Surajmal 805, 806/1, Khada 50 Residence Supports, capitals of pillars,
Khotdino Pado panels on the upper storey
117 Vasantla1 Punam- 807, Khada Khotdi- 50 Residence Supports, capitals of pillars
chand no Pado
1I8 Ramanlal N arbhe- 810, Khada Khotdi. 50 Residence Upper floor, supports, "api-
ram no Pado tals of pillars

119 Ratilal Trikamlal 811, Khada Khotdi- 50 Residence Window balcony, balcony.
no Pado railing, capitals of pillars,
supports
120 Bapllial Mafatlal 812, Khada Khotdi- .50 Residence Window balcon_,-, railing,
no Pado capitals of pillars. supports
121 Ugamchand Jesang- 832, Khada Khotdi· 50 Residonce Pillars, capitals of pillars
1al no Pado
122 G 0 r d han d a s 841, Khada Khotdi- 50 Residence Window balcony, capitals of
Laxmishankar no Pado pillars
123 :\In,ngaldas Madhavji 849, Khada Khotdi- 50 Residence Window balcony, capitals of Border
no Pado pillars

124 Amb,tlal Bhulabhai 857, Khada Khotdi- 50 Residence Window balcony, door-fram"
no Pado
125 Deviprasau Dahya- 886, Khada Khotdi· 50 Residence Window balcony, door·frame
bhai no Pado
126 Laxmiprasad A mar- 899, Khada Khotdi- ,,0 Residence Door-frame Borders
sinh no Pado
127 Temple of 1041, Pipala Sheri 100 Temple Door.frame, balcony railing BordeI"!'
Bahllcharaji Mata
128 Mohanlal Kastur- 1091, MarCatiya 50 Residence Door-frame, balcony railing
chand Mahotano Pado

(Bk) Y-3-3
18
ST ATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build- Type Portion of building Brief description of
Sl. Census household No. ing in of containing wood nature of wood
No. Owner and location years building cal'ving carving

1 2 3 4 5 6 7

MEHSANA DISTRICT-contd.
PATAN (TALUKA : PATAN)-Contd.

WARD No. 2-contd.

129 Bhagwandas 1093, Marfatiya 50 Residence Door-frame, capitals of pillare Borders

l\Iahetano Pado
130 Parvatibon Dahya- 1094, Mflrfatiya 50 Residence Capitals of pillars, support.s Flower-creepers
111,1 Mahetano Pado
131 Mohanlal V adilal 1095, Marfatiya 50 Residence Capitals of pillars, door-frames Burders
Mahetano Pado
132 Sulochana Chinu- 1096, Marfatiya 50 Residence Capitals of pillars, door-frame Borders
bhai Mahetano Pado
133 Bhar",tkumar 1099, Marfatiya 50 Residence Capitals of pill are, door-frame Border
Mahetano Pado

134 Sev",ntilal Ratilal llOl, Marfatiya 50 Residence Window balcony, door-frame Borders
Mahetuno Pado
135 Ila~mukhlal Kila- llO2, Marfatiya 50 Residence Window balcony, door-fl'ame Borders
chand Mahetano Pado
136 Jayantilal Rikhav- 1103, Marfatiya 50 Residence Window balcony, door-frame Borders
chand Mahetano Pado
137 Taraben Mangal- llll, Marfatiya 50 Residence Partition, balcony railing,
chand Mahetauo Pado window balcony
138 Laxmichand 1113, Marfatiya ,;0 Residence Partition, balcony railing,
Tribhovandas Mahetano Pado window balcony

139 Nemchand Manilal 1113/1,

Marfatiya 50 Residev.ce Window balcony Borders
Mabetano Pado
140 Shantilal Harilal 1118, Marfatiya 50 Rosidence Partition, balcony railing,
Mahetano Pado window balcony
141 Motiben Tarachand 1123, Marfatiya 50 Residence Door-frame, capitals of pillars Borders
Mahotano Pado
142 Mohanlal Hemchand 1134, Marfatiya 50 Residence Door-frame, partition Borders
Mahetano Pado
143 Navinchandra 1147, Marfatiya 50 Residence Door-frame, partition Borders
Swarupchand Mahetano Pado

144-M"fatlal Dahya- 1149, Marfatiya 50 Residence Door-frame, partition Borders

chand l\Iahetano Pado
145 Himatsagar Mohan- 1152, Dhandher 200 Residence Door-frame
sagar Vado
146 ~emchand Khem- llr,8, Dhandher 50 Residence Lattice, capitals of pillars Borders
chand Vado
147 Rajendra Mansukh- 1159, Dhandher 50 Residence Lattice, capitals of piJIars, Borders
Jal Vado pillars
148 Temple of Mahavir 1161, Dhandher 400 Jain temple Dome
Swami Vado

149 Hasmukhlal Bapu- 1179, Dhandher 50 Residence Window balcony, door-frame

lal Vado
150 n",i Bhikhi Kastur- 1183, Dhandher 50 Residence Window balcony, door-frame
chand Vado
151 Hemchand Mohan- 1186, Dhandher 50 Residence Partition, door-frame
10.1 Vado
1;,2 Navi nchan dra 1188, Dhandher 50 Residence Capitals of pillars Borders
Premchand Vado
153 Kesharichand 1190, Dhandher 50 Residence Supports, capitals of pillars Creepers
Jesanglal Vado
 19
STATEMENT I-conld.

Buildings with Wood Carving

Approxi·
mate age
of build· Type Portion of building Brief description of
Sl. Census household No. ing in of containir';g wood nature of wood
No. Owner and location years building carVIng carving
2 3 4 5 6 7

MEHSANA DISTRICT·conltl.
PATAN (TALUKA : PATAN)-eontcl.

WARD No. 2.conclcl.

154 Ramanlal Bhagvan- 1191, Dhandher 50 Residence Supports, capitals of pillars Creepers
das Vado
155 Shashikant Bapu- 1194, Dhandher 50 Residenee Supports, ca pit,als of pillars Creepers
lal Vado
156 Manilal Jethuchand 1196. Dhandher 50 Residence Door-frame, window balcony,
Vado capitals of pillars
157 Keshavlal Kastur· 1197, Dhandher 50 Residence Door frame, window balcony,
chand Vado capitals of pillars
158 Bai Bapu Trikam- 1198. Dhandher 50 Residence Door-frame, window balcony,
lal Vado capitals of pillars

159 Rasiklal Maganlal 1202, Dhandher 50 Residence Capitals of pillars Borders

Vado
16n Subhadraben Ma - 1203, Dhandher 50 Residence Door-frame, window balcony Borders
neklal Vado
161 Keshavlal Bhana- 1208, Dhandher 50 Residence Lattice, capitals of pillars Borders
bhai Vado
162 Jivanlal Uttam- 1220, Dhandher 50 Residence Partition, window balcony,
chand Vado capitals of pillars
163 Nathiben Bapulal 1280, Kokano Pado 50 Residence Window balcony, capitals of Borders
pillars

164 Surajmal Laher- 1296, Kokano Pado 50 Residence Door-frame, window baJcony Creepers
chand
165 Sevantilal Bhogilal ]305, Kokano Pado 50 Residence Window balcony, capitals of Borders
pillars
J66 Rikhavchand Mani- 1313, Kokano Pado 50 Residence Door-frame, pillars Borders
lal
167 Mahollani Vadi 1374, Near Kokano 50 Residence Pillars Borders
Administrator, Pado
Bapulal Mohanlal

WARD No.3
168 S han tag a v a r i 358, Padigundino 30 Residence Capitals of pillars Creepers
Vasantlal Pado
169 Dahya!,,1 Moti!a] 371, Padigundino 30 Residence Upper floor Borders
Pado
170 M a has u k h I a ! 372, Padigundino 30 Residence Capitals of pillars Human figures
Rikhavchand Pado
171 K i r t i l a I 375, Padigundino 30 Residence Pillars, capitals of pillars Borders, human figures
Punamchand Pado
172 Champaklal Dahya- 384, Padigundino 30 Residence Supports, capitals of pillars, Creepers
lal Pado windows
173 K a n a i y a l a l 401, Vakharno Pado 50 Residence Windows Sparrows
Madhavlal
174 Tarunkumar 402, Vakharno Pado 50 Residence Capitals of pillars Creepers, sparrows
Rameshchandra
175 Tulsidas Swarup- 405, Vakharno 50 Residence Beam, supports, capitals of Borders
chand Pado pillars
176 Sarswati GIla... 408, Vakharno 50 Residence Doors Creepers
shyam Pado
177 Jayantilal Krishna. 411, Vakharno liO Residence Pilla,,,,, capitals of pillars Creepers. human figures
lal Pado
 STATEMENT I-contd.

Buildings with Wood Carving

Approxi.
mate age
of build· Type Portion of building Brief description of
SI. Census household No. ing in of containing wood nature of wood
::iro. Owner and IO(lation years building carving carving
1 2 3 4 5 Ii 7
MEHSANA DISTlUCT-contd.
PATAN (TALuKA: PATAN)-contd.

WARD No. 3·contd.

178 Somalal 412, Vakharno 50 Residence Creepors, human figures

Laherchancl Pado
179 Jain Derasar 413, Vakharno 50 Jain Temple Pillari Creepers,isparrows, designs,
Pado "tc.
180 I:tooms of Jain 414, Vakharno 50 Residence Lattice Designs
Derasar Pado
181 Trikamlal Savai· 420, Vakharno 50 Residence Windows Creepers, designs
chand Pado
182 Bapulal N agindas 432, Vakharno 50 Residence Pillars Creepers, design, sparrows,
Pado human figures

183 N a v inc han d r a 433, Vakharno 50 Residence Pillars Design

Bhogilal Pado
184 Rasiklal Satlal 435, Vakharno 50 Residence Pillars Design
Pado
185 Gokaldas Amritlal 439, Vakharno 50 Residence Window balcony Creepers
Pado
186 Dahyalal Dhana- 440, Vakharno .10 Residence Pillars Design
bhai Pado
187 Maniben Khem· 441, Vakharno 50 Residence Pillars Creepers, design, circles
chand Pado

188 Manilal Bhogilal 452, Vakharno 50 Residence Pillars Creepers, sparrows

Pado
189 Ghanshyam Mall4 461, Vakharno 50 Residence' Window balcony Design
sukhlal Pado
190 Chhotalal Sitap· 463, Vakharno Pado 50 Residence Pillars Design
chand
191 Balkrishna Manilal 470, Vakharno Pado 50 Residence Doors Design
192 Balkrishna Manilal 472, Near Vakharno 50 Residence Doors, pillars Design, human figure
Pado

193 Maniben Laher- 484, Lavariui 50 Residence Window balcony Design

chand Khadki
194 Chandulal Keshav· 487, Lavarini 50 Residence Main portion Creepers, design
lal Khadki
195 Paramavati .ramana- 503, Near Daliano 50 Residenoe Front portion Design, human flgures
das Pado
196 Rasiklal Mohanlal 506, Daliano Pado 50 Residence Front portion Flowor, sparrows
197 Ramanlal Keshav· 511, Daliano Pado 50 Residence Front portion
lal Creepers, sparrows

198 Anandi Bapulal 512, Daliano Pado 50 Rosidence Front portion Creepers, sparrows, design
199 Kanaiyalal Mohan- 513, Daliano Pado 50 Residence Front portion
lal Creepers, sparrows, design
200 Vadilal Gopaldas 523, Daliano Pado .50 Residence Front portion, supports Creepers, design
201 ~Iangaldas Arndt· 524, Daliano Pado 50 Residence Front portion, pillars
lal Creepers. design
202 J3apu1al Nanalal 52,;, Daliano Pado 50 Residence Pillars Design
 '::1

STATEMENT I-contd.

Buildings with Wood Carving

.\_pproxi-
mate age
of build- Type Portion of building Brief description of
SI. Census household ::-.ro. ing in of containing wood nature of wood
:-;roo Owner and location years building carving carving
2 3 5 7

MEBSANA DISTRICT-contd.
PATAN (TALUKA : PATAN).oontd.

WARD No. 3-contd.

~O:l Par,<anben Bhai. 528, Da.liano Pado 50 Residence Window balcony Creepers, design
chand
Z()4 :.\Ienaben Bapulal 529, Da,liano Pado 50 Re"idence Doors, pillars Creepers, design
203 Baplllal Damodar· 696, Dhili Khichadi- .50 Residence Front portion CreeperR, Rparl~ows, design
das no Pado
206 Chunilal Jamnadas 698, Dhili Khicha- 80 Residence Front portion Human figures, creepers
dino Pado flowers
207 Nanalal Dalsakhram 815. Saraiya Vado liO Residence Doors Flowers, sparrows

208 Shankerlal Mathur- 816, Saraiya Vado 50 Residence Pillar Creepers, design
das
209 Shantilal Chhotalal 820, Saraiya Vado o'iO Residence Supports CreeperR, sparrows, flow'ers
210 Hasmllkhlal 821, Saraiya Vado 50 Itesidence Supports Creepers
Mathurdas
211 Soniben Chimanlal 822, Saraiya Vado 50 Residence Front portion Flowers, sparrows
212 Shivlaxmi Bhogilal 823, Saraiya Vado 50 Residence Front portion Flowers, sparrows
213 Navnitlal Jivachand 824, Saraiya Vado 50 Residence Front portion Flowers, sparrows
214 Manilal Dalsukhram 828, Saraiya Vado 50 Residence Upper floor Flowers, sparrows
215 Ramanlal Havjibhai 831, Saraiya Vado 50 Residence Front portion Creepers, roundsls
216 Amiehanrl Natha- 832, Sargiya Vado 50 Residence Front portion Creepors, roundels, sparrows
bhai
217 Natwarlal Kil<1chand 834, Saraiya Vado 50 Hesidence Doors Creepers, flowers, etc.

:1l8 Shashikant Ratanlal 839, Saraiya Vado 50 Residence Window balcony Crcopers, flowers
219 Gab h a r u eh and 844, Saraiya Vado .~o Residence Door Creepers
Chhotalal
220 :\{ulchanddas Kar· 848, Saraiya Va do 50 Ro_idanoe Front portion Sparrows, design
sandas
221 Keshavlal Chhota- 981, Bahucharajino 50 Residenco Front portion Creepers, design
tal Pado
222 Pit,ambardas lJjam- 982, Dahucharajino 50 Residence Front, portion Creepers, hwnan figures
bhai Pado

223 Lalbhai Bakuchand 98,;, tlahucharajino 50 Hesidence Front portion Creepers, sparrows
Pado
224 Jheda Khushal 1005, Ghiyano Pado 50 Residence Doors Creepers, roundels
225 Eai Samu 1006, Ghiyano Pado 50 Residence Door-frame Design
226 Pitambardas 1022, Ghiyano Pado 50 Residence Front portion Creepers, roundel., design
Ujambhai
227 W/o Kuberda" 1046, Shak Market 50 Residence Window balcony Elephant, design
Hariohand Road

228 Manilal 'ralakchand 1050, Shak :'.fal'ket -;0 Re3iden"B BalconY,l'ailing Design
Road
229 Temple 1057, Shak Market 50 Temple Pillars, capitals of pillars Creepers, design
Road
230 Kantilal Gopaldas 1059, Mahalaxmi 50 Residence Pillars Humau figures, flowers
:\[atano Pado creepers
231 Ramanlal N analal 1066, Mahalaxmi 50 Residence Pillars Human figures, flowers
Matano Pado creepers
232 Kantilal (}abharu- I06R, Mahalaxmi 1>0 R':};;irJ~nt)e Pillars Design
chand Matano Pado
22
STATEMENT I-coned.

Buildings with Wood Carving

Approxi.
mate age
of build· Type Portion of building Brief description of
Sl. Census household No. iug in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 6 7

MESSANA DISTRICT·contd.
PATAN (TALUKA : PATAN)-contd.

W ARO No. 3·eonld.

233 Premohand Kajodi. 1073, Mahalaxmi 50 Residence Doom Design, roundels

da. Matano Pado
234 Manilal 'falakchand 1081, Mahalaxmi 50 Residence Front portion Design of leaves
Matano Pado
235 Ratilal Lahorchand 1102, Mahalaxmi 50 Residence Doors Creepers, design
Matano Parlo
236 Jain Derasar 1I14, Mahalaxmi 50 Jain Temple Capitals of pillars Creepers, design
Matano Pado
237 Virbala Mohanlal 1119, Mahalaxmi 50 Residence Capita.ls of pillars Creepers, desigll
Matano Pado

238 Mohanlal Hira- 1120, Maha.laxmi 50 Residence Front portion Flowers, design
chand Mat.ano Pado
239 Nemchand Havji- lJ21, Mahalaxmi 50 Residence Suspended balcony Dasigu
bhai Matano Pado
240 Santokben Himatlal 1134, Mahalaxmi 50 Residence Front portion Creepers, grapes, design of
Matano Pado leaves
241 Natvarlal Nanalal 1150, Mahalaxmi 50 Residence Capitals of pillars Design
Matano Pado
242 Amthalal Bhogilal 1156, Mahalaxmi 50 Residence Front portion Sparrows, design
Matano Pado

243 Bapulal Uttam- 1189. Godadno 50 Residence Front portion Creepers, sparrows, design
chand Pado
244 Parshotam Manilal 1190, Godadno 50 Residence Front portion • Pomegranate, creepers,
Pado design
245 Manilal Chunilal 1192, Godadno 50 Residelloo Doors Design
Pado
246 Sarabhai Nanabhai 1220, Rangrejni 50 Residence Doors Creepers
Khadki
247 Mulchand Himat- 1239, Gol Sheri 80 Residence Capitals of pillars Human figures, creepers
bhai

248 Kuberbhai Zaver- 1240, Gol Sheri 50 Reside.lce Pillars Dssign

hhai
249 Kantilal Ruvabhai 1262, Bazaar, Tran 50 Residence Pillars Creepers, design
Darwaja
250 Faijudin Allar- 1279, Bazaar, Tran 50 Residence Pillars Creepers, dssign
khan Darwaja
251 Faijudin Allar- 1280, Bazaar, Tran 50 Residence Pillars Creepers, design
khan Darwaja
252 Mandir Khatanu 1281, Bazaar, Tran .50 Residence Pillars Creepers, design
Makan Darwaja

253 Chunilal Dolachand 1283, Bazaar, Tran 50 Residence Pillars Creepers, design
Darwaja
254 Mandir Khatanu 1284, Bazaar, Tran 50 Residence Pillars Creepers, design
Makan Darwaja
255 Bazaar Masjid 1293, Bazaar, Tran 80 Masjid Door-frame Sparrows, design
Darwaja
256 Ganeshbhai Jivram 1313, Bazaar, Tran 50 Residence Front portion Creepers, design
Darwaja
257 Jivram Durlabh 1314, Bazaar, Tran 50 Residence Front portion Creepers, design
Darwaja
 23

STATEMENT I-contd.

Buildings with Wood Carving

Approxi.
mate age
of build· Type Portion of building BI·ief description of
Census household No. ing in of containing wood nature of wood
:';1.
Owner and location years, building carving carving
)l"o.

2 3 4 5 6 7

MEHSANA DISTRICT,contd.

PATAN (TALUKA : PATAN)·contd.

WARD No. a·conoid.

Chimanlal J'ivram 1315, Bazaar, Tran .50 Residence Front portion Creepers, design
258
Darwaja
259 Bai Mangu Jesang. 1340, Madarsa 50 Residence 'Window balcony Creepers, design
lal
260 ,Jasod abe n 1346, Madarsa 50 Residence Window balcony Creepers, design
261 Ramanla! llhai. 1347, Madarsa 50 Rosidence Window balcony Creepers, design
chand
262 Chandulal Tribho· 1355, On the main 50 Residence Window balcony Creepers, design
vandas Road

263 Kevaldas Pitambar- 1369, Vagholno 50 Residence Doors Creepers, design

das Pado
264 Keshavlal Karam- 1385, Vagholno 50 Residence Doors Creepers, design
chand Pado
265 Kesharichand 1394, Vagholno 50 Residence Doors Creepers, design
Punamchand Pado
266 Manilal Dolat· 1395, Vagholno 50 Residence Doors Creepers, design
chand Pado
267 Mohanlal Keshav· HOI, Vagholno 50 Residence Doors Creepers, design
lal Pado

268 Tulsidas Ujam- 1407, Near Bordino 50 Residence Door·frame Sparrows, design
chand Pado
269 Ambalal Ramchand 1408, Near Bordino 50 Residence Front portion Creepers, design
Pado
270 Bapulal Punjiram 14-11, Bordino Pado 50 Residence Front portion Creepers, design

WARD No.4

271 Nagardas Prabhu· 146, Salvi Vado 50 Residence Pillars Creepers, design
das
272 ChimanialAtmaram 154, Salvi Vado 50 Residence Pillars Creepers, design
273 Gangaram 'Bhikha· 163, Salvi Vado 50 Residence Pillars Design, ornamental carving
ram
274 Mathurdas Dev· 188, Salvi Vado 50 Residence Front portion Creepers, design
chand
275 Ambalal Dev· 748, Naranjino Pado 50 Residence Window Creepers, parrot, design
shankar

276 Keshavlal Vithaldas 784, Naranjino Pado 50 Residence Pillars, window, door·frame Creepers
277 Rugnathji Temple 969, HaJar Vado 50 Temple Pillars, chowk Ornamental carving
278 Bhikhabhai Magan. 893, Halar Vado 50 Residence Pillars Human figures, creepers
lal
279 Bai Reva Bhikha· 894, Halar Vado 50 Residence Pillars Design
chand
280 Jayantilal Nanalal 996, Salvi Vada Road 50 Residence Doors Design

281 Mohanlal Nagindas 999, Salvi Vada Road SO Residence Pillars Human figures, creepers
282 Dhirajlal Himatlal 1009, Talsheirya 50 "Residence Front portion Human figures, creepers
283 Amthalal Jethalal 1018, Talsheriya 50 Residence Front portion Human figures, creepe
284 Janardan Keshavlal 1072, Talsheriya 50 Residence Front portion Human figures, creep"
285 Parsotamdas Har. 1079, Talsheriya 50 Residence Front portion Creepers, design
kishandas
 24

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
Sl. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving'
1 2 3 4 5 6 7

MEHSANA DISTRIC'l'-contd.
PATAN (TALUKA : PATAN)-conrd.
WARD No. 4-contd.

286 Chandllial Girdhar- 1158, Ta.lsheriya 50 Residence Front portion Creepers, human figures,
lal design
287 Mulchandas Moti. ll6l, Talsheriya 50 Residence Front portion Creepers, design
ram
288 Narsilal Panachand 1162, Talsheriya 50 Residence Front portion Human figures, creepers
289 Mahmadali Hasan. 1435, Jaradi Vado 50 Residence IUller portion Human figures, creepers
ali

WARD No.5

290 Manilal Chunilal 2S, Opp. Vagholne 50 Residellce Frollt portion Creepers, design
Pado
291 Premchand Lallu- 32, Panchoti Pado 50 Residence Pillars - Human figures; creepers
chand
292 Mafatlal Mohanlal 34, Panchoti Pado 50 Residence Pillars Human figures, creepers
293 Parsotamdas .Tetha- 57, Malino Padu 50 Residence Pillars Human figures, creepers
lal
294 Bhadravati Harilal 214, Brahman Vado 50 Rosidenco Front portion Creepers, de,ign

295 Harilal.Tesanglal 216, Brahman Vado 50 Residence Front pOl,tion Creepers, design
296 Amritlal Manilal 219, Brahman Vado 50 Residence Front portion Creepers, design
297 Bhogilal Bhalabhai 228, Brahman Vado 50 Residence Front portion, pillar Human figures, oroepers
298 Gulabben Rikhav- 245, Brahman Vado 50 Residence Pillars Human figures, creepers
chand
299 Jain p",thshala 260, Khetar Va~i .~o Resirlflnce Human figures, creepers

300 Kantilal Hiralal 262, Khetar Vasi 50 Residence Pi!lars Human figures, creepers
301 Kantilal Surchand 329, Kana.ano Pado 80 Jain Temple Doors Ornamental carving
302 Kalavati Chllnilal 345. Kana"ano Pado 50 Residence Front portion Ornamental carving, creepers
303 Bhogilal Nagindas 348, Kanasano Pado 80 .Tain Temple Front portion Human figures, creeper~
304 Rooms of Derasar 442, Kanasano Pado 100 Jain Temple Seat, housebold 8hrine Design, ornamental carving

305 Ramanlal Dahya- 445, Kanasano Pado 70 Residence Fl'ont portion Human figures, creepers
bhai
306 Manilal Vadilal 524, Vasa Vado 50 Residence Front portion Human figures, creepers
307 Kamalaben Hir"lal 525, Vasa Vado 50 Residence Front portion Human figures, creepers
308 VarjivandaR 533, Vasa Vado 50 Residence Front pOrtion Ornamental carving, creepers
Chhotalal
309 Nanbai Sultanbhai 625, Bazaar Haveli Pillars Human figures

310 Jain Derasar 929. Sangbavino 70 .Tain Temple Front portion, innor portion Flower-creepel'&, human
Pado figures, animals
311 Motilal Mohanlal 987, Tamboli Vado 125 Resid,mce Front portion Flower-creepers, animals
birds
312 Ghanashyamlal 988, Tamboli Vado 125 Residence Front purtion Flowor-creepers, animals,
Lallubhai birds
313 Natvaiial Girdhar- 1014, Tamboli Vado 125 Residence Front portion Flower-creepers, animals,
lal birds
314 Popatl"l Nagindas 1046, Fofaliya Vado 40 Residence' Front, portion Flower-creepers
 2S
ST ATEMENT I-contd.

Buildings with Wood Carving

Approxi·
ma.te a.ge
of build· Type Portion-of building Brief description of
Sl. Census household No. ing in of oontaining wood nature of wood
No. OWllC-r and location years building carving carving

1 2 3 4 I) 6 7

MEHSANA DISTRICT-contd.
PATAN (TALUKA : PATAN)-oontd.

WARD No. fJ-c01Itd.

315 Amritlal Mohanlal1048, FofaUya Vado 40 Residence Front portion ]j'lower·creepers

316 .resanglal Nagindas
1056, Fofaliya Vado 40 Residence Front portion Flower·creepers
317 1210,
.resanglal Manubhai Chodharini 100 Residence Front portion Flower-creepers
Sheri
318 Punamchand 1216, Chodharini 60 Residence Front portion Flower.creepers,
Jcchand Sheri
319 Mulchand Trikam- 1227, Chodharini 70 Rosidenee Front portion Flower-creepers. design
cha,nd Sheri

32(. Ja,in Derasar 1282, Chodharini 150 Jain Templo Balcony, pillars Flower-creepers, human
Sheri figures, animals, birds
321 Keshavlal Nagindas 1407, Varapujyani 40 Residence Front portion Flower.creepers
Khadki
322 Jain Derasar 1409-1410, Between 30 Jain Temple Doors Flower-creepers, human
Manmohanjini Sheri figures
323 Jain Temple 1425, Fofaliya 150 Jain Temple Front portion Flower-creepers. animals
Poleni Sheri
324 Bhogilal Laher· 1439, Fofaliya. Vado 130 Residence Front portion Flower.creepers, animals
chand

325 Ramanlal Gandhi 1687, Chachariyano 100 Residence Front portion Flower.creepers
Moto Pado
326 Tulsidas Kilachand 1922, Kasumbiya 60 Residence Front portion Flower-oreepers
Vado
327 Jain Derasar 1972, Kasumbiya 125 Jain Temple Doors, manda,p Flower·creepers, human
Vado figures, a.nimals

WARD No.6

328 Jain Derasar 26.Abji Ma.hetano 100 Jain Temple Doors Flower-creepers, human
Pado figures
329 Ambalal Atmaram 35, Ajitnathni Pole 100 Residence Front portion Flower-creepers. animals
330 Ramchand Bhai- .1.1. Ajitnathni Pole 80 Residence Front portion Flower-creepers
chand
331 Shamlal Amritlal 46, Abji Mahetano 50 Residence Front portion Flower.creepers
Pado
332 .Jayantilal Hathi- 47, Abji Mahetano 50 Residence Front portion Flower-creepers
sing Pado

333 Devchand Punam- 55, Abji Mahetano 50 Residence Front portion Flower-creepers
chand Pado
334 Khodidas Mangal. 56, Abji Mahetano 50 Residence Front portion Flower-creepers
chand Pado
335 Maniben Mohanlal 354, Nishalno Pado 110 Residence Front portion Flower-creepers, human
figures
336 Jayantilal Manilal 357, Nishalno Pado 125 Residence Front portion Human figures
337 ChimanlaJ KeAhav. 358, Nishalno Pado 125 Residonce Front portion Human figures
lal
(Bk) Y-S-4(a)
26
STATEMENT I-con/d.

Buildings with Wood Carving

_\ppl'oxi-
mate age
of build- 'l'ype Portioll of building Brief ueseripti(Jli of
SI. Consus household _~(l. ing ill uf ooutainillg lvood na ture of wood
No. Owm,.. And looution YAHr;:' huilding cHl'ving earving

3 6

MEHSAHA DISTRIC'r-contd.
PATAN ('r_"LUKA : P ATA-,,)-contd.

-WARD No. 6-cGntd.

338 Ratilal Ambalal 364, )I:8halno P,.do 100 Residence Front portion Flowor-croepel'S
339 Kancha,n\"l 1.IlUu- 3G6, Nishalno Pado no Residence }<'ront portion Jj'lovrer-cl'ecpel'8
bhai
340 Motil,,1 Lallubhai 377, Nishalno Pado llO Residence Front portion Flower-Cleepen
3n Dahyalnl Chhagan- 380, Nishalno Pado llO RORidcJl(,e Front portion Flower-cTeepers
lal
342 I{risha.lal Vidy~- 384. ~i81lRJJlo Pad" 120 Residenee ]<'l'ont portion Flowol'-oreepers
shllnkllr

343 Shfllltiln] Amt'iU.ll 399, NiRhalno Pado 11:\ Residence Front portion Flowel'-creepcrB, human
fIgures
344 Jain DeraAar ;;58, Baliya J>ado 110 Re8idence Front. portion Human figu!',,"
345 Vaghari Ranehhocl 864., Radhnnpuri .~O Residenc<, Front. portion, lattice
Ruda Vas
:{46 Vaghari H<1vji Hi!), Itndhanpuri >II) H.t·~sidellee b'ron t portion
Hemraj Vas
34.7 Vagha,ri Hemraj ,'!84, Radhanpuri .50 Residence Front portion, 1>1 tt.i<,e
JiV8 Vas

3MI Vaghari Ghel"bh.,,[ 1144., R"dh.111puri 80 H.esidence l?ron t, portion Flowt1 r-Cff>..epet's
Rugjibha.i Vas
349 Vaghari Galji Gala! !)95. Radhanpuri 50 Residence Front portion, lattice
V~s
350 Kant.ilal Nathalfl! 1040, Ajitnathni lUO Residence Doors Flower-creepers
Pole
a5] Bai Hira Vadilal 104.4, Ajitnathni l25 Residence oOOTS Flower-creepers
Revchand Pole
352 Sevantila,l Kal ida8 1838, Nilkanth SO Rosidence Daol's, windows !<'lower-creepers
Vaidyullo Pado

353 Chimanlnl Kalida, 11;39, Nilkanth SO Residen"" ]<'['ont portion Flower-creepers

Vaidyano Pado
354 Bhogil"! Gopaldas l549, Nilkanth 75 Residence Front portion ]<'lower.creeper~
Vaidyano Pado
355 Jain Dera8ar l561/1, Keshu .Jain Temple Doors Flower-creepers, hUJDan
Shethno Pado figures
356 MathnrdaK t_liva .. 1562, Nilkanth 175 Residenc(' Front portion Flower-creepers
"ha.lld Vaidyano Pado
357 ;.r,~gilldfls J"lJhand lUll, Keshu fin Residance Doors~ window'R }'lower-creepers
Shethno Pado

:{iil'l Jamnadas Popatlal 1620, Keahn Lon Re~id"nc~ Doors, windows .1<'10" or-creepers
Shethno Pado

WARD No. i
~5!l Gordhandas 7/13, Opp. Pakhali ;;0 ReRidonce ]<'ront portion !<'Iowers, design
M"dhavlal Vada
360 Vadilol 14., Opp. Pakhali 5U Residenc" Front porLioD
Vad ..
361 Pnnamchancl 15, Sutar Sa,n 30 Residenc~ Front portion Flowers, design
Girdharlal
362 Karsanlal Prabhulal 16, Sutar San 50 Residence Jj'ront portion Jj'lowers, design
363 MangaldBs Bhag· 21, SlItar San 51l ReAidence FTont, portioD }<'Iowers, design
wandas
 27

STATEMENT I-con/d.

Buildings with Wood Carving

Approxi-
mate ag..
of hllild· 'fyp(' Portion of building Brief description of
HI. CeIli;ll~
hOlldOhold No. ing in of cont.aining wood nature of wood
~o. Own,," and lonation ~rea,rJ-.: building narVill.ll carving
~ 3 4· [1 6 7
MEHSANA DISTRICT-contd.
PATAN ('fALUKA : PA'rAN)-contd.
WARn No. 7-cfmtd.
atH :\1"dhav]lt! ~athH- 31(21, (3), Su(",r San n"sidence Front. portion ]<'Iowor", design
bhai
36.-) Ptlfsotl:tIUdal" Gir- :12(1) .. (2). Rut,fl.t' San .')(1 Residence Front portion Flowers, de~igl\
dharln!
:l66 Karsan Hh.tiof,and 3';, Pinjar'l Kol Residenct· Front portion Flowers, design
:167 Chiman!a! Gir. :17. Pinjal'a Kot. R.esidencp Front portion Flowers, design
dhadal
~9, PinjaT;I Kot, 7(1 R""idencp Front, portion Flowers, design
Golwad
Dhobi Alal'akha. ;32, Pinjara [(ot., 50 Front, portion Flowers, desigcu
Ahmad Golwad
:1741 \{".o;.tuT,..1 Gi"dIH,,~],,1 54, Pinial'n Kot. Residenc~ Front portion Flowers, design
Golwad
:171 Onlam :>Iahmnnd 11'19, Ka.ii Vndo 50 Residenoe Front portion Flowers, dcsign
Abdullabhai
:n~ CllllniTal Virch,luo 258(1), (:l), Sagot.a 50 Residen('.· Front portion Flowers, design
Nako
:~7:l Bai Man; Sanka! 288, Sn.j,(otn Nake 50 Residencf' Front portion Flowers, design
chand

374 Nanalal Bhogilal :l89, Sagota Nak" 50 Residen.,,· Front portion }'lower8, design
:175 Uabubha.i Chandll- 301, Sagota Nak0 50 Residence Front. portion Flowers, design
lal
:n6 Chimanlal Prabhu- 304 Sagota 50 ResidenCf' }'ront portion Flowers, design
das
377 l'l.amanlal Hiralal 308, Sagota 50 Resideno(' Front portioll Flowers. design
378 Btti Mangu .Tamu".- 309, Sagot" i')tJ R.esidencp Fl'ont portion Flowers, de~ign
rlfl.g

:17f1 Kanti!al Manilal 310, SagotH 50 Residenc.. Front portion l!'lowers, design
380 lIafatlal Rupa :HI, Sagota 1iD Residence Front portion Flowers, design
381 Rameshchandra 313, Sagota 50 Residenc<' Front portion Flowers, design
Vadilal
382 Sundarlal Kalidas 321/3, Sagota Residellce Front portion Flowers, de8ign
31'13 Temple of Ashapuri 322, S"gota Temple Front portion Flowers, design
Mat,(I,
384 Kalidas Ruptt 323, i:lagotn 50 He.idence Front portion Flowel's, design
385 Kantilal Chunilal 324, Sagotu 50 Residence Front portion Flowers, design
3!!fi Temple of Laxmi- 326, Sagottl 1)0 Temple Front portion Flowers, design
Narayan
387 Masabu Kesluu" 376, Ghinojiyallo r.ll Residence Front. portion Flowers, design
khan Pado
388 Abubha.i- Bhikha 381/2, Ghinojiyano 5(1 Residenc(' Front portion Flowers, design
bllai Pado
38!) Salanabi Ohandbhai 385/2. Ghinojiyano ;;0 Residence Front portion Flowers, design
Pado
a90 393/1, ~jnt,rancc of 50 Re"idanc(' Front portion Flowers, design
Dhobini Sheri
391 Jivabhni Am;chand 394, Entrance of iill Residence Front. portion Flowers, dosign
Dhobini Sheri
Ramchnnd Ambalnl 395, }~ntranel_' of 50 Residenc8 Front portion Flewers design
Dhohini Shori
:l93 A1TIl'lt;l,1 L"I111ram 396, F1nt,ra,ncf't of Rcsidencu Fro llt portion
Sagota
28
STATEMENT I-contd.
Buildiogs with Wood Carviog
Approxi.
mate age
of build· 'type Portion of building Brief description of
Sl. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 6 7

DlEHSAHA DISTRICT·contd.
PATAN (TALUKA : PA.TAN)'CQntd.

WA.RD No. 7·CQntd.

394 Chandulal Manilal 400, Entrance of 50 Residence Front por.tion l:!'lowers, design
Dosina Maholla
395 Bai Jadi Kalidas 401, Entrance of 50 ltesidence }<'ront portion Flowers, design
Dosina Maholla
396 Mohanlal Shivabhai 401/1, Entrance of 50 Residenoe Front portion Flowers, desigJ)
Mulla Vad
397 Bai Mani Nagar 404, Entrance of 50 Hesidence Front portion Flowers, design
Virchand Dosina. Mahona
398 Himatlal Manilal 404/1, Near Lote· 50 Residence Front portion Flowers, desip
shwar

399 Bai Rewa Virchand 405/2, Entrance of 50 Residence Front portion Flowers, design
Dosina. Maholla
4,00 :Sai Ohanahi 409, Entranoe of 50 Residence Front portion Flowers, design
RalUchand Dosina MahoUa
401 Fakirchand Nagar- 410, Entrance of 50 Residence Front portion Flowel'!!, design
daa Dosina MahoUa
402 Parsotamdas Bhag. 440fl, Entrance of 50 Residence Front portion Flowers, desigll
wandas Mulls Vad
(03 .Toitabhai Haribhai 467, Kedareshwarni 50 Residence Front portion Flowers, design
Patel Gali

404 Nagarbhai Godad· 468, Kedareshwarni 50 Residence Front portion Flowers, design
bhai GaH
405 Jetha!al Lallubhai 470{1, Kedare. 30 Residence Front portion Flowers, design
shwarni GaU
406 KantHal Umedbhai 471, Kedareshwarni 40 Residenoe Main door Flowers, design
Gali
(07 Maganbhai Godad- 472, Kedareshwarni 40 Residence Main dom Flowers, design
bhai Gali
408 .Tiva.bhai Punjabhai 478/2, Kedare. 30 Reaidence Main door Flowers, design
shwarni Gali

409 Jethabhai Raichand 486, Kedareshwarni 40 Residence Me.in door Flowers, design
Gali
410 Miyan Abdulla 636, Timbaliya Vado 50 Residence Front and inner portion Flowers, design
Valigot&
<ill Gordhandas Ram. 637, Timhe.liye. Vado 50 Residenoe Front and inner pOJtion Flowers, design
chand
(12 Bava Miyan Hakim 639, Timbaliya Vado 50 Residence Front and inner portion Flowers, design
4.13 Abdlllla. Mohamad 640, Timbaliya Vado 50 Residence Front and inner portion Flowers, design
Salvati

4H Yasinmiyan Hasan· 667, Vania Vad 50 Residence Main door Flowers, design
ali
415 Mehamad Sidik 675, Raka Vad 50 Residence Main door, pillars of Ohowk I?lowers, design
Kaka
416 Abdul Rahamanalli 677, Rake. Vad 50 Residence Main door, pillars ot Ohowk Flowers, design
417 Mahamad Ahmad 691, Rakta Vad 50 Residenoe Front and inner portion Flowors, design
Sheth
418 Jamalludin 699fl, Rakta Vad 50 Residence Front and inner portion Flowers, design
Nurkutab
 29
STATEMENT l-contd.
Buildings with Wood Carving
Approxi-
mate age
of bui1d- 'l'ype Portion of building Brief description of
81. Consus household No. ing in of containing wood nature of wood
No Owner and IOGation 4years building oarving carving

2 3 5 6 7

IllEHSANA DIS'rRIC'f-contd.
PATAN {TALUXA : PATA~)·contd.

WARD No. 7-ooncld.

Nurmahamad 700, Rakta Vad 50 Rosidolloe Front "ad inner portion _t.... lowers, design
419
Mahamad RUBan
420 Miyan 8idik Nuruali 705, Rakta Vad 50 Residence Front and inner portion Flowers, de8ign
421 Miyan Sidik Nuraali 708, Rakta Vad 50 Residence Front and inner portion Flowers, design
422 Miyan Mahamed 709, Rakta Vad 50 Residenoe Front and inner portion Flowers, design
Latifkhan
423 Miyan Ahmad Yusuf 712, Rakti' Vad 50 Residence Ifront and inner portion Flowers design

424 Kantilal 766/2, Lalshah Vado 50 Residence Main door Flowers, desi~n
425 Mahamadali SalD- 783/1, Rakta Vad 50 Residence Main door, pillars of OMwk Flowers, design
suddin
426 Abubakar Mah ... - 1479, Panch Pad... 150 Residence Inner rooms, cMwk Flowers, design
mad Patw...
427 Abdulla Jamal Sufi 1483, Panoh Pada 100 Residence Olwwk, inner portion }.i-'lowers, design
428 Miyan Mahamad 1484, Panch Pada 100 Residence Olwwk, inner portion Flowers, design
Daud

429 }[ahamad Said 1485, Panch Padll 150 Residence Olwwk, inner portion Flowers, design
Sadak
430 Miyan Bakkar 1487, Panch Pada 150 Residence OhrnDk, inner portion Flowers, design
Mahamad Ba.n .. n
431 Ahmad Abdul 1530, Panoh Pada 150 Residence Olwwk, inner portion Flowers, design
Rahaman P"twa
432 Abdul Raheman 1532, Panoh Pada 150 Residence ChrnDk, inner portion Flowers, design
Mahamad P ...twa
433 Shaikh Umar 1533, Panch Pads 150 Residence Olwwk, inner portion Flowel"H, design
Mahamud Patwa

WARD No.8

434 Jayendrashankar 942, Nagar Vado 150 Residenoe Front portion, household Flower-creepers, peacock,
Shyamshankar shrine human figures, elephant,
Ganpati
435 Nipunika Amidhar 969, Nagar Vade 100 Residenoe Household shrine Flower-creepers, design,
elepha.nt, horses, parrot.,
human figures
436 Surendraray 970, Nagar Vado 50 Residenoe Household shrine, Olwwk Flower-creepers, design,
Kantilal parrots
437 Maheshwariben 995, Nagar Vado 150 Residenoe Front portion Flowers, creepers, design
Manekdhar
438 Shantaben Aditram 1004, Nagar Vado 150 Residence Front portion Flower-oreepers, design

'39 Harendraray Flowor-creepors, . desi~n,

Gopiray 100ft} Nagar Vado 150 Residence Front portion ornamental carvmg of
1010 peacook
440 Maheshray 1111, Nagar Vado 150 Residence Front portion Flower-croepors, design
Girdharray
441 Madhusudan 1127, Davano Pado 70 Residence Pillars Flower-creepers, design
Girdharray
442 Sudbakar 1130/2, Daveno Pado 70 Residence Front portion Flower-creepers, design
Balvantray
30

ST ATEMENT l-contd.

Buildings with Wood Carvinl

Approxi-
mate ag.·
of build- TYfl\' Portiun of building Brief description of
Sl. Ct~ni:'lu,.; houciohold No. ing ill of cont,aining wood nature of wood
No. Hnd lo(':at'lon yea-r~ huilding carving carving

3 ., 7

MEHSANA DISTRICT-conld.
PATAN (TALulCA : PATAN).ronld.

WARl) No.9

Goviudlal )far,tuda,,; 137. ::loni VaLio l{t'sldenot:· Capital8 of pilht1'~ Creeper.

Ch"ndllial Motihl 561, Chat.rubltujni l{e~id('nOf) Capitals of pillar~. windo\\ Creepers
Khadki balcony
445 '{'emph, ;)65, I'hVl1di~rilHi :;0 Capit.als of pillars. windo" CrMepers
Khadki balcony
446 Krishnalal Vit.hal- :>101 1 , S,vadiYillll 50 Door-fram", winrlow bal00ny Borders
das Khadki
447 Gordhanda, i)7l, RWi:\.diya.ni 50 Borders
BhagWAnda,; Khudki

448 ltailiklal Khimji- ,373, Kw<tLliyalli ;jO Hre~idoJw(" en pitals of piHar~ Uorders
bhai Khadki
449 Hhailal Jamn,ld",o .314, SwndiYftni .)0 H:·(~8idfl.nOP Cftpit.als of pillar", door-frame Horders
Khadki
450 Vrijlal La.lubhai ij87. RhaOlli Khadki .iO HN;idenc(~ Door-frame, capit.a18 of pill" 1'". Border><
window balcony
451 'relnplt-'> ,,94, KagadlUli ,30 Temple Door-frame, capitals of Borders
Khadki pillars, window balcony
452 Rameshchaud t'" :>96, Pftrel~hnn 5u l'tesidon.'t' l1apit.ah of pillars. door-fm.TfJt· Bordel'"
Jethalal Khilllcho

4-53 GokaldaR Ohunil".1 ;')98, P,Hokhno 60 Re"iden"" PillarB, capital" of pillar",

Khoncho human figures
Chaudr" Vl\dall 605, Near Parekhno ,')(J Temple Capit,,,ls of piU"rs, door.frame
Lalji Khancho
455 Jain TempI.- 616. Unehi Pol .. Jain.Temple Pillars, door-frame" Borders. elephant
456 Jain Derasa1' 618, Unehi PolP Jain Temple Passage to terrace WilY
4-57 Subhadraben !i2il, Unchi Pol" R,,"idE'ucf' Capita Is of pillars. door-fEllIn"
Kautil",l

458 Building of tho Vadi 1;:23/1, .In.diyuui ;}() Hesidenci' i:!upports, door-FraIm' Bo..der~
of Badridas Bava Khadki
4,59 Hapulal Narotam. 6421l, Jadiyani i,O Residenol' SupportB, door-framl' Borders
das Khadki
.t60 Chimanlal Magan- 644, NeHl' Jndiyani 5U Residence :Supports, door-frame Borders
lal Khadki
461 Kalavati Mafat.l,,1 725, Rughnathjino 31) Residence Pillars, window balcony Borders
Pado
462 Tomple 736, Rughnnthjino 100 '['cmpl,. Doors, pillarH, en pit,~.tJfoi of H.a."iih" elephant, swin!!
P"do pillar8, door-fwlIne

463 Bhagwaudab 74~, Khokhnni 5U Residence Uapitals of pillars, window Borders

Kt'ishnalal Kh"dki balcony
464 Ka,ntilal Ntll'oto.In· 749, Khokhani 50 f{esidence Capit.als of pillar8, windo\\" Borders
das Khadki balcony
465 Krishnalal Vithal- 757, Khokhalli 5(1 Residencf' Capitals of pillars. window Border"
das Khadki balcony
+66 KautHal Vith,l1dn' 758, Khokhani ,,0 Residencu Oapitals of pilla.rs
Khodki
.In, Nat.wa,·le,1 FhVlllal 764. Klwjadauo ;:>0 H.OF! idellCt" n.pita.ls of pillars, door-frame Horder.
Pll.do
 31
STATEMENT I-contd.
Buildings with Wood Carving
Appro"i-
mate age
of build- Plwtion of building Brief ,J",cription of
Sl. UOn~ll>5huufluhotd No. ing in ("".Qntaining "\vond na.ture of wooel
No. OWllur and location .vears I>liilding I~arvin,f! carving

2 3 5 7

MEHSANA DISTRICT-contd.
PATA)< (TALUXA : PATAN)-Col1cld.

468 Cht.mp"klal Chuni- 772,77.), Khejadano JO Resi_dence Capitals of pillal'~, window Borders
lal Pado balcony
4,69 Dahy ••,lal KI'i~hllft- 78612, Khcjadano 50 Reaidence Cttpitals of pillars, door-frame,
lal Pado window ba.lcony
,Of) KantHa! Govindl,t1 839, VaghVI1Hi Residenne :Sllpp()rt,~, "apit,als of pillars Borders
Matanu Pado
471 Radripl'a8Hd 848, Yl1ghvani Itesidence 8~lpports, capitals of pillars, Borders
Pratapji Mat.allo Pado window balcony
472 TempI.. 858/1, Vaghvl\ni f L"mn pIA Capitah of pillars, pillars,
'Iatano Plldo door~ fra,nles

n!l 'l'rl1mb,tklaI Sit yam- 868/1 Y"ghvani Rt~s.idunee Dool'-fl·J:tJlH:', wiudow balcony Creepers
lId :\fatano P"do
474 :ShivlaI Ambalal 875, Dhalni Pole ROHidence Pillttrs, \\¥iudo,v balcony Border.
,i75 Visha ~hrilni.l,lJ ilH3/3, 884. Dhalni Residence Capitals of pillars. window Creeper!:>
Vadi Pole balcony
476 Kdshnalrtl Girdhal'- 895. )<oa1' ChatUl'- .H.e~LdeJ.lce Capitals of pillar", ,vjllcio,,"y Creepers
Iltl bhujni Khl1dki balcony
477 :\fangnben Manilal 808/1, Chaturbhuj- Residonce Cnpitals of pilla.rR. pillal's Borders
ni Khadki

478 Ohirnaulal Kuber- HO&/l, Chatul'blmj- ROHidenc,e Pillars Creepers

das ni Khadki
-1.79 Blti Prabhavati 909, Val'akh"dino Rel-iidence :-lupports Creeper~
.J "lnnMa.s Pado
{SII -byantilal :\Iot,ilal
\) l 7/1, V,witkhadino Residen('e :-lupport~, door-frame Creepers
Pado
481 Manila I Hargowltll 918 Varttkhadino Hesidenc.. Supports, door-frame Creepers
Pado
482 Popatlal Chimanlal 1030/1, Bhatiya Residence Door-frame Oreeper$
Vad

483 Building of Suthar 1n32, Bhatiya Vad Residence Snpp()l"t.~, door .. fra,me Borders
easte

WARn No. 10

484 Narendrachandro 617, Doshi Vado Residence Front port,ion l<'lower-creepers, design
N atwarlal N adi
485 Divyakant, Madbav- 619/1. Doshi Va,do Front portion l<'lower-creepers, design
ji Munshi

MEHSANA (TAJ,uKA: MEHSANA)

\VARD No. I

486 Jain Derasar 111138/259, Motu 100 l'"'rout portJlon, inner portion Human figures, flower-
Champaklal Kali- DerosaT Gandhi creepers. etc.
das Harade. Admi- Hoad
nistrator of Jain
Sudhara Khat..
32
STATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build· 'l'ypo Portion of building Brief description of
Sl. CenJllS household,No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 Ii 6 7

.EHSANA DISTRICT-contd.
SIDHPUR (TALUKA : RTDHPUR)

WARD No.1

4.87 Sheth Raman!al 69, Near Chora" Door.. frllome, pillars Ornamental carving
Gordhttndas Haranani Vakhars.
Manilal Motiramni
Khadki

WARD No.2

4.8S Kadarbhai Sarfali 187. Juni Vorvad 82 I~8siden"e Doors, windows, facade pillars Ornamental carving
Kitabi
4,89 Safaiyabai Akbar- 266. Juni Vorvad 75 Residenco Doors, window.s balcony, Ornamental carving
ali Abdulhusen facade
272. Juni Vorvad 76 Residence Doors, windows, balcony, Ornamental carving
4.90 Abdullabhai Daudji
Sb..."hpurwala. pillars, facade
491 Fid"hu30 n 1>Iaha· 276, Juni Vorvad 70 Residence Balcony, pillars, faoade Ornamental carving
madali Bhimdiwala
4.92 Husenbhai Abdul. 281, Juni Vorvad 75 Residence Doors, windows, balcony, Orna,mental carving
husen Koyaliya faoade

4.93 Badaruddin Gulam. 283, Juni Vorvad 78 Residenoe Doors. windows, baloony, Ornamental carving
aU Jhaveri facade, pillars
Kurbanhuseu 327, Juni Vorvad 70 Residenco Doors, windows. baloony, Ornamental carving
HasauaH Unjha' door-frame. facade
11'11.1 ..

~';.~ar
dardas,
J~=~}800' Patel
Thakar Mahad
Lokno 70 Residence Facade, supports Ornamental carving

Jata.shaulror .
Damodardas
Sheth Mangaldas 84.3, Near DesaiWl; 76 Residence Pillars, facade Ornamental carving,
496 human figures
Prehladji Modh, Kansaram
Khadki

WABD No. 3
Fatambai Abdul. lOIS, Putalino 80 Residence Halcony, pillars, facade Ornamental carving
491
husen Ibrahimji Mahollo

W..um No.4

498 Abdullabhai 41812, Islampurano Residence Doors, windows, balcony

Taiyabali Khoraki· Mohollo
vala
499 Fatambai Dlo 663, Opp. Vadnagar. 58 Residence Front portion, inner portion, Creepers, etc_
AkbaraH vala Municipal balcony, etc.
Hospital
718, Harariyano 85 Residence Doors. windows, balcony, Ornamental carving
500 Shaikh Mahamad- facade
ali Shaikh Mahollo
Haidarali Blun
71 g, Harariyano 80 Residence Doors, windows. balcony, Ornamental carving
501 Khadijabai Fidaali facade, pillars
Mahollo
Kaiyum 727, Harariyano 70 Residence Doors, wjndows, facade. Ornamental carving
502 Abdul pillars, ventilators
Abdullabhai Dak Moto Mohollo
 33
STATEMENT I-con/d.

Buildings with Wood Carving

Approxi-
mate age
of build- Type Portion of building Hrief description of
HI. Ceusus household No. fig in of con1;aining wood nature of wood
No. Owner and location ye~l'l::l building carving carving

2 3 4 6 7

MEHSANA DISTRICT-contd.
>

SIDHPUH (TALuKA SWI1PUR)-contd.

W'ARD No. 4-contd.

503 Alibhai
F'i::l"t,Mnhai 72i), Ha-rariyano 7.-, Rosidenoe Door>! windows, balcony, Ornamental carving
S<'tmiudin l\fahollo facado
504 .Istunbai D/o 751. Harariyano 65 Residence Doors, ,vin(h}\~N" bHl~ony, Ornamental carving
Abdullabh»i Va"hlo Mahollo facade
Hasanali Mamuvala
{50,1 Fin ""Ii Kamrndin 775(c) -Har."tri;va.no 70 R08idence Doors, wjndu,vl:'i~ balcony, Ornttlnentftl ca.rving
Bharuchwala Vachlo Mahollo facade, p illn.rs
.500 Alihusen Gulamali 833, lIar<lriyano 70 Residence Doors, ,vindowR, door-franlf;. Ornamental carving
Khasamvfl,la Maholla balcony, facade
;} "I 7 R;-I,sana,li Naj,.r,di 8:1;>, Hi.i,ri"triy<tllO 45 Rosideuoe Door8, ventilator!::), balcony, Ornamental carvi.ng
Jhaveri Mahollo facarre

508 Sakinubai Diu 839, Htt.rari,vano 05 Residence Doors, door-frame, balcony, Ornamental carving
Hasanali Abdnlali Mahollo pillars, facade
Ghiwala
iO!) Batulbai Husen- 847, Harariyano 75 Residence DoorH, windows, balcony, Ornl1omental carving
bhai Bandukwala Moto Mahollo f"cade, pillars

'VARD NO.5

510 Babubeu D!o 1063, NeM, Gujarati 75 R,esidence Pillars Ornamental carving
DhanjiRha. ShalaNo_I,Ramji-
pura Road

VADN AGAR (TALuKA : KHERALU )

511 Somabhai Laxman- 2/159, Surkanno

Built Residence Pillars, balcony Flower-creepers, animal:-:.
das Pate! Madh in V.S.
1960
(1900
A.D.)
IH2 Amba!a! Mohan!a! 2/161'1, Surkanno Built Hesidence Pillars, beam Flowcr-cl'eepers, nnimals
Vyas Madh in V.S.
1961
(1906
A.D.)
513 Prahladji Rev"l"l 2/1167, Nnni MaLor Built Residence Pillars, areh,," of balcony Flower·(',-r~ppCl'R~
Maheta in V.S. figures
1946-47
(1890-
1891
A.D.)
514 Shankarprasad 4/953, l\Ianorno Built Rosidence Front portion Flower-creepers, idol of
Bhogila! Madh in V.S. Lord KrislulH
1946
(1890
A.D.)
(Bk) Y-3-4
34
STATEMENT l-contd.

Buildings with Wood Carving

Approxi.
mate age
of build· Type Portion of huilding Brief description' of
Ell. CenSllS household No. ing in of containing wood nature of wood
No. Owner und location years building carving carving
2 3 4 Ii 6 7

MERSANA DISTRICT·cofUlld.
VADNAGAR (TALUICA: KHERALU )-contd.

515 Gordbandas Dosa- 5/50 2, Near K uniano Built Residence Supports of pillars Animals
bhai Madh in V.S.
1951
(1895
A.D.)
516 Keshavlal Har- 7/663, Kadiano Built Residence Supports of pillars Animals
govandas Gandhi Chowk in V.S.
1946
(1890
A.D.)
517 Administrator of Modh V.. do Built Pill,ws, Garbhagrih Animals, human figures,
Hathi Derasar in V.S. idols
1920·21
(1864-
1865
A.D.)
518 Chimanlal Damo· 685/12. Near 40 Residence Pillars Human figures, lamps
dardas Khodiyar Mata

KALOL (TALUKA : KALO£.)

519 Vimalaben Pravill- 2/766/1, Lawar Vas 20 Residence Front, portion, doors, pillars Flower-creepers, lamp
ohandra Chandu-
lal Vakha
520 Vakha Chandu!al 767, Lawar Vas 20 Residence Doors, pillars Flower.creapers, lamp
Jamnadas
521 Shri Ramji Mandir, 734/3, Panch 60 Temple Ohowk, pillars, upper storey, EIIlphant
Administrator Hatadi etc.
Prahaladbhai
Maganl"l
522 Vakha Bhogil"l 810, Near Bh"dia- 60 Residence Doors, pillars Creepers, human figures
Chhaganlal vadi Bhagol
523 Vakha Hiralal 8ll, Near Bhadia- 60 Residence Doors, pillars Creepers, human figures
Chandula1 vadi Bhagol

524 Shri Pushti Margiya 1322/16, Near 69 Temple Pillars, chowk Human figures, lamps,
Shri Balkrishna- Gujarati trees, creepers
lalji Mandir Trust 8chool
525 Sheth Ramanlal 5/947/1, Targala 25 'Residence Doors Fans, baskets
Motilal Vas
526 Sheth :Manila! 5/648, Targa!a Vas 2:, Residence Doors Leaves
Mehanlal
:527 Sheth Govilldlal 5/1003/1, Panch 37 Residence Pillars Human figures, tigers,
Chhotalal and Hatdi lions
Jayantilal Chhota-
hI
528 Sheth Govindlal 5/1004/1, Panch 37 Residence .Front portion HUman figures, tigers,
Chhotalal and HaMi lions
Jayantilal Chhota-
lsI
 35
STATEMENT I-contd.

Boildings with Wood Carving

Approxi.
mate age
of build. <.rype Portion of building Brief description of
Sl. Cen.'''l; household )l"o. ing in of oontaining wood nature of wood
No. and location years building carving carving

2 3 5 6 7

AHMEDABAD DISTRIOT

AHMEDAI1AD CITY (TALUKA: AHMEDABAD CITY)

KHADU WARD No.1

Vimalagauri Wlo 177, Kotharini Pole Residence Windows, pillars, beams, tadla
Ishwarlal Chiman·
lal, Fakirchand
Balabhai Khatri
:J Vimalagauri Wlo 178, Kotharini Polo Residence Windows, pillars, beams, todla
IShwarlal Ohiman.
lal
3 Fakirchand Bala. 179, Sarangpur 100 Residence Door.frames, lattice, pillars, Flower-creeper, pitcher,
bhai Khatri Ghashiramni Pole beams trunk of elephant, peacock
4 Yogendra J amnaf 3ll8, Lakhiyani Pole 100 Residonce Doors, door· frame, pillars, Flower·creepers, pitcher,
da. Chokshi madal elephant, peacock
5 Kantilal Amtharam 329, Lakhiyani Pole 150 Residence Door-frame, pillars, balcony, Flower.creepers, pitcher.
.Toshi ceiling, chawk elephant, peacock, horses.
pratihari, human figures

6 Punjabhai B"he- 342, Lakhiyani Pole 100 Rosid"ncc Doors, door·frame, pillars,
Flower-creepers, pitcher,
chardas Patel balcony, chowk elephant, peacock
7 Kirtibhai Laljibhai 396, A.mritlalni Pole 125 Residence Duor.fr",me, balcony, madaJ Flower·creepers, pitcher,
Trivedi elephant, peacock, parrot
8 Atulchandra Vikra- 396,396/1,3961 111, :lOo Residence Windows, balcony, brackets, Flower·creeper. flower,
mbhai Trivedi 396/1/2, 396 1(3, boams leaves, branches. elephant,
Arnritlalnt Pole peacock
9 Bai Shrimati Wlo 396/B/l,fBI2,/Bf3, 200 Residence Windows, balcony, brackets, Flower·creeper. flower.
Rajendra Ravi· IBf6,(Bf7, Amrit· bases elephant
shankar and lalni Pole
Sangita and
Mayavati Ds/G
Rajendra Rayi.
shankar
10 Niranjana Gfo 396/A, fAfl, Am- 200 Residence Window, balcony, brackets, Flower·creepers, flow ..r.
Kirtidev Vikram· ritlalni Polo bases leaves, branches, elephant,
prasad peacock

11 Vidyagauri Wfo 396fK,fK(1,/K/1 (1, 150 Residence Window, balcony, brackets, Creeper, flower, leaves
ArunendrR, Rayi· JK/2,/K/3,/K/4, bases pitcher
shanlmr Amritlalni Pole
12 Bai Chanchal W /0 401,401/2,401/1/1, 100 Residenoe Door·frames, pillars, ceiling. Flower·creepers, pitcher,
Madhubhai Chu· Amritlalni Pole brackets, beams elephant, peacock
nilal Kavishwar
13 Hai Kamla W/o 402, 402(1, 40212, 200 Re~id"nce Door-frames, pillars, brackets, Flower·creepers, pitcher,
Satyaprasad Aml'itlalni Pole windows, balcony, madal elephant, peacock, human,
Dolataralll, 2 G(o figure.
Minor Nalini
Satyaprasad
14 Krishni1lul Nilkanth. 403,403f1,( 1/1,(1/2, 200 Residence Window, pillars, beams,doo1" Flower-creepers, pitoher.
rai Chhntrapati /1/3,/1(4,/ 4/1,Amrit- frames, madal elephant, peacock, lion
lalni Pole
15 Kantaben Anand- 410,410/1, Amritlalni 150 Residence Pillars, beaIlls, brackets Creeper, flower, Iflayes, p"a-
rai Mehta Pole (lock
36

STATEMENT I-colltd.

BuHdings with Wood Carvl~

Approxi-
mate age
of build- Type Portion of building Brief descript.ion of
Sl. Census household No_ ing til of containing wood nature of wood
No. Owner and location years building carviug carving
2 4 6 7

AHMEDABAD DlSTRICT-GOntd.
AHMEDABAD CITY (TALUKA: AHMEDABAD CITy)-contd.

KHAllIA WARD No. I-CQntd.

IIi Bhogiial Sa,nka!- -HI, A_tIlritlalni Door-fraIne, pilla1'8, ceiling,

Flower-creepers, pitcher,
chand Shah Pole madal elephant
17 Hamanlal Damo- 412, Khatrini Pole i5 Hesidence \Vindows, beams, madal Flower-creepers, elephant,
dardas Shah pitcher, peacock, human
figures
18 Pranlal Manilal 442 / 44 3,443/1, 100 Residence Window, pillars, balcony, Flowcr-ereepers, elephant,
Mehta and G/o -U3/1/1 ,12,12/1 ,/3, chQwk. supports, door-frames, pitcher, poacock, human
Minor Kulinkan~ Amritlalni Pole b""ms, brackets, todla figures, sparrows
19 Shank,udas Na.t,ha. 4+9, Jechabha;ni 100 Residence Doors, door-frames, pillars, Flower-creepers, pitllher,
lal Mehta Pole chowk elephant
20 Dr. Vinl1ykant 450, .Jethabhaini 100 Residence Door ..;;, door-fra.ln~s, pillars, Flo·wAr-~re~pAl'R, pitcher,
Chanduial Godi- Pole chowk elephant
yavala

21 BalL~i'alGovindlal 46,l Jethabhaini 7i-; Residence Door, door-frames, pillars, Flo\ver-crcepel';-l, pitcher,
Thakor po'le madal elephant
22 Venisha.nk .. r Rewa- 471/3, Ju~habhaini 12,; H.e8idence Doo~s, pillars, balcony FlowoI"-creeper~, pitchp.J·,
shanka,!" Joshi Pole elephant, peacock, p"rrot,
23A .\_mb,tlal Chim<1u- J7:l to !7212, Amrit- 100 Residence Door-fra1nes, pill;-},rs, bealns, Creeper "with flower, peacock,
J..I I1nd Bai lalni Pole windows, todla elephant, human figure,
Chandrika W 10 pitcher
Chandula! Chi·
manIaI
2:3B Ramakant Gajanttn 472, -IeLhablhtini 100 Residence DOO1'8, pillars, Flowor-cl'oepe1'8, elephant,
Pat.el PolA chowk peacock, parrot
24 G"janan Vadilal 473, n3/1 ,12, _-\_mrit- IOO Door-fralne, pillar:-;, windo,v~, Creeper, flower. elepht1nt,
and Bttbubhai lalni Polo beams, todla pitcher
Vadilal

25 Ben N andttgauri 477, ,l77/1, 11/1,/1/2, IDO pilla,rs, windows,

DOOI'-fl'l11UeS, Creeper, flower, peacock,
Dlo Jamiyatram 12,/3, Amri~lallli bo>,ms, brackets elephant, human figures,
Narbhel'am Pole pitcher
26 Vinodaben Ishwarlal 47713, Jethabhaini 7.3 R,A:..;idence Windows, pillars, balcony, }1'lower-creepers. elephant,
De8"i Pole door-fralues, chowk pitcher, peacock
,l 77, 477/1, .Jethabh,tini 7.> Residence Window", pillars, h",!cony Flower-creepers, elephant,
Pole pitcher, peacock
27 Viplav Lttlbhai 48-!, 48!/1, 1/1/, /211, :l00 H."sidence Pilhtr", beams, lo,z!a. Creeper, flowers, leaves,
/2,/3, Amritlalni peacock, human figure
Pole pratihari
28 Pl',ldyumna Haris. D18, Sutharwadani 100 Residence Balcony Flower-creepers, elephant
chandra Vyas Pole
29 I'rabhalaxmi Mani- .Jl9t,0 319/4,Sllthar- 1.30 Residence Balcony Flower.creepers, elephant
la! Gajjar wadan; Pole

30 Kantilal Nathalal 521, Slltharwadani 100 Residence Door-fr<1lne, pillars, chowk Flower-creepers, elephant,
SUrti Polo peacock
:H N arendra prasad 544, ::M:aniyashani 100 Residence Door.frame, pillars, mada!, Flower-creepers, pitcher,
Shantilal Mehta Pole lower portion of window peacock, elephant
Gokaldas & SOilS J76, Kavishwarni Hesidence Door-frame, pillars, front Flower-creepers, pitcher,
( Mangaldas Pole portion peacock, elephant
Gokaldas Shah)
33 Manaklal Bhagwan 611/A, Limbda Pol L,O Residence Dour~franle, pillarA Flower-creepers, pit,chel',
Kajuwala peacock
34 Champaklal N atha- 629, Limbda Pole 75 Residence Door-frame, pillar" Flower-creepers, fla.g
lal Shah
 37
STATEMENT I-contd.

Buildings with Wood Carving

Approxi-
mate age
of build- Type Portion of building BI'ief deRcription of
SJ. Cen~us household No. ing in of containing wood llU tare of woud
No. Uwner and locaLion yearH Imilding carving carving
2 3 4 Ii 7

AHMEDABAD DISTRICT-contd.
AHMEDABAD CITY (TALUKA : AHMEDABAD CITy)-contd.

KHADIA WARD No. I-contil.

35 Narendrabhai Chi- 655, Jani Vado 11)0 ·Besidence Front. port.ion, pilla!'" Flowe"-creepers, elephant,
manlal Nanavati peacock, parrot
36 Nandas Harida" 677, Kothari Pole 100 Residence \Vindow, pill>1r, balcony, Flower-creepers, pitchor,
Parikh madal elephant, human figures
:n Govindlal .\:htl.,klal 678, Kothari Pole 11)1) R~sidence Pillars, ha.leony, mad'Ll Flower-creepers, pitcher,
Parikh elephant, peacock, human
figures
Kai!a3beIl. R. ,mctn- d!):l, Kothari P"le L.iil R".,idence DClor" doo l'-fra me, pillars, Flower-creepers, pitcher,
lal Parikh beam., madal elephant, dancing peacock,
parrot
39 Harila! Mohanlal 705, 705/1, 705/:l, Door-frt11UeH, a.rches, beams Creeper, flo\ver, leaves,
Kothar L Pole peacock, elephant, human
faces
40 Jayendrakumar Pu- 710, Kothari Pole 1,,)1) Residence Door-fmme~, pillars
rshottamdas Dalal
Mohan!al Gordhan- 717, Kothari Pole Residence Door frames, windows, pillars Flowor-creepers, elephant,
das Desai '" balcony peacock
:lbnharlal Pranji- ?:l8, Nilg<tr Wado 7.; Door-frames, chowk, mad"l, Flower-cret1pers elephant,
vandas Parikh pillars peacock, human figures
.Maneklal Manilill 7(;4, Verai Pado 200 REsidence Door-frames, balcony, ceiling Flower-ereepcrs, elephant,
Sheth peacock, parrot, human
figures
44 Ramanl",l Maneklal i9;), Ver,\i Pado 1(1) Residence Dom', door-frames, madal Flower-creepers, elephant,
Parikh pitcher, peacock, parrot
4;j Ramniklal Mohan- Residence Flower-creepers, pit,cher,
8,56, R.t~gha Sut>1ri- 100 Door-frame, pillar, ceiling
lal Fojdltr ani Pole elephant
46 Ramanlal Charnarl- 869, KalnKhani Pule 100 Residence Door-fmme, pillars, balcony, Flower-creepers, pitcher,
lal Shah mad-al elephant
n Lalitkanta Chnn- 875, Bhansadl1vrutni lOO Residence DOOI", door-frame, pillars, Flower-creepers, elephant,
dulal Mehta Pole balcony parrot, pitcher, human
figure, .• hehnoi-player, fairy,
pratihari
J" CIH1nchaibon Bho- S77, Bhansadavratni
gilal Gajjal' Pole
H,I) Residence Door-frame, pillars, balcony, Flower'creopers,
front portion
pitcher,
el"phan\" peacock, lion
4\) Rabubhai )lem- 88_>, K,t1u"haui Pole L;O Residence Door, door-frame, pillal'R, FloweI'M creepers, pitcher,
chand Shah b"lcony, ceiling, chowk elephant, peacock, parrot,
human figureR, shehnai.
player

.')0 R,tnjitbhai Hari- \)48, KI11ulniyanno 75 Residence Door-frame, pillars Fl{Hver-creepers, pitcher,
vadan Pandya Takiyo elephant, peacock, lotus
51 Ranchhodbhai Ma- 979, Todani Pole 3.jO Re~idence Door, door-frame, pillara, Flower-creepers, pitcher,
neklal Vyaa innet: port,ion elephant, peacock
';2 Lalbh"i Chandulal lO75, Totalajini 150 Residence Door, door-frame, pillar, Flower nreepel·s, pitcher,
Vasa Pole balcony, madal, ceiling elephant, peacock, parrot,
human figure, Ganpati,
fishes, shehnai player,
o

labyrinth
.13 Sm'yakant Gordhan- 1103, Sarangpur 125 Residence Windo,v:-::, pillars, brackets, Creeper, flower, leaves
prasad Amin Taliani Pole todla
34 Shah p,"nl~blmi 1104,1104/1,1104/2, 12,) H.osidencc Door-frames, pillars, windows, Creeper, flower, peacock,
Ghelabhai ~;hl'angpur Taliani beam", brackets elephant, pitcher
Pole
38
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
Si. Cell' us household No. ing in of containing wood nature of wood
No. and location years building carving carving

2 3 4, 5 6 7

AHMEDABAD DISTRICT-contd.

AHMEDABAD CITY (TALUKA : AHMEDABAD CrTy}·contd.

KRADTA WARD No. l-contd.

55 Trikalnlal Vagar- 1114, 1114/1,/2,1 3, Residenco Pillars, beams, arches in dOOI'- Creeper, panel ofleaves, cart
chand Sarangpur Tahani frames with carving of life with bullocks, human
Pole incidents of Mahatma Gandhi figures, pitcher
51) Maganlal Jechand- 1117, Brahttmpurini 150 Residence Door, door-frame, chowk, Flowor-creopers, pitcher,
das Mah"dcvia Pole madal peacock, parrot, human
figure, fairy
57 Himatlal Hari. 1117, 8arangpur 100 Residence Door~frt'l_,mflS, windo","rs, beams, Creeper, zul, elephant,
vallabhdas Taliani Pole brackets pitcher
58 Natwarlal Jethalal 1117/A, 1117/A/l, Residence Door~franles, windows, beams,
Sarangpur Taliani brackets
Pole
59 Pinakinprasad Mo· 1126, Braharnpurini 125 ResidelllJe Door-frame, pillar, balcony, Flower-creepers, pitcher,
hanlal Davo Pole madal elephant, dancing peacock

60 Parsotamdas Chan- 1177, Laxmin"ra- 100 Resideuce Door-frame, pillar, madal Flower.creepers, pitcher,
dulal Jain yanni Pole peacock, parrot
61 Maneklal Harilal 1593, Zatkani Pole 100 Residence Door, door~frame, window, Flower-creepers, pitcher,
Patel balcony elephant. peacock
62 Keshavlal Dalsukh- 1751, Navi Pole 100 Residence Door, door-frame. pillars, Flower-creepers, pitcher,
ram Bhatt balcony, madal elephant, peacock, parrot
63 .Tayantilal Girdhar- 1752, Nav; Pole 100 Residence Door, door-frame, pillars, Flower·creepers, pitcher,
lal Pat,el balcony, chowk peaoock, parrot, elephant
64 PranhJ Bhogilal 1892, Pada Pole 150 Residence Door-frame, pillar, balcony Flower-creepers, pitcher,
Vakil elephant, peacock, dancing
peacock, parrot, human
figure

65 R.atilal ahas Shan- 1907,1907f1,/2./2/1, 100 Residence Windows, pillars, beams Creeper, flower, leaves, pea·
tilal Gordhandas f2fl fl,f2f2,f2fa,/2/4, cock, elephant
and Babulal Sarangpur Ran-
Gordhandas ohbodjini Pole
Bai Lalita Wfo 1907/A,/A/l, fA /3, 100 R'e~ideJ]_ce Windows., pillal':O:, betLnlf.3. Creeper, elephant
66
Pranjivandas Bhi- IA!a 11,!A!3/2,
khabh"i Sarangpur Ran-
chbodjini Pole
67 Gopal Krishnalalji 2214,/1,/l/1,/2,/3,f 4 , 350 Temple Doors, door-frames, beams, Creeper, panel of leaves and
Malljulalji V /0 Raipur Bahuani windows, brackets, ceilh1g, flowers, peacock. elephant,
Dwarkanathji Pole, Dwarkanath- chowk, lattices, pillars, pitcher
jinu Mandir wdla
68 Ba; Savita Wlo 2240./1,}2,/3, Raipur 150 Residonce Pillars, brackets. ceiling, Creeper, peacock, elephant
Patel Ratilal Ran- Bahnani Pole h"AmR, w8terpot-Re>1,t,
chhodlal Glo min-
ors. Krishnakant
and Indravadan
69 Vijayalakshmi Wfo 2293. 2293 fI, /2, /3, 150 Residence Door-frame, balcony, pillars Flower-creepers, pitcher,
Chandrak"nt, Van- /4,f5, Mnhala:Kmini in chowk, windows, beams, elephant, peacock. parrot.
m,,]idas Devend- PolA brackets, frort portion human figures
raprasad Chan-
drakant G/o
minors, Kaushik-
kumar, NaTesh and
Shobhna
 39

STATEMENT l-contd.
BuUdings with Wood Carving
Approxi-
Inate age
of build- '.rype Portion of building Brief description of
:;1. Census household ::-<0. ing in of containing wuod nature of wood
So. Owner and location years building carving carving

2 3 4 5 6 7

AHMEDABAD DISTBICT-contd.

AHMEDABAD CITY (TALUXA : AHMEDABAD CITv)-contd.

KHAlJIA WARD No. I-concld.

70 Laxminarayan Ju- 2335, Mahalaxmini 125 Residence Door-frame, pillar, balcony, Flower-creepers, pitchers,
- galdas Soni Pole front portion peacock
11 Bai S"mrath Wjo 2336, Mahalaxmini 100 Residence Door, door-frame, pillars Flower-creepers, pitchers,
Bhogilal Amthusa Pole parrot, heads
Soni
72 Manelda! Laxmidas 2411, Bangalani 75 Residence Door, door-frame, windo,vs, Flower-creepers, pitchers,
Soni Pole pillars, wall peacock, elephant, human
figures
73 ~analal Jagandas 241S, Bangalani 75 Residence Door, door-frame, windows, Flower-creepers, pitchers,
Soni Pole pillars elephant, human figures
Madhusudan Sara- 2600, Dhunani Pole 125 Residenoe Door, door-frame, window, Flower-creepers, pitchers,
bhai Joshi balcony, madal peacock

75 2603, 2603/1,2603/2,
EstaLe of J'ivanlal 125 Residence Door, door .. frames, windows, Flower-creepers, pitchers,
H:irachand, Mana- 2603/3, Pakhalini balcony, mndal, pillars, elephant, flying peacock,
ger AmbalalJ'ivan- Pole, Dhunani pole brackets, beams garuda
lal and Joint
estate manager
Bansilal Jivanlal
76 Davchand J amna- 2731,RaipurMaheta 100 Residence Door-frames, pillars, beams Creeper, flower, leaves, pea-
das Soni, self and Pole cock, elephant, pitcher
Glo minor
Dineshchandra
Devehand
77 Keshavlal Ran- 2736, Lambapadani 200 Residence Door-frame, pillars, balcony, Flower-creepers, pitcher,
ehhoddas Soni Pole mndal elephant, dancing peacock
73 rndravadan Himat- 2809,2809/1,2S09/2, Residence PiliaTs, bee,ms, chowk,
lal 2809/3, 2S09j4,Rai- brackets
pur Pipardini Pole
79 Chandulal KarsaIl- 2853, Raipu,. Pipar- 100 Residence Door, door-frame, pillars, Flower-creepers, /pitcher,
clas Br,l,hmaniya dini Pole h ..lcony, -madal, chnwk elephant, peacock

flO Hiraben Chunilal 2S').~,

Raipnr Pipal'- 100 Residence Door-fr,.me, pillfl.rs, balcony Flower-creepers, pitcher
Mehta dini Pole elephant, peacock. parro

KHADIA WARD No.2

81 Amritlal 280, Dhan Piplini Residence Door-frame, pillars, front Flower-creeper with leaves
Khadki portion pitchers, elephant, peacock
R2 13h o gilal Nal'andas 345, V"dni Pole 125 Residence Pillars, balcony, front. portion Elephant, peacock, human
Patel figures, pratihari
83 Manub hai J ekishan- 346, Vadni Pole 125 Residence Pillars, halcony, front portion li'lo,vers, leaves, elophant;,
das Patel peacock, human{ figures,
pratihari
84 A.ditram Ht\rgo- 318. V"dni Pole 125 Rflsidencf' Door-frame, beams, balcony, F]ower~creepeI':-5, flcwerfi
vinddas madal
9.1 Lalbhai Keshavlal 349, Vadni Pole 150 Residence Door-frame, pillars, beam, Flower-creeper, creeper with
Patel balcony leaves. pitcher, elephant
40

STATEMENT I-contd.

Buildings with Wood Carvinl

Approxi·
mate age
of Luild· TypO'; Portion of building Brief description of
SI. Ceusus hou:-iehold Xo. ing in of containing wood nature uf wood
No. Owuel' and location years building carving carving

2 3 4 I) 7

AHMEDABAD DISTRICT-contd.

AHMEDABAD CITY (TALUICA : AmlEDABAD ('ITy).contd.

KHADIA WARD No. 2-contd.

Sf) Ch",ma,nbhai Bapa- 360, Vadni Pok, 100 Residen"" Door-fr,~me, pillars, front Creeper, pitcher, elephant,
La! Patel portion design
87 Gordha'lda-; D,d- 3(\], Vadni Poip I 00 Resider."" Door-fr'1me, pillars, beam Creeper, flowers, human
"ukhl'am Patel figures. mules (,nd females,
leafy-design
88 8h tllLil",l K .. i~hu"I",l 3(a/l, Vadni Pole 4ii Residence Pill"rs, bracket," Dattatroya, cow, dog, child
Patel Krishna, tree, lion, rose
with leaves »nd birds, Kans
vadh by Krishn>l, dance of
Shiva and Bhiladi, flower ..
89 Lalbhai Amritlal 370. Bh"dva Pole Front port,ioll, pillar:", beu,m, Flower-creeper. elephant
Patel balcony, madal
90 Shantihd M,tnoklal 379, Bhadva Pole 7;~ ResilIence Door-frame, pillal'~, beanl, Creeper,. pitchel:.
madal
91 )'1 .IH~h ,ok"r 381-382, Bhadv" so Residence Front portion, beam Flower-creeper, elephant,
Jhaverdas Pole peacock, leafy.design,
human figure
92 Maganlal Poeha- 41S, 418/1, Vachali 120 Redidence Pil1ar~, beam, GAiling- FlowAr-c-reeper with lea.veR,
bhai Bhavsar Sheri e lephanL, peacock

93 Ch,1ndr"kant V adi- 420 to 420)2, V,lch"li 130 ResiJenf'e Pillars, balcon~', be,uIJ Flower-cree per, leaves,
lal, Arvind Vadilal, Sheri elephant, human figure.
Champakla: Hari· Krishna
Lhai Bhavsar
94 Somiben Sakar- 424/1/2, Vachali 1.50 Residence Pillars,balcony,ceiling, beam, Flower-creeper. leaves, ele-
chand Sheri mada,l phant, peacock
95 Narmad",ben B"'pft- 4·U, Vaclmli Pole 130 Residence Pillars, beam Flower-creepers, elephant_
lal Bhavsar peacock, human figure

96 Savitaben Chhotalnl 456/1/2, Vacha~i 100 Residence Door-fra.me, pillar,.:;, beamFlower-0reeperR, pitcher,
Bhavsar Pole elephant, peacock, human
figure
97 Sh.antilal Vadilal 461 to461/1, Vachal; 100 Residence Pillars, beam, madal Creeper of leaves, elephant,
Sheri peacock
98 Chandrakant .Evan- 500, Kach Vado, 100 Residence ]}[adal, beam, b,dcony, front Flower-creeper, elephant,
lal Bhavsar I:taipur portion ' human figure

99 AmbashankAr 503, Bhauni Pole 100 Residence Pillars~ beam, niche Flower-creeper, creeper, ele-
Ganpatrav Trivedi phant
100 Keshavlal Chiman. 52S, Kach Vado, 80 Residence Door-framp, pillars, todln Pit'cher, parrot
1t11 Raipur

101 Tribhowand,.s 618, Nai Vadn 110 Residence Pillars, beam, todla, madaT Flower... creeper, leaves
Trikamlal Patel
102 Maneklal ParRotam· 619/2, Nai Vado 60 R"sidence Pillars, beam, todla Flower-creeper, leaves,
das Patel human figures, playing
cymbals
103 Prahladbhl1i Parso- 620/2, Nai Vado 60 Residence Door-frame, pillars, lodla, Creeper, flowers, loaves,
tambl",i Patel beam, front portion elephant, Ganpati
104 p"nch of the Pole 642, Nai Vado, 100 Residence Door-frame, pillars, front Leafy-design, pitcher, ele-
Shesh Shaini Pole portion phant, squares
105 Jasudaben Chiman- 644, Nai Yado, ResideheH Door-frame, pilla I'S, balcony, Flower-creeper, elephant.
1al Patel She8h Shaini P()le front portion dancing peacock, human
figures, pratihari
 41

STATEMENT l-contd.

Buildings with Wood Carving

Approxi-
mate age
of build- Type Portion of building Brief desoription of
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 6 7

AHMEDABAD DISTRICT-contd.

AHMEDABAD CITY (TALuKA : AHMEDABAD CITy)-oontd.

KHADIA WARD No. 2·contd.

106 Dahyabhai Gauri- 645, Nai Vado, 120 Residence Door-frame, pillars, beam, Flower-design, pit c her,
shankar Shesh Shaini Pole todw, front portion elephant, dancing peacock,
peacock, human figures, rid·
ing on elephant
107 Shakuntalaben 646, Nai Vado, 100 Re~idence Pillar", todla, beam, front Flower.creeper, pit c her,
Motilal Mehta Shesh Shaini Pole portion human figure, riding on
elephant
108 Not known 648, Nai Vado, Residence Pillars, balcony, front Design of flowers and
Shesh Shaini Pole portion leaves, elephant
109 Pramukhlal Vadilal 660, Nai Vado, 125 Residence Door-frame, pillars, front Flower-creeper, pit c her,
Patol Shesh Shaini Pole portion leaves, peacock
110 Ramanlal Ram- 674, Nai Vado, 100 Residence Door-frame. pillars, front Flower-creeper. creeper with
chandra Patel Shesh Shaini Pole portion leaves, pitcher

III Bai Dahibon Vadi- 675, Nai Vado. 150 Rosidenco Pillars, front portion Creeper with leaves, human
lal Patel Shesh Shaini Pole heads
112 Atmaram .Tay- 676, Nai Vado, 100 Residence Door-frame, pillars. front Flower-creeper, leafy design,
chanddas Patel Shesh Shaini Pole portion pitcher
113 Laxmandas Magan. 677, Nai Vado, 130 Residence Door-frame, pillars, todla, Flower·creeper with leaves.
lal Patel Shesh Shaini Pole front portion pitcher, elephant
114 Rukshamani Harji- 677/2, Nai Vado, 100 ftesidence Door.frame, pillars, beam Leafy design, pitcher
vandas Shesh Shaini Pole
115 Natwarlal Harilal 726, Bhauni Pole 100 Residence Door-frame, pillars, balcony, Creeper, pitcher, flower.
Dudhiya front portion human figure

116 Bapalal Motilal 809/3, Bhauni Pole 110 Residence Door-frame, pillars, balcony, Flower-creeper, pitcher, ele.
Rawal front portion phant, peacock
117 Ramltnla,l Hari· 847, Bhauni Pole 100 Residence Door-frame, pillars, front Pitcher, elephant, design
vallabhdas portion, beam
118 Amritlal Maganlal 848/3, Bhauni Pole 100 Residence Door-frame, pillars, balcony, Flower-creepers, c r e e per,
Modi beam pitoher, elephant, peacock
119 Shakarabhai Ghela- 904/1, Nagar Bodini 125 Residence Door-frame, doors, pillars Flower-creeper, leaves, fairy,
bhaiShah Pole garland
120 Madhusudan Har. 923, Kameshwarni 140 Residence Pillars, balcony, madal, front Flower-creeper, e I e p han t,
govind Rao Pole portion peacock

121 Kashturchand Sur. 924, Kameshwarni 150 Residence Door-frame, pillars, balcony, Flower-creeper, pit c her,
chand Vaidya Pole beam, todla, ceiling elephant, human figure
122 Naishadhrai Bapa- 946, Kameshwarni 100 Residence OlwwTc. sides of the door Flower-creeper, ere e per,
lal Dave Pole elephant, dancing peacock
123 Keshavlal Nathu. 954, Kameshwarni 120 Residence Door-frame, pillars, balcony, Flower-creeper, hum a n
bhai Vakil Pole beam figure (praying), pratihari,
elephant, pitcher
124 Mndrikaben Gulab- 955, Kameshwarni 100 Residence Door-frame. pillars, balcony, Flower-creeper, pit c her,
ray Bakshi Pole chowk, front portion elephant, peacock, pratihari
125 Ambalal Chhotalal 957, Kameshwarni 100 Residence Door-frame, front portion Flower-creeper, pitcher
Parikh Pole

(Bk) Y-3-6
42

STATEMENT I-contd.
Buildings with Wood Carving
Approxi·
mate age
of build· Type Portion of building Brief dcscription of
Sl. Census householdjNo. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 7

AHMEDABAD DISTRICT-contd.

AHMEDABAD CITY (TALUKA : AHMEDABAD CITy).contd.

KHADIA WARD No. 2·contd.

126 Shivlal Ohhagaulal 1374, Dayu,rini Pole 1O0 Residence jl/ladal, 1'ailing, todla Flower.creeper, elephant
127 Amritlal [Ltcilal 1392/1, Deyartni 120 I~"idence Door~framA, pill~),1's, beam Flower·creeper, I e ave s.
Bhavsar Pole pitcher, elephant, peacock
128 Shakl'iben Shivla! l.Hi/2, 13iHjA bu 100 Residence Dour- fraine, pillars, balcony, Flower·oreepor, pit 0 her'
13941A12, Deyarini beam "Iephant, hUmi1ll figure,
Pole peacoe.k
129 Trikm1al Som· 1413, Suthar Vado 100 Residenoe Doors, pillars Flowe~s, tree, flo",er- pot
chand
130 Manilal L",llnbhai 1418, Sutha.r Vado 115 Re~id(lnce Door·frame, todla, front Flo·wel'-ereeper, leaver
portion pitcher

131 J ayantilal Bapalal 1626, Pana Nagarni 100 Residence Door·frame, pillars, beam ~-'lowe-c-creeper,
e 1 e ph ant,
Shah Khadki peacock, Krishna
132 Krishnalal Jethalal 1643, Jagabhaini 150 Residence Door·frame, pillars, boam, Flower.creeper, pitcher
Sheth Pole ceiling, todla elephant, peacock, squares
133 Babubhai Gordnan. 1643/1, tJagabhaini 1.30 R9sidence Door·frame, pillars, todla Creeper, pitcher, elephant.
das Pole peacock
134 Sarabhai Maneklal 1694, Jagabhaini 100 Residence Door·frame, piUars Flower·creeper, pit c her,
Chokshi Pole lion, bird
135 Ramanlal Nathalal 1715, Dhabavalo 100 Residence Doorcframe, pillars, todla Flower·creeper, pit c her,
Shah Khancho human figure

136 Natwarlal Han- 1753, Fa.klra tlh"yj 125 ltesidencfl Pillars, madal, front portion Flower-crooper, loaves ..
chhoddas elephant, peacock
137 Chandrakant Amrit· 1751, Fakira Shari 100 Residence Door.frame Flower·creeper
10,1 Modi
138 Ramanlal Ishwar· 1759, Fakira Sheri 12.5 Residence Door·frame, pillars, beam Flower-creeper, 1 e ave 8.
dasShah pitcher, elephant, peacock
139 Ba~abhai I3hwal'lal 1763. Fakir", Sheri 100 Rosidenco Doors, door·frame, pillars, Flower.creeper, elephant,
beam poacock
140 Indumati Ratanlal 1773, Khara Kuwani 100 Re"idence Pillar", balcony, front POl" Flower·crceper, c 1 e ph ant,
Shah Pole tion peacock, IAa vas

141 Shamlal Motilal 1775,KharaKuwani 120 Re.3idence Pillars, beam, front portion Flower·croeper, e I e p han t,
Bhagat Pole peacock
142 Keshn,vlal Jamna· 1835, Kayastha 125 Residence Door· frame, todla, front por· Flower·creeper, pit c her,
das Shah Sheri tion elephant, leaves, mango
l43 Jitmnada~ .Jethalal 1913, Upali Sheri 150 Residence Door-frame, pillars, beam, Flower-creeper, elephant,
madal dancing peacock, peacook
14.4 Maneklal Keshavlal 1914, Upali Sheri 100 Residence Pillars, balcony, madal, front Flowers, leaves, elephant,
Bhagat portion peacock
14.5 Prahladji Nathulal 1917, UpaliSheri 125 Residence Door-frame, pillars, balcony Flower·creeper with leaves,
Vaidya pitcher. cophant
 43

STATEMENT I-contd.

Buildings with Wood Carving

Approxi·
mate age
of build· Type Portion of building Brief description of
s'. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 6 7

AHMEDABAD DISTRICT-contd.

AHMEDAB,c\D CITY (TALUKA : AHMEDABAD CITy)-contd.

KHADIA WARD No. 2-concld.

146 Haribhai Ran- 1922, Upali Sher: 100 R"sidence Pillars, beam Flower·creeper with leaves,
chhodbhai Bhavsar cow, olephant
147 Amritlal Mansukh- 1941, Upali Sheri 100 Residence Door-fraIne, ceiling, bRam Flower-creeper with leaves,
ram Bhavsar flowers, godess Saraswati
148 Bansilal Namndas 1944, Upali Sheri Door~frame, pillars, beam~ Flowers, leaves, pitcher,
Saraiya madal elephant, peacock
Gopaldas Chimanlal 1973, neM Ashapuri 150 Residence Pillars, balcony, ceiling. Flower-creeper, fI 0 w e r s,
Shah Matano Khancho madal, front portion human figures
150 Maiihusudan Saril- 1990, Dhabavalo 100 Residence Door·frame, pillars, todla, Flower-creeper, pit c her,
bl""i Joshi Khancho front portion elephant, bird

151 Dahyabhai Mohan- 2028, Kamanvalo 150 Residence Door-frame, doors, pillars, Flower-creeper, creeper with
lal Shah Khancho todla, front portion leaves, pitcher, elephant,
peacock, parrot
1112Jethalal Acharatlal 2030/2, Kamanvali 125 Residence Door-frame, pillars, balcony, Flower-creeper, e 1 e ph ant,
Shah Pole madal peacock, etc.
153 Hit'alaxmiben Tra· 2031, Kamanvali IlO Residence Pillars, front port,ion Flower·creeper, parrot
mbaklal Bhatt Pole
154 Rameshchandra 2037, Kamanvali ]00 Residence Door-frame, pillars, front Flower·creeper, pitcher
Jiwanlal Shah Pole portion
155 Pal'vatiben Nansa 2115,2115/1,2115/1/1, Residence Windows, beams, brackets
W/o Lallubhai Outside Dhalni
Pole, Astodia Road

KHADIA WARD No.3

156 Narottam Amritlal 88,88/1, 88/1/2, 88/2, Residence Door-frame, pillars, beam, Flower.creeper, flower-pot,
and Mohanlal 88/3, 88/4, Fatasha' brackets, todla creeper with leaves, dancing
Dahyabhai ni Pole, Navi Pole human figure
157 Ratilal Manilal 124, Brahmapurini 150 ReRidenee Pillars, beam, todla, sides of Flower-creeper, flower-pot,
Pole windows creeper with leaves, dancing
human figure
158 Ratilal Mohanlal 148/1, Hirabhaini .5U Residence Door-frame, windows with Flower-creeper, ere e per
Pole, Devni Sheri arches, pillars, beam, ceiling, with leaves, flowers, trunks
balcony, todla of elephant,peacock, serpent
with hood, flower· pot, lotus
159 Manjuben Ratilal 148, 148/1, 148/2, 80 Residence Door-frames, pillal's,windows, Creeper, leaves, flowers,
MOhanlal, Chinu- Fatashani Pole, at beams, todra t,runk of elephs nt
bhai Anubhai, the entrance of
Manubhai Priya- Daherawala
kant, Suryakant, Khancha,
Chanru-asinh and
Hosiklal Mohan-
lal, Trustees of
Ratil,,! Mohanlal
160 NalinkantJagabhai 149, 149/1, at. the 12:; Residence Door-frames, pillars, windows, Creepel', pand of leaves,
Nanavati, Nau. entrance of Hira- beams, brackets, todla flower, ornamental arches,
tambhai J. and bhaini Pol" flower-pot, trunk of
Nayanbhai J. and elephant, peacock, human
~atinbhai J. figures
44
STATEMENT I-contd.
Bulldings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
Sl. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 6 7
AHMEDABAD DlSTRICT-contd.
AHMEDABAD CITY ( TALUKA : AIIMEDABAD CITy)-contd.
KIIADIA W ABD No. 3-contd_
161 154/A,
Kesarisinha Amrit- Fatashani 200 Residence Windows, pillars, brackets, Creeper, flower, leaves, panel
lal Dalal Pole, at the entrance todla of flowers, flower-pot,
of Daherawala pitcher, peacook, elephant's
Khancha trunk
162 Bai Manek D/o 183, 183/1, 183/1/1, 150 Residence Windows, brackets Crep,per, leaves, flowers, zul
Chhagallial 183/2, Fat.ashani
Kasturchand Pole, Dharalllchan-
dini Khadki
163 Bai Champa Wlo 201, 201/1, 201/2, 125 Residence Door-frames, pillars, windows, Creeper, panel of flowers,
Chandulal Hira- Behind Lasupujya- beams, brackets, todla ornamental arches, dancing
chand nu Derasar peacock, trunks of elephants,
elephants
164 Rasiklal Nanalal 218, Adashani 150 Residence Beam, todla, portion below Flower~creeper, zurn,rnar,
Khadki window zalar
165 S a r a b h a 233, 233(1, Fatasha- 50 Residence Windows, pillars, beams Flower·c r e e per, leaves,
Mu1challdbhai ni Po e, Khara pitcher
Kuwalli Pole

166 Virchand 251, Kacharashahni 175 Residence Door, door-frame, pillars, Flower-creeper, flower-pot,
Keshavlal Bhau Pole beams, sides of window, creepers with leaves, parrot,
todla trunk of elephant, zul,
squares
167 Shantilal Vadilal 254,254/1, 254/1/1, 70 Residence Door.frames, pillars, beams Creeper, flowers, zul
Fatashani Pole,
Kacharashahni
Khadki
168 Bai Chancha1 W /0 25411/2, Fatashani Residence Door.frames, pillars, beams Creeper, flowers, zul
Manilal Uttam- Pole, Kacharashah-
ohand and Dlo ni Khadki
Raghavji GUlab
chand
169 Harkor Shethanini 284/6, on the Dhal 175 Residenoe Door-frames, doors, beams, Creeper, ornamental arches,
Haveli, Sheth of284/6/1/A Fata- brackets, todla leaves, flowers, birds, pea-
Panalal Umabhai sha Pole cock,trunks of elephant, zul
170 Gavindlal Chimanlal 314/8, Adashani 150 Residence Door-frame, pillars, beam, Flower-creeper, pitcher,
Khadki todla, portion below windows peacock, trunk of elephant,
human figures

171 Chamanlal Papatlal 414, Khotarpalni 200 Residence Door-frame, pillars, beam, Flower-croeper, creepers with
Pole todla, sides of windows leaves, flower-pot, trunk of
elephant, peaoock
172 Punjiben Chanduial 424, Khetarpalni 125 Residence Door-frame, pillars, beam, Flower-creeper, leaves, pea-
Pole to todla, windows cock, parrot, elephant
150 figures
173 Bai Parsan Wlo 475, Sankadi Sheri, 125 Residence Door-frames, pillars, beams Trunk of elephant, dancing
Amritlal Raichand Haribhaktini pole peacock, pitcher
and Bai Parsan,
manager of Gir-
dharlal {JUaB Bachu-
bhai, Jagdish-
chandra and
Arvind Amritlal
174 Mohanlal and Ish- 478, Sankadi Sheri, 200 Residence Door-frames, pillars, windows, Creeper, flowers, leaveR,
warlal Chllnilal Haribhaktini Pole brackets, beams, chowk, ornamental arches, flower-
and Surottam wooden strip between pillars pots, dancing peacocks,
Naranlal parrots, birds, trunk of
elephants, elephants, human
figures
175 Jasubhai Lalbhai 517, Sankadi Sheri, Residence Pillars, brackets, beams Creeper, leaves, orname)l.tal
Gangaghiyani Pole arches, birds, human figures
 45

ST ATEMENT I~contd.

Buildings with Wood Carving

Approxi-
mate age
of build- Type Portion of building Brief description of
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location y~ars building carving carving

2 3 4 5 6 7

AHMEDABAD DISTRICT-contd.
AHMEDABAD CITY (TALUKA : AHMEDABAD CITy)-contd.

KHADIA WARD No.3.contd.

176 V a s a n t b e n 529, Sankadi ShAri, 90 Re8idence Pillars, beams Creeper, flowers, leaves,
N armada"bankar Gangaghiyani Pole ornamental arohes, pitcher,
Thakar and NiraJl- dancing peacock, human
jan Narmada- figures
shankar Thakar
177 Harsidhabhai 556, 5.56/1, 556/2 Residence Door-frames, pillars, windows,
Vajubhai Divetia Sankadi Sheri, ceiling, beams, brackets
Lakha Patelni Pole
178 Niranjanbhai Ran- 556 A, 556/A/I, 100 Door-fl'alneS, pillars, ceiling, Creeper, panel uf leaves, zul,
jitbhai manager of 55G/A/2, 556 IA ll/1, windows, beams, brack\')ts chains, panel of flowers,
Ranjitbhai Vaju- Sankadi Sheri, trunk of elephant
hhai Divetia Lakha Patelni Pole
179 Navnitlal K. and 633, 633/1, 63312, 200 Residence Windows, pillars, entrance- Creeper, panel of leaves,
Dhruvkumar Nagar Vado, Lakha arch flower, ornamental arches,
Chandulal, Trus- Patelni Pole flower·pot, lions, dragons
tees of immovable
property of Gaja-
raba W /0 Manilal
Ishwarlal
180 Shulpani Laxmi- 638, 63811, Nagar 200 Residence Doors, Door-frames, pillars, Creeper, panel of leaves and
shankar Shastri Vado, Lakha windows, beams, brackets flowers, dancing peacoe:"
Patelni Pole elephant's heads, human
figures

181 Ranchhodlal 671, 671/1, Shethni 75 Residence Door-frames,pillars,windows, Creeper, panel of leaves,
Keshavlal Pole, LakhaPatelni beams, brackets flowers
Pole
182 Mohanlal Manilal 67l/A/I, 671IA/2, 75 Residence Door-f"sme, pillars, beams, Flower-creeper, creeper with
67l/A/3, 671/A/E, windows, brackets, facade, leaves, flowers, other
Shethni Pole, todla geometricR I design
Lakha Patelni Pole
183 Bhupendrabhai 676, Shethnl Pole 100 Residence Door-frame, pillars, beam, Flower-ereoper, ereepor of
Manubhai Muns; todla, side of windows leaves, flower-pot, trunk of
elephant, other beautiful
carving
184 Laxmanrao Habu- 686, Lakha Patelni 125 Residence Door-frames, pillars, beams, Ornamental arches, leaves,
rao Dhruv Pole, Shethni Pole todla, chowk flowers, peacock, parrot,
pitchers
185 Vyankatrai Bhimrai 693, 693/1, Sankadi 125 Residence Door-frames, pillars, ceiling, Flower-creeper, fl 0 w e r,
Sheri Lakha beams, braokets trunk of elephant, Ganpati,
Patelni Pole flower-pot

186 Shrinivas Sat yen- 693/A, Sankadi Sheri, 125 Residence Door-frames, pillars, ceiling, Flower·creeper, flower, trunk
drarai Bhimrao Lakha Patelni Pole beams, brackets of olephant, Ganpati,
flower-pot
187 Yashodharaben 693/A, Lakha 100 Residence Door·frame, pitcher, pillars, Flower-creeper, flower, trunk
Divetia Patelni Pole todla, front portion, beam of elephant, Ganpati, flower-
pot, etc.
188 Mahalaxmiben W/o 694, 694/1, 694/111, 125 Residence Door-frames, pillars, windows, Flower-creeper, panel of
Himatlal Amritlal 694/2,694-/3, Lakha brackets, todla, ba!cony flowers, flowcr and leaves,
Pawlni Pole, lattice, trunk of elephant,
Shethni Pole parrots, human figures
189 BhanubhaiChhagan_ 927, Bobadia Vai- 200 Residence Doors, door-frame, windows, Flower-creepers, flower-pot,
lal Panchal dyani Khadki pillars, front portion, todla trunk of elephant, creeper
with leaves, human figures
190 Bai Savita Wlo 1031,1073/1,1073/2, 100 Residence Pillars, beams, arches Creeper, flowers, loaves,
Hiralal Somnath 1073/3, Sanka~i ornamental arches, peacock
Sheri, Sadrne-tam
Pole
 46

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build_ Type Portion of building Brief description of
S1. Census household No. ing in of conta.ining wood nature of wood
No. Owner and location years building carving carving
2 3 4 5 G 7

AHMEDABAD DISTRICT-contd.
AHMEDABAD f)lTY ('l'ALuKA : AHMEDABAD CITy)-contd.

KHADIA WARD No. 3-contd.

191 Chandrakant Hira-

1051, 1057/1,1057/2, 150 Residence Pillars, brackets Creeper, flower, leaves,
lal Nanavflti 1057/3,1051/4,1057/5 human figures
Sankadi Shori, Rugh
nath Bambni Polc
192 Chandrakant Hira- 1057, ,Opposite 115 School Door-frame, pillars base of Flower-creeper with leaves,
lal Nanavatl Gangaghiyani Pole, pillars, beam, todla lion, human figures playing
Girls own High musical instruments
School
193 Mannbhai Ambahl 1071/1 12.5 to Di"pensary Door-frame, pillars, beam, Flower-creeper, lion, human
Shah 150 and work- todla figure
shop
194 Bai Savita Wlo 1078/A, 1078/A/2, 100 Residence Door-frames, pillars, beams Creeper, panel of leaves
Ratanlal Damudar, 1078/A/3, 1078/A/ dancing peacock, trunk
G/o minor Niran- 4, Sankadi Sheri, of eleJ?hant
jan Ratanlal Devji Sarlliya,ni
Pole
1915 Mohanlal Parsotam- 1078, Sankadi Sheri, 100 Residonce Dooc-fcdmes, pillar.." beums Creeper, panel of leaves,
das Devji Saraiyani dancing peacock, trunk or
Pole elephant
196 Wlo H.atanlal 1078/A{l, 1078/1, 100 Residence Door-frames, pillars, beams Creeper, panel of 1 e ave ~,
Damodardas and Sankadi Sheri, dancing peacock, trunk of
Glo Niranjan Devji Saraiyani elephant
Ratanlal Pole
197 Girdharlal Par,ho. 1078/2, 1078/3, 1078 100 Residence Door-frames, pillars, beams Creeper, panel of 1 c aVe s,
tamdas /4, Sankadi Sheri dancing peacock, trunk of
Devji Sariyani elephant
Pole
198 Prahladbhai Knber- 1079/5, Devji Sarai- 100 Residence Door-frame, pillars, ceiling, Flo"\\T~t's,
creeper, trunk of
das Chokehi yani Pole lodZa elephant. Zlnnm,er, sqllares
199 RamanlalandHari- 1115 to 1115/5, San- Residence Door~frames, pilla.r~, bAamR,
pra,sfl,d Amritlal kadi Sheri, Devj i windows, chowk
Saraiyani Pole
200 Chamanlal Somnath 1166/1, Bandha- 80 Residenco Pillars, portion below Flower-creeper, flower-pot,
Patel rano Khancho windnws, bfmln, todla leaves, trunk uf elephant

201 Lalbhai Ratan- 1188, DAhini Khadki 125 Residence Door-fra.me, ,v i Il dow
Flo-weI'S, leaves, trunk.
S, of
chand Shah pillars, todl" e 1 e p h a 11 t, flower-pot,
parrot, peacock, human
figure with sword and
shield
202 Ambaprasad 1586/1, 1586/1/3, 150 Residence \Vindows, pillars, boarns, Creeper, ornamental arches,
Tapishankar and 1586/2, l586/3, brackets, todla panel of flowers, leaves,
Nalinkumar Amba- Shrimmjini Sheri flower· pot, dancing pea.
prasad Pandya cock, trunk of elephant,
human figure, pitcher
203 Bachnbhai Bala- 1720, l-fajirani Pole 100 Rosidence Door-f)'ame, pillars, todla, Flower-creeper, 7,nl
bhai Meht.a to beam
150
204 Annapurnaben 1721, Hajirani Pole 125 Re.,idenp,f) Doors, door-frame, windows, Flower-creepers, ere e p e l'
Natwarlal Mehta pillars, beam, niches, todla, with leaves, human fignres,
balcony geometrical design
205 Chandrakant Shall- 1763/A, Dhobini Pole 2,;0 Windows, pillars, beams, Creepers, panel of leaves and
karlnl todla flowers, ornamental archee,
flower-pots, pitchers, Geo-
metrical designs, dancing
peacock, birds, trunk of
elepha,nt
 47
STATEMENT l-contd.
Buildiugs with Wood Carviug
Approxi-
mate ago
of build- Type Portion of building Brief description of
Sl. Census household Nu. ing in of containing wood l1at'Ul'e of "\\roorl
::-roo Owner and 10caHon years building carving carving

2 3 4 :; 7
AHMEDABAD DISTRICT-colltd .
..\H:\1EDABAD CITY (TALUKA: AHMEDABAD Cl'l'Y)·contd.
KHADIA WAJI,D No. 3-concld.
206 ="avinchandra Shan- 17631B, Dhobini 250 Residence \Villduw~, pillarH, bea.lns, todla Creepers, paneJ of leaves and
karal Pole flowers, ornamelltal arches,
flower-pots, pitchers, Geo-
metrical designs, dancing
peacock, birds, trunk of
elephant
207 V. K. Ben Vim!a- 17631C, I 763/c/l, 250 Residence VVindow-s, pillarR, bBams, t.orlla Creepers, panel of leaves and
ga,uri (W/o Saras- 1763/C/2, Dhobini flowers, ornalllental arches,
wati Chandra Pole flower-pots, pitchers, Geo-
Shankar!al) and metrical designs, dancing
Mahendra prasad peacock, birds, trunk of
and Bhupendra S. elephant
Haripra8ad S. and 1763,1763/1, 17631 250 Residence \Vindows, pillars, beams, todla Creepers, panel of leaves and
Bai Lilavati W 10 1}2, 176315, flowers, ornamental arches,
Haripra,sad Shan- Dhobini Pole flower-pots, pitchers, Geo-
ka,da!, .eHand Glo metrical designs, dancing
minor Harikumar S. peacock, birds, trunk of
elephant
209 I lariprasad Shan· 17113/111, 1763/2, 250 Residence Windows, pillars, beams, todla Creepers, panel of leaves and
karlal and Bai 1763/3, 1763/4, flowers, ornamental arches,
Lilavati Dhobini Pole flower-pot,. pitchers, Geo-
metrical designs, dancing
peacoek, birds, trunk of
A1ephant
210 Ballubhai Chimftn- 1775, Desaini Pole ISO ResidenCA PiHarR, ent,ablature Plower~creeper
lal Patel

2ll Kantilal Chimanlal 1776, Desaini Pole 150 Residence Portion below windows Flower-creeper
Soni
212 Chinubhai Baronet 1 S13, Bharat Secon- 150 School Door-frame, pillars, entabla- Flower-creeper, human
dRry School ture, arch, balcony (loby), figures
todla
213 Bhasbtrbflai Hira- 1833, Desaini Pole 100 School Windows, pillars, tQdla Flower-creeper
lal Desai
214 Building belonging 1835, near Gotini 100 Shops Doors, windows, frontl portion, li'!owers, design
to Hatkeshwar Sheri lintel, beam
Mahadev Opposite Jetha-
bhaini Pole
215 Mohanlal Jamna- 184611, Gotini Sheri 125 Residence Doors, door-frame, pillars, Creeper
das Mehta gallery, lintel, zul
216 Indimben Ratilal 1849, Gotini Sheri 70 Residence Port,ion, below window, torIla Flo-wer- creeper
Desai
:]17 Ishwarlal Dinanat,h 1858, Golini Sheri 60 Residence Windows, faoade, pillars, Creeper, flower
Mehta tadla
JAHALPUB WARD Xo. 1

218 Dr. Saiyadn.. Taher 273, Saitl Mahollo, 300 Doors, door-frame, pilla.rs, Flower-creeper, creeper of
Saifuddin Saheb Lodhawalani Pole beam, portion on two sides ieaves, tree, geometrical
of the building design
219 'J'aherali Akbarali 273, Saifi Mahollo, Residence Door-arches, pillars, todln
and Saberbhai Mullajini Haveli
Kikabhai
220 Abdul Husein 280, Saifi Mahollo, 225 Rosidence Door-frame, beam, todla, Flower-creeper, creeper of
Naruddin Lodhawalani Pole madal, sidos of windows leav88, flower, flower-pot,
tree
221 R u x min i ben 867, Navovas Vachli 100 Residenoe Door-frame, t.odla, pillars, Elephant's head, pea cook,
Keshavlal Shah Pole beam, ceiling, chowk dancing peacock, creeper,
ornamontal arch, panel of
leaves
222 Ramprasad Jiwan- 872, Bhugalini Pole 150 Residence Door-frame, pillars, madal, Flower-creeper, creeper of
lal Gajjar todla, sides of windows leaves, flower-pot, trunk
of elephant, peacock
 48
STATEMENT I-contd.

Buildings with Wood Carving

Approxi_
IUateage
of build- Type Portion of building Brief description of
61. CeIl~us
household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
2 3 4 5 6 7
AHMEDABAD DISTRICT-contd.
AHMED BAD CITY (TALUKA : AHMEDABAD Cn'y).contd.
JAlIIALPUR WARD No.I-canta.
223 Ramprasad Jivan- 872, Tajpur, Bhun- Residence Windows, pillars, beams
lal and minors galini Pole
Gajanand and
Natwarlal Jivanlal
224 Manguben Jamna- 873/4, Navovas 75 Residence Door-frame, wrlla, pillar Creeper, ornamental arch,
das Patel V>tchli Pole pot, flower, bird
225 Savitaben Jayanti. 874, Bhungalini 150 Residence Door-frame, pillars, beam, Flower-creeper, creeper with
la1 Gajjar Pole toala, sides of windows leaves, flower-pot, flow()1~,
peacock
226 Krishnala1 Radha- 875+875/1, Tajpur. Residence Windows, pillars, door-frames,
lal Bhungalini Pole beams
227 Krishnalal Radha- 875/1, BhungaUni 150 Residence Door-frame~ pillars, bealn, Flower-creeper, creeper with
Ial Pole todla,madal, sides of windows leaves, peacock
228 Madhalal Damodar- 883, Bhungalini 125 Residence Door-frame, pillars, beam, Flower-creeper, creeper of
das Mistri Pole todla, balcony leaves, flower, pe>tC(>ck,
human figure, image of
God Krishna
229 Madhavlal Damo· 883, Tajpur, Bhun- Residence WindowR, pillars, door.
dardas galini Pole frames, beams, todla
230 Kanubhai Chatra- 8S8, Bhungalini Residence Door-frame, pillars, beam, ~-'lowe-r-creeper, flower,.
bhuj Brahmksha- Pole madal, todla, sides of win· flower-pot, creeper with
tri dows leaves, pe>tcock, human
figures, geometrical design
231 Kanubhai Chatra- 888, Tajpur Ehun- Residence Windows, pillars, beams,
hhuj galini Pole tcdla
232 Hirabon Trikamlal 914, Bhungalini 175 Residence Door-frame, pillars, beam, Flower-creeper, creeper with
Gajjar Pole .nadal, todla, sides of leaves, flower-pot, parrot,
windows peacock, trunk of olephant,
zul
233 Abidbhai Mohmed- 929/1, Panehpipli 90 ]{esidence Pillars, door-frame, todla, Creeper, elephants head,
bhai beam, rafters, window dancing peacock, flower-
pot, flower, leaves panel
234 Samjiben Chiman- 973/2, Tadni Sheri, 110 Residence Pillars, todla, beam, rafters, Lion, dancing peacock, ele-
lal Patel Pahelo Khancho door-frame phants head, ornamen.tal
arch, creeper, panel of
leaves, panel of flower,
flower-pot
235 Chandulal Guvilld· 1149, Tadni Sheri, 100 Residence Pillar, beam, door· frame, Panel of flower, panel of
lal Gajjar Matavalo Khancho todla leaves, creeper, peacock, pot
236 Keshavlal Chhota- 1228, Malini Khadki 125 Residence Door-frame, beam, madal, Flower·creeper, flower-pot,
lal Modi toala, sides of windows zul
237 Keshavlal Chhota- 1228, Tajpur, Malini Residence Windows, pillars, beams,
lal Modi Khadki todla
238 Hamidkhan Dilbaz- 1433, Ehala Pole 150 Residence Door-frame, beam, todla, sides Flowor-creeper, flower, zul
khan ofwind()ws
239 Pathan Aminkhan 1433, Tajpur, Bhala Residence Windows, bearus, todla
Dilavarkhan and Pole
Fatma Bibi Wlo
p,.than Aminkhan
240 Jahirllddin Hldi· 1502/5, Nani Chalis- 200 Residence Door-frame, beams, madal, Flower·creeper, fI 0 we r,
zuddin gharani Pole todla, sides of windows flower-pot, zul
241 Ahmeda.bad Aj-wa· 1876/1/8, Bawajini 200 Residence Door-frame, pillars, madal, Flower·creeper, creeper of
Iia Kaehhiya Trust Pole todla, sides of window leaveR, flower-pot, zul
242 Usmanbhai and 2719, Tajpur, Lambi Residence Window, pillars, beams
Safimahmad Abdul- Sheri
karim, etc.
 49
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
2 3 4 5 (l 7
AHMEDABAD DISTRICT-contd.

AHMEDABAD CITY (TALUKA: AHMEDABAD CITY)-contd.

JAMAT_PUR WARD No. I-concld.

243 Devendraprasad 2723, Tajpur, Lambi Residence Windows, pillars, beams,

and Dasharathlal Sheri tadla
Ma"ilal
244 U,m~nkhan Usuf- 2725, Lambi Shori 125 Residence Door-framB, beam, tadla, Flower-creeper, flowers,
khan sides of window leaves, flower-pot, zul
H5 Usm"nkhan Usuf- 2725, Tajpur, Lambi Residence Windows, beams, door-fra,mes
khan Sheri
246 M"lawati Somnath 283312, Rupaluharni 90 Residence Pillars, door-frame, todla, Peacock, creeper, parrot,
Pole beam ornamental arch, panel of
leaves
247 Jethalal Bhai- 2850, Rupaluharni 95 Residence Pillar, todla, beam Panel of leaves, elephant's
shankar Trivedi Pole head, human figures, pea-
cock, panel of flowers,
flower-pot
248 Chaudulal Jethalal 28\)5, Khandni Sheri 100 Residence Door-frame, beam Flower-creeper, leaves
Patel
249 Naranlal Vrijlal 2897, Khandni Sheri 100 Residenoe Door-framo, pillars, beam, Flower-creeper, flower,
Patel todla, .nadal, sides of window flower-pot, leaves, zul
250 Krishnakant Jivan- 289811, Khandni 100 Residence Door-frame, pillars. beam. Flower-creeper, flower,
lal Sheri madal, sides of window flowor-pot, leaves, human
figure, zul
251 Isha-bhai Huptullaji 3606, Tajpur, Voh- 100 Residence Door-frame, todla, beam Creeper, panel of leaves
Vasanwala ravad
252 Asgarali 31H2, Vohravad 75 Municipal Door-frame, pillar, to(Ua, Creeper, panel of flower,
(Mot i) School beam ornamental arch, Arabic
inscription

253 Mohmedali Mulla 3618, Vohravad 125 Rosidence Door-frames, beam, pillars, Creeper, ornamental arch,
Amiruddin (Moti) todla Arabic inscription
254 Shaikh Nazarali 3631, Vohravad 80 Residence Door-frame, pillaI, todla, Creeper, panel of flowers,
Akbarali (Moti) beam elephant's head, peacock,
ornamental arch
255 {sufali Mamarali 3644, Tajpur, VohI'a- 100 Residence Todla, beam, pillar Elephant's head, pcacock,
vad creeper, panel of flowor and
leaves, Arabic inscription
J A"AJ"PUR WARD No.2
256 Ra,sikbhai Vadilal 90/1, Ghanchini Pole 150 Residence Doors, door-frame, pillars,
Flower-creeper, pitcher,
Shah balcony, madal elephant, parrot, dancing
peacock, human figures
257 Mahalaxmiben 96, Sonini Khadki 75 Residence Pillars, balcony Flower-creeper, elephant,
Gordhandas Soni parrot, danoing peacock,
human figures, pratihari
258 SUmfttibhai Bhogi- 108 / 1 ,Ghanchini 12,; Residence Door~fralne, pillars, balcony, Flower-creeper, pitcher, ele-
bhai Shah Pole madal phant, danoing peacock
259 Jayantilal Chandu- 124, Gh.anchiniPole 150 Residenco Door-framo, pillars, h'1,lcouy, Flower-creeper, pitcher,
1al Bharuchi madal elephant, parrot, dancing,
peacock, human figures
280 V"dilal !\I.tganlal 218, Gusa Parekhni 12;3 R)3idonce Door-fnnIe, pillars, balcony FlowAr-creeper, pil.cher
Shah Pole elephant. p,lrrot
(Bk) Y-~-7
50
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate ago
of build- Type Portion of building Brief description of
Censu" household No. ing in of containing wood nature of wood
Si. oarving carving
No. Owner and location years building

3 4 5 6 7
1 2
AHMEDABAD DISTRICT-conld.
AHMEDABAD CITY (TALUKA: AHMEDABAD CITY)-Oontd_

JAMALPUR WARD ~o. 2-00nt.1.

282, Dhanpiplini 125 Residence Door-frame, pillars Flower-creeper, pitcher, ele-

261 Lalbhai Chunilal phant, parrot, dancing pea-
Khadkhad Khadki
cock
262 Jitendrakumar 283, Dhanpiplini 150 Residence Door-frame, doors, pillard, Pitcher, parrot, horse,_danc-
Khadki balcony ing peacock, elephant, laby-
Jayantill11 Shah
rinth
284, Gusa Parekhni 100 Residence Door-frame, pillars, balcony Flower.creepcr, pitcher
263 Arunkumar PitaID- elephant, dancing peacock
bar Shah Pole
398, Haj,hishaniPole 150 Residence DY)fd, pilt"rs, balcony, rnadal, Flower.creeper, elephant,
2M Shakrabhai Hari-
chowk peacock, huma n figure
bha; Patel
Natwl1rlal Amrit,lal 913, KanB"r", Pol" 150 Temple ))>1t'." pilhrs, b.,lcony, madal, :Flower-creeper, pitcher,
265 inner portion of the temple elephant, parrot, dancing
Kansan. (trustee)
peacock

266 Rameshchandra !l26, Kansara Pole 125 Residence Door-frame,. pillars, balcony Flowcr-creeper, hum a n
MangaldaB Kan· figures
sara
927, Kansara Polo 125 Residence Doors, door·frame, pillars. Flower-creepe,., human figu-
267 Mohanlal Ram.ii.
bha; Kanaara balcony res
928, Kan"ara Pole 150 Residence D:Jor-frctffi), pillars, balcony Flowel'.creeper, pitcher,
26g Mad h U sud an
Ishwarlal Ransara elephant. parrot" dancing
peacock
944, Kan"ara Pole 125 Residence Door·frame, balcony, madal FloweT-creeper, pitcher, ele-
269 Balaprasad Hari-
prasad Dave phant
270 Kantilal Jesingbhai 992, Ranchhodlalno 125 Residence Flo\v-'l'·crsoper, pillars, bal· Flower· creeper , pitcher,
Khancho cony, chowk dancing peacock
Shah

271 Arjunlal Chhotalal 1083, Lalabhaini 200 Residence Doors, door-frame, pillars, Flower·creeper, pitcher,
Pole balcony, chowk elephant, peacock, parrot
Shah
272 Kant;lal Mohanlal 1134, Girdhar 150 Residence Door-frame, pitcher, balcony, Flower-creeper, pitcher, ele.
Ruwalano Khancho chawk phant, peacock, human
Shah
figure
273 So:rnnath Nilkanth- 1145, Jhumpadini 175 Residence Door·frame, pillars, balcony, Flower.creeper, pitcher,
rai Shastri Pole chowk elephant, peacock
274 Ramanlal Vrii- 1232, Devni Sheri 150 Residence Doors, door-frame, pillars Flower-creeper, pitcher,
vallabhdas Shah elephant, human figure
275 Chinubhai Motilal 1233, Devni Sheri 125 Residence Doors, door-frame, pillars, Flower-creeper, pitcher,
Shah mada! elephant, parrot, dancing
peacock, human figures

276 Hiralal Kevaldas 1281, Samet Shikhar· 500 Temple Carved design of Samet
Animals, human figures, 84,
Shah ni Pole Shikhar Aaans by sages, Ravan-
Mandodari Ra~
Narandas Mohan. 1288, Samet Shikhar- 150 Residence Door-frame, pillars, balcony Flower-creeper, pitcher,
277
da" Clhanchi ni Pole elephant, parrot, dancing
peacock
278 Hiralal Amritlal 1438, Pipala Valo 100 Residence Doors, door-frame, pillars, Flower.creeper, pitcher, ele.
Contractor Khancho balcony phant, human figure,
p.-atihari
279 Harkishanda s 1449, Harkishandas 100 Residence Doof-frame, pillars Pitcher, elephant, parrot,
Gordhandas Shah Shethni Pole dancing peacock
280 Sulochana Raman· 1482, Derasar Valo 200 Residence Door·frame, pillars, chowk, Flower-creeper, pitcher,
ial Shah Khanoho madal elephant, parrot, dancing
peacock
 51
STATEMENT I-contd.

Buildings with Wood Carving

Approxi-
mate age
of build- Type Portion of building Brief descriptiuIl 01
-.:1. Census household No. ingin_ of containing wood nature of wood
No Owner and location years building carving carving

2 3 4 5 ti 7

AHMEDABAD DISTRICT--contd.

AHMEDABAD CITY (TALUKA: AHMEDABAD CITy)-contd_

JAMALPUR WARD No_ 2-contd.

281 Vrijlal Girdharlal 1492, Gatradni Pole 150 Residence Pillars, balcony. madal Flower-creeper, dancing pea·
Jogi cock
282 Hariprasad Ran- 1504, Gatradni Pole 200 Residence Balcony, madal Flowor-creeper, elephant,
chhodlal Trivedi parrot, peacock
283 Ohandulal Gordhan- 1532, Gatradni Pole 100 Residence Doors, pillars, balcony Flower-creeper, heads of
das Shah tiger, buffalo and human
being
284 Hal·ikishanGovind- 1543, Gatradni Pole 100 Residence Door-frame, pillars, balcony, Flower-crcepcr, pitcher, ele-
la) Shah chowk phant, parrot, peacock
285 Jayantilal Amrit- 1546, Gatradni Pole 250 Residence Doors, door-frame, pillars, F1ower·creeper, pitcher, ele-
leI Rajvaidya balcony phant, dancing peacock

286 Rejanikant Som- 1560, Sonini Pole 100 Residence Door-frame, pillars, balcony Flower-creeper, pitcher, ele·
nath Desai phant, dancing peacock
287 Kantilal Chhotalal 1566, Sonini Pole 125 Residence Doors, balcony Flower-crceper, pitcher, ele·
Desai phant, dancing peacock
288 Balvantrai Mul- 1567, Sonini Pole 12 ,3 Residence Door-frame, pillars, balcony Flower·creeper, pitcher, ele-
chandbhai Jhaveri phant
289 Laxmandas Mitha- 1572, Sonini Pole 150 Residence Door-frame, pillars, balcony Flower-creeper, pitcher, ele-
lal Soni madal, chowk phant, parrot, dancing pea-
cock, pratihari
290 Rajanibhai Hari- 1591, Vinchhini Pole 125 Residence Door-frame, balcony Flower-creeper, pitcher, ele·
prasad Shah phant, peacock

.291 Jayantilal Manek- 1612, Vin~hhini Pole 150 Residence Pillars, balcony, madal Flower-creeper, elephant,
lal Parikh parrot, dancing peacock
292 Rajanikant Dalpat- 1618, Malini Khadki 125 Residence Pillars, balcony (window), Flower-creeper, pitchcr, ele-
ram Ohokshi chowk phant
293 Manubhai Chiman- 1619, Malini Khadki 125 Residence Doors, door-frame, balcony Flower-creeper, pitcher, ele-
Ial Shah (window) phant
294 Vithalbhai Atma- 1620, Malini Khadki 75 Residence Door-frame, pillars, Flower-creeper, horses
ram Jhaveri
295 Hariprasad Bula- 1635, Kaljugni 150 Residence Door-frame, pillars, balcony Flower-v,reeper, pitcher, ele-
khidas Rawal Khadki madal, chowk phant. dancing peacock

296 Ratilal Manilal 1663, Motibhaini 125 Residence Doors, door-frame, pillars Flower-creeper, pitcher, ele-
Bhagat Khadki ehowk phant
297 Dr. Ishwarlal Moti- 1664, Motibhaini 150 Residence Door-frame, balcony, chowk Flower-creeper, pitcher, ele-
lal Shah Khadki phant,pca,!ock, dancing pea-
cock, parrut, huma.n figures
298 Punambcn Gor- 1668 Sutariani Pole 150 Residence Door-frame, pillars, balcony Flower-creeper, pitcher, dan.
dhalldas Gandhi cing peacock, parrot
299 Rameshchandra 1706, Kakabaliyani Residence Doors, door-frame, pillars, Flower-creeper, pit.cher, ele-
Bhogilal Chokshi Pole ceiling phant, dancing peacock,
parrot
3UO Dilip Chamanlal 1777, Surdas Sheth- 15Q Residence Door-frame, pillars, balcony, Fluwer-creeper, pitcher ele-
MehLa ni Pole madal phant., parrot, dancing
peacock
52
STATEMENT I-contd.

Buildings with Wood Carving

Approxi-
mate age
of build- Type Portion of building Brief description of
Sl. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 6 7

AHMEDABAD DISTRICT-contd.

AHMEDABAD CITY (TAULKA: AHMEDABAD CITy)-contd.

JAMALPTJR W>RD No. 2-coneld.

301 Jiwanlal Nanalal 1780, Surdas Sheth- 150 Residence Dour-frame, pitchar, madal Flower-creeper, pitcher, ele-
Parikh niPole phant, peacock
302 Bhogilal Popatlal 1784, Surdas Sheth- 150 Residence Door-frame, pillars, balcony, Flower-creeper, pitcher, ele-
Shah niPole madal phant, dancing peacock
303 Mafatprasad Mani- 1921, Hira Gandhini 100 Residence Doors, door-frame, balcony, Flower-creeper, pitcher, ele-
lal Mehta Pole chowk phant, peacock
304 Harkant Ranchhod- 1922, Hira Gandhini 100 Residence Doors, door-frame, balcony, Flower-creeper, pitcher, ele.
lal Gandhi Pole chowk phant, peacock
305 Subodhchandra Lal- 1981, Nagji Bhudhar- Residence Door·frame, pillars, baloony, Flower-creeper, pitcher, ele-
bhai Gajarawala ni Pole chowk ph.ant, parr.ot, peacock

306 Narmadaben Hari- 1984, Nagji Bhudhar· 150 Temple Doors, door-frame, balcony, Flower-creHper, pitcher, ele·
bhai Bhatt ni Pole inner portion phant, dancing peaoock,
human figures
307 Keshavlal Chuni- 2002, Nagji 13hudhar- 100 Residenoe Doors, door-frame, pillars, Flower-creeper, dancing pea·
lal Lattha ni Pole ground floor oock, human figures
308 Bhuriben Punja- 2094, N agji Bhlldllar- 125 Residence Door-frame, pillars, balcony, Flower-creeper, pitcher, ele-
bhaiShah ni Pole madat phant, dancing peacock
309 Maneklal Trikam- 2095, Nagji Bhudhar- 125 Residence Doors, door-frame, pill aI'S, Flower-creeper, pitcher, ele-
lal Vora ni Pole balcony, madal phant, dancing peacock
3lO NakarchandMagan- 2098,Nagji Bhudhar- 150 Residence Doors, door-frame, pillars, Flower-oraeper, pitcher, ele-
lal Shah ni Pole balcony, madal phant, dancing peacock

311 Chandulal Lakhu- 2138, Mankodi Pole 150 Temple, resi- Pillars, dome, front portion, Flower-creeper, parrot, dan-
bhai Parikh dence ground floor portion of the cing peacock, human figures,
temple elephant with mahavat
312 Jagrnohanlal Lal- 2242, Muhurat Pole 200 Residence Door-frame, pillars, baloony Flower-creeper, pitcher,
bhai Chokshi parrot, dancing peacock
313 Lalbhai Gatabhai 2243, Muhurat Pole 200 Residence Door-frame, pillars, balcony Flower-creeper, pit c her,
Chokshi parrot, dancing peacock
314 Babuprasad Jiwan- 2245, Muhurat Pole 200 Residence Door-frame, pillars, balcony, Flower-creeper, pitcher, ele-
lal Trivedi chowk, madal phant, dancing peacock,
image of Kalka Mata
315 Ma ngalagauri 2272, Muhurat Pole 200 Residence Balcony, madal Flower-creeper, fairy human
Maganlal Darji figure

316 Ramanlal Hiralal 2931, Hira Gandhini 200 Residence Door-frame, pillars, chowk. Flower-creeper, pitcher, ele-
Darbar Pole balcony phant, peaoock, horse,
human figures
RAIKHAD WARD No. I

317 Mohmedbhai Alab- 706, Mornnavad 150 Residence Door-frame, pillar, oeiling, Flower-creeper, pitcher,
karim Momin madal, window-frame dancing peacock, parrot,
elephant
318 F'lzaleab bas Fida- 713, Vorvad 150 Residence Door·frame, balcony madal Flower-creeper, pitcher,
husain Primuswala peacock, elephant
319 Sakarbhai Jamal- 718, Vorvad 150 Residence Door-frame, pillar, balcony Flower-creeper, pitcher, ele-
bhai Momin phant
320 Abuwala Mulla 720 Vorvad 125 Residence Door, door-frame, pillar, Flower·creeper, pitcher,
Shaikhuddin balcony elephant
321 Yusufkhan Fidaali 721, Vorvad 125 Rosidence Door, door-frame, pillar Flower-creeper, elephant
Batliwala
 53
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- 'l'ype Portion of building Brief description of
SI. Census household No. ingin - of containing wood nature of wood
~o. Owner and location years building carving carving

1 2 3 4 5 6 7
AHMEDABAD DISTRICT-conCd.
AH}IEDABAD CITY ('l'ALUKA: AHMEDABAD CITY)_Gontd.
RAIKHAD WARD No. l-contd.
322 Anandprasad Dina- 869, Jamalpur, Residence Windows, pillars, beams,
nath Dave Tokarshani Polo, brackets
Raikhcld-l
323 Abuwala Abdeali 744, Momnavad 150 Residence Door, door-frame, balcony, Flower-creeper, chain
Sujauddin pillar
324 Uhhaganlal Natha- 873/1/4, Jamalpur, Residence Windows, pillars, beams,
bhai Tokarshani Pole, brackets
Raikhad-l
325 Hai Bhali Wlo 879, Jamalpur, Rosidence Windows, pillars, beams,
Ambaram Gopal Tokarshani Pole, brackets
Raikhad-l
32{l Bai Pushpa and 880, Jamalpur, Residence Windows, pillars, beams,
Pramila D/o Tokarshani Pole, brackets
Vadilal Manilal, Raikhad-l
manager of the
property of Bai
Lalita

327 Bai Jasumati W/o 889/1/1, Jamalpur, Residence Windows, pillars, beams,
Chandrakant Tokarshani Pole, brackets
Ichchhashanker Raikhad-l
328 Bai Shanta W/o 900/1/1, Jamalpur, Residence Windows, pillars, beams,
Jivanlal Chhotalal Tokarshani Pole, brackets
Raikhad-l
329 Narmdaben 1060, Salvini Pole 150 Residence Pillar, balcollY Flower-creeper, peacock,
Madhavlal Patel elephant
330 Parsottamdas 1064, Salvini Pole 200 Residence Door-frame, pillar, chowk, Flower-creeper, pitcher,
Mathurdas Trivedi balcony' ;,sides) dancing peacock, elephant
331 Bei Shanta Bhailal 1074, Jamalpur, Residence Windows, pillars, beams,
Dlo Chunilal Salvini Pole brackets
Hargovandas

332 Vitthalbhai Javer- 1094, Salvini Pole 150 R"sidence Door-frame, pillar, balcony Flower-creeper, parrot,
bhal Patel dancing peacock, elephant
333 Manilal Amrutlal 1168, Salvini Pole 150 Residence Door, door-frame, pillar, Flower-creeper, pitcher,
Gandhi balcony peacock, parrot, elephant
334 Babulal Nathalal 1194, Salvini Pole 150 Residence Door-frame, pillar, madaL, Flower-creeper, pitcher,
Thakkar balcony parrot, danoing peacock,
elephant
335 Abhechand Naran. 1194/1, Salvini Pole 150 Residence Door-frame, pillar, balcony, Flower-creeper, pitcher,
bhai Patel madal danoing peacock, parrot,
elephant
336 Bhikhabhai Magha- 1437, Chorgali 150 Residence Pillar, balcony Flower-oreeper, danoing
bhai Makwana peaoock
KALUi'UR WARD No.1

337 Mauuhhai Mangal- 229, Tambugarani 100 Residence Door-frame, pillars, portion Fairy, flowers, human figures
daB Patel Khadki below balcony
338 Abdulkarim Maha· 340, Dabhaliya Pole 75 Residence Doors, door-frame, pillars, Flower-creeper, peacock
mad Habib Safari brackets, madal, chowk parrot, Sidi Saiyadni jaN '
and Abdul Latif
Abdul Habib
339 Alimiyan Abdul 341, 343, Da.bhaliya Residence Door-frames, pillars, brackets
Kadar Pole, Kalupur
340 Hajabhai Shekh 522, Shaikh Hirjini 200 Residenoo Ghowk, madal, portion below Flower-croeper, pitcher,
Mohmad Puntha Pole balcony elephant
wala
341 Not known 857/1, Zakariya Pole Residence BOams, brackets
54
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- 'l'ype Portioa of building Brief dllscription of
SL Oensus household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
1 2 3 4 5 6 7
AHMEDABAD DISTRIOT-contd.
AHM..I!.:DABAD (TALUKA: AHMEDABAD OlTy)-contd.

KAT,UPUR WARD No.l-contd.

342 Babubhai ~emchand 885, Kalushani Pole Residence Windows, door-frames, pillars,
beams
343 Somchand Hala- 920, Kalushani Pole 250 Residence Doors, door-fame, balcony, Flower-creeper, elephant
bhai Parikh windows, front portion,
madal, pillars, beams, bra·
ckets
3404 B"udiial Hiralal 950, Todani Pole, 200 Residence Door-frame, balcony, pillars, Flower-creeper, pitcher.
Jain Mahadev Valo chowk dancing, peacock, elephant,
Khancho labyrinth
345 Keshavlal Lalbhai 959, Todani Pole Residence Windows, pillars, beams
Shah, Bansibhai
HiraIal, Gunvant-
lal, Ohhaganlal,
Kautilal Ohiman-
lal managers of
Shri Adiswar Jain
Derasar
346 L~lbhai O"andllial 1075, cJ'otalajini Residence Doors, door-fl'a1I1e8, chowk,
Vasa Pole, Kalupur pillars, beams, brackets,
windows

347 Lalbhai ~rusinh­ 1398, Mamunayakni 150 Residence Pillars, portion below balcony, Flower-creeper, elephant
bhai Shah Pole madal
348 Vakil Chandrakant 1571,1571/1, Manu-
OhhotalaI, Bala- bhai Shethni Pole
bhai Bachubhai
M. and Kikabhai
Bhagubhai mana-
gers of Bai Manck
alias Mangu, Wlo
Jamnabhai Ehag'l-
bhai
349 Samaji Mhanaji 1937, Nishani Khadki 75 Residence Door-framo, pillars, ceiling, Flower-creeper, pitcher,
Padhiyar madal, chowk elephant

KALUPUR WARD No.2

350 Xot known 97, Kasllmba Vad 1.50 Hesidence Doors, door-fram("", pillars, Flower-ureeper, creeper with
ceiling, beam, todla, madal leaves, peacock, swan,
elephant, parrot, human
figure, geometrical, design,
zul
351 Bai Sushila Wlo 187, Mat", Valo Residence Door-frames, pillars, brackets
Prataprai Vadilal Khancho, Modini
Khadki
352 ~anllbh·],i Chiman- 229, Doshi Vadani 150 Residence Windows, beams, todla, door. Creeper, elephant's head,
lal Shroff Pole, near the frames peacock, human figures,
Derasar of Baba flower pot, panel of leaves,
Par8hwanath, birds, flowers
Kuwawala
Khancho
353 Pramod, Mrudula 258-7, Kalupur, Dispensary Windows, pillars, beams,
Chimanlal Zaweri Doshi Vadani Pole and brackets
and Haran Raman- Residence
bhai Zaweri
354 Keshw",Ial Mul- 274,275,276,Chau- Over Residence Todla, beam, ceiling Panel of flowors, leaves,
chand Bhavsar mukhjini Pole, 100 crecpor, elephant's head,
Jaweriwad ~~ear dancing peacock, head of
bird .
 55
STATEMENT I-contd.

BulldinBS with Wood CarviDa

Approxi-
mate age
of build- 'l'ype Portion of building Brief description of
Sl. Census household No_ ing in of containing wood nature of wood
No. Owncr and location years building carving carving

1 2 3 4 5 6 7

AHMEDABAD DISTRICT-contd.
AHMEDABAD CITY (TALuKA: AHMEDABA.D CTTy).contd.
KALUPUR W ABD No. 2-{;ontd.

305 Subodhchandra 302, Doshi Yadani 200 Relidence DClDr-fralllo,piUars, madal, Flower-creeper, flower--pot,
Mafa tlal Shah Pole, Vakhat. todla, sides of windows flower, creeper with leaves,
chandni Khadki elephant, zul
356 Chandulal Premo 303, Doshi Vadani 200 Residence Windows, pillara, beama, Flower-creeper, flower,
chand Shah Pole, Vakhat- madal, todla, front portion creeper with leaves, elephant,
chandni Khadki flowerpot, peacock, human
ligures, zul
357 Vrajlal Jekishandas 304, 304/1, Doshi 200 Residence Pillars, todla, madal, sides of Flower-creeper, flower-pot,
Vadani Pole, windows creeper with leaves, ele-
Vakhatchandni phant, zul
Khadki
358 Not known 433, Santinathni Pole Residence Windows, pillars, beams, todlas
359 Narotam Mayabhai 486,486/1, Opp. Residence Family shrine, (derasari)
Kasturbhai Maya- Ramji Mandirni
bhai, Kalyanbhai Pole
Mayabhai
"360 Pravinchanclra 572, Padshani Pole 100 Residence Door-frame, pillars, beam, Flower-creeper, creeper with
Shanabhai coiling, todla, madal, sides of leaves, flower-pot, flower,
window peacock
361 Ishwarlal Maganla1 670, Lambeshwarni 60 Residence Door-framo, pillars, beam, Flying fairies, human figures,
Soni Pole todla lion, krishna
"362 Maneklal Manilal 714, 714/1, 714/2, 225 Residence Pillars, bcam, todla, sides of Flower-creeper, flower-pot
Parikh 714/3, VaraiPadani windows creeper with leaves, flower,
Pole elephant, peacock, human
figures. gods
363 Shah Chinubhai 686,686/1, Lambe- Jain Temple,
Chunilal, manager shwar Residence
Shamlajinu Dera·
sal'
364 Ramjinu Mandir 774, RamjiMandir. 250 Temple and Door-frame, pillars, ceiling, Flower-creeper, flower, fairy,
Trust building ni Pole Residence todla, madal, sides of window human figures, (goddesses)

365 Trikamlal Vadilal, 791, Ramii Mandir- Jain Temple Brackets

Ramanlal Vadilal, in Pelo
Kasturehand
Manilal and
Ramanlal Sara-
bhai, manager Shri
Parshwana t h j'i n u
Derasar
366 Tankshalni HaveH, 802, Itt the entran- Jain Temple Door-frames, pillars, windows,
Ahmedabad Muni· ce of Haja Patelni beams, brackets, todla
cipality Pole
367 Chandulal Gothi- 878, Panchbhaini Residence Windows, pillars, beams,
das and G/o Bhu- Pole brackets
pendra Chandulal
and Hasmukhlal
Chandulal Mani
alias Mahalaxmi
W /0 Chandulal
Gothidas
'368 Vithaldas Lalbhai 916/1, Zampdani 200 Residence Door-frame, windows, pillars. Flower-creeper, creeper of
Shah Pole Pole madal, todla leaves, flower·pot, ele-
phant, zul
269 Popatlal Mansukh- 980, Kadiani Pole 115 Residence Facade, door, pillar, todla, Elephant's head, panel of
raIn door-frame, pillars besides leaves, creeper, human
window, gallery, arch figures, flower-pot, flower
56

STATEMENT! I-c011ld.

Boildings with Wood Carvint

Approxi·
mate age
of build· Type Portion of building Brief description of
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
1 2 3 4 5 6 7

AHMEDABAD DISTRICT-contd.

AHMEDABAD CITY (TALUKA : AnMEDABAD CITY)-COJltd.

KALUPUR WARD No. 2·contd.

370 Lilavati Madhavlal 996/2, Kadiani Pole 100 Residence Todla, rafters, gallery, pillars, Elephant's head, hooded ser·
door·frame pent, panel of leaves, flower·
creeper, flowers, flower· pot
371 Motilal Amarsingh 998, Kadiani Khadlti 150 Rosidence Windows, pillars, beams Elephant's head, peacoek,
bird, musician, creeper,
panel of leaves, flower· pot
372 Bhogilal Keshavlal 999, Kadiaani 150 Residence Door.frames, pillars, win- Creeper, ornamental arch.
Panchal Khadki dows, boams flower·pot~_human figures,
- idol, panel of leaves
373 Pancha1 Bhogilal 999, 1000, Kadiani Residence Door.frames, pillars, windows,
Kesl1avlal Khadki beams
374 Jain Derasal' 1037, Hanlla Pole 150 Jain Temple Windows, pillars, ceiling, Flower. creeper, flower·pot,
beam,marlal trunk of elephant, zul

375 Atmaram Kastur· 1127 lA, Hanuman· 150 Residence Door·frame, pillars, todla, Elephant's head, peacock,
chand Mehta waH Pole beam, rafters, portions be· human figures, flower's
side windows, ceiling, living panels, flower·pots, creepers,
room ornamental carving, shehnai
players
376 Bhagubhai Magan. 1142/0, Hanuman· 125 Residence Pillar, todla, hearns, rafters Flower's panels, creeper,
lal Patel wali Pole flower-pot, parrot, lion.
idols, human figul'es, panel
of leaves
377 Kantilsl Somalal 1145/1, Glmdini Pole, 150 Residence Pillars, beams, todla, chowk Panel of leaves, elephant's
Banker Sonino Khancho head, dancing peacock,
creeper, ornamental carving,
flower· pot
378 Narsinhlal Jivan· 1244, Dhanasutharni 125 Residence Door·frame, madal, todla, Flower~creeper, flower-pot.
lal Parikh Pole, Shastrino sides of windows zul
Khancho
379 Narharibhai 1256,1256/'3,1256/4, 150 Residence Doors, beam, sides of windows Flower·creeper, creeper wit,h
Chnaganbhai Jani Dhanasutarni Pole, and doors, modal. leaves, flower.pot, peacock,
Mahadev Chokthu z"l, geometrical designs

380 Mahadev!Jrasad 1314, 13140/1, Lava- 125 Residence Door·frame, pillars, beam,
Flower-creeper, creeper with
Umiysshanker rini Pole todla, modal leaves, pe.acock, human
Shastri figures
381 Kalidas .rethalal 1413, Derawali Pole 100 Residence Pillars, beam, todla, door- Elephant's head, creeper,pot
Shah frame peacock, panel of leaves.
panel of flowers
382 Babulal Manaklal 1414/1, Derawali 100 Residence Pillar, beam, todla, ceiling, Elepbant,'shead, flower, pH.nel
Shah Pole, Dhanasuthar· window, frame of leaves, creeper, head of
niPole bird, flower
383 Dahiben Chunilal 1445, Dhanasuth"r· 125 Residence Door·frame, pillars, windows, Flower.creeper, flower·pot.
Shah ni Pole, Soni Pole beam, todla, madal creeper of leaves, trunk of
elephnnt, peacock
384 Isakali Eb-rahim 1718, GulyaraniPole 160 Residence Pillar, door.frame, todla, Flower.creeper, elephant'~
Mithaiwala rafters bead
 57
STATEMENT I-contd_

Bulldinp with Wood Carving

Approxi-
mate age
of build- 'I'ype Portion of building Brief description of
81. Cellsus household No. iug iIi of containing wood nature of wood
~o. Owner and loca.tion years building carving carving

2 4 5 6 7

AHMEDABAD DISTRICT-oontd.

AHMEDABAD Cl'rY_{TALUKA: AHMEDABAD CITy)-oontd.

KALUPUR WARD No.2-contd.

385 Abdulkadar Sara- 1719,Gulyarani Pole 75 Residence Pillar, door-frame, todla, raf- Creeper, flower, elephant's
fali Lemouwala ters head
386 Abduaain Aiptul- 1720, Gulyarani 175 ResideIl'Ce Pillar, door-frame, todlo, raf- Flower-creeper, panel of
laji Pulavwala Pole ters leaves, elephant's head
387 Jafarbhai Gulam- 1731/1, Gulyarani 200 Residenoe Podia, rafters Flower-creeper, panel of
husain Pole leaves, elephant's head
388 Mangalaben Jivan- 193710, Falka Pole, 95 Residence Door-frame, pillar, beam, Flower-pot, elephant's head,
lal Soni Panchpatti toala, ceiling peacock, flowers, panel of
flower, pftnel of leaves
389 Bai Ganga 8hivram 1940, Falka Pole, 70 Residence Wooden partition, gallery, Ornamental carving, lattice,
Dalsukhram Panchpatti door-fratne, beam, pillar, creeper, elephant's head,
toala, window, frame peacock, creeper, leaves

390 Bhikhabhai Som- 1941, Falka Pole, 125 Residence Pillars, todla8, beam Elephant's head, panels of
nath Panchpatti flower, dancing peacock,
flower-pot, dragon's head
on todla, creeper, human
figure
391 Haribhai 2096, Jaganayakno 100 Residence Door-frame, pillars, todlos, Panels of leaves, flowers,
Khancho, Panch- beam human figures, fairy, idol
patti of Hauuman, birds, lion,
monkey
392 Not known 2097, Katakiya Vad Residence Pillars, beams, brackets,
todla
393 Jagivandas Van- 2496, Navo Vas 75 Residence Door-frame, pillars, beam, Flower-creeper, creeper with
malida.s Soni madal, toala leaves, :flower, peacock,
human figures
394 Amritlal Keshavlal, 271U/8/2 Zaveri Jain Temple Pillars, beams, ceiling
manager, Shanti- Vad, Nisha Pole
nathiina. Dera,sar

395 J' agavaUabh Paras- 2776, Nisha Pole 150 Jain Temple Door-frame, pillars, ceiling, Flower-creeper, flower,
nath ])erasar side of windows, toala, madal flower-pot, peacock
(Trust)
396 Amdtlal Keshavlal 2781, Nisha Pole 150 Residence Door-frame, piiIars, beam, Flower-creeper, flower-pot"
todla,madal trunk of elephant, geome-
trical dcsign, wI
397 8hant.i1al Mohanlal 2782. Nisha Pole 150 Residence Doors, door-frame, pillars, Flower-creeper, flower-pot,
modal, todZa flower, trunk of elephant,
peacock, parrot, human
figures, geometrical design,
zul
39S Jain Dera~a.r Build- 2783, Nisha Pole 150 .fain Temple Door-frame, beam, toala, Flower-creeper, trunk of ele.
ing & residenoe modal phant, zul
30\) Bababhai Dholidas 2807, Zaver Pole, 150 Residence Windows, pillars, beams, Elephant's head, dancing
Dalal Zaveriwad todlos, door-frames, ceiling, peacock, flying birds, human
chowk figures, creepers, panels of
flowers, musicians
 58
STATEMENT I-contd_

Buildings with Wood Carving

Approxi-
mate age
of build- Type POl'bion of building Brief description of
Sl. Ct)I18Ua household No. ing in of contaiuing wood nature of wood
No. Owner and location years building oarving carving
2 3 4 5 6 7

AHMEDABAD DISTRICT-conta.
AIDIEDABAD CITY (TALUKA.: AHMEDABAD CITY)-Contd.

K.A.LUPUR'VARD No. 2.concld.

400 Kagdi Soniwala 2906, Haji Ahmedni 120 Residence H,afters, window, pillars, Creepers, flowers,flower·pot,
Pole willas elephant's heads, peacock,
panel of lea.ves
401 Jain Vi.h,t O,;wal :!.925/1f2, Vaghan 100 Maternity Door-frame, pillars, ceiling, Flower-creeper ,flower, flower-
Club Pole Home beam, sidea of windows, pot, creeper with leaves,
madal trunk of elephant, parrot.
peacock
402 Vimlaben Sal'abhai 2926, Vaghan Pole 100 Residenee Door-frame, wdla, madal, Flower-creeper, flower-pot,
Jhaveri sides of windows oreeper with leaves, trunk of
elephant, geometrical
design, zul
403 Chokeswari )'!"nuir 2930, Vagh ...n Pol" 60 Temple Doors Deer standing under tree,
parrot, peacock, cuckoo and
other birds on tree, geo-
metrical design
401 Sheth Kasturbhai 2933. Zaveri Vad, Jain Temple Beams, ceiling, twu horses
Lalbhai, Maneklal Vaghan Pole with butta design, N ari-
Man s u k h I a I. lcunjar
Chimanlal Lalbhai
and Vakil Chandra-
kant Chhotalal,
managers of Ajit-
nathjina DeraBar

KALUl'Ull. WARD No.3

N<1rendl'abhcti Ba.la- 68, Shethni Pole Door-frame, pillars, beam, Flower-ereeper, creeper with
bhai Jhaveri todla leaves, flowers, tlower-pot
{06 Cllim<Luhtl V"dilal 696, Chhipa Pole 150 Residence Door-fram", window-frame, Flower-creeper, creeper with
Shah pillars, ceiling, matlal leaves, flowers, trunk of
elephant, human figures
407 R~ldev(b" :\hllilal 728/0, Chhipa Pule 200 Residence Door-frame, pillars, window- Flower-creeper, flower-pot,
Patel frame, oeiling, beam, todla, flowers, trunk of elepha.nt,
balcony peacock. parrot, duck,
huma.n figure, geometrical
design, zu'
408 Mahendra bhai 732, Chhipa Pole 200 Residence Door-frame, pillars, window- Flower-pot, flower, trunk of
Chimanlal Shah frame, leaves, malial elephant, human figures,
zul
409 Shantilal Manilal 754, Chhipa Pole 125 Residence Door, door-frame pillars, Flower-creeper with loaves,
Shah beam, wala, matlal creeper with leaves,
peacock, human figure
DARLU'UR WARD No.1
410 Samaratben Punia· 9:;, Nani Kadiyavad 125 Residence Pillars, support, balcony Flower-creeper, dancing pea-
lal Kadiya cock, parrot, elephant,
human figures
4ll Ranchhodbhai Kali- H2, Nani Mehtani 100 Residence Dour-frame, pillars, balcony, Flower-creeper, pitcher, pea-
das Patel Pole sides of balcony, chowk cock, elephant, human
figures
412 Chhot"lal Dayaram 141, Moti Mehtani 150 Residence Door-frame, pillars, balcuny, Flower-creeper, pitcher.
Patel Pole sides of balcony, ohowk parrot, elephant
413 Jayantilal Manilal 201, Padma Pole 125 Residenee Pillars, balcony, matlal Flower-creeper, elephant,
Patel parrot, dancing peacock,
peacock, ,'hehnai-player
(14 Mohanlal Haribhai 204, Padma Pole 125 Residence Door-frame, pillars, madal Flower-creeper, pitcher,
Patel flower, parrot, dancing pea-
cock, human figures(daneiDg)
 59

STATEMENT I~contd.

Buildings with Wood Carvin.

Approxi-
mate age
of build- 'rype Portion of bUildillg Brief deSCl'iptioll ot
SI. Census household No. ing in of containing wood nature of wood
So. Owner find location years building carving carving

2 3 4 5 6 7

AHMEDABAD DISTRICT-contd.

AH:IIEDABAD CITY (TALL'KA: AHMEDABAD CITy)-contd.

DARTAFUR WA~ No.l-oolltd.

416 Babubhai Shankar- 222, Padma Pole 200 Residence Door-frame, pillars, balcony Flower-m'eeper, pitcher, de-
la1 Dave phant, parrot, dancing pea-
cock
416 Govindlal Ravi- 223, Padma Pole 125 Residence Doors, door-frame, pillars, Flower-creeper, pitcher, ele-
chand Patel madal phant, dancing peacock
417 Mafatlal ~angal. 225, Padma Pole 150 Residence Windows, balcony, madal, Flower-creeper, pitcher, ele-
das Patel chown phant, treeB, human figure
418 Pasiben Punja- 414, Dakhani Pole 100 Residence Doors, door-frame, madal, :Flower-creeper, pitcher, pea-
bhai Patel balcony cock, parrot, elephant
419 Joshi Tripurashan- 486, 487, 487il, Residence WindOWS, pillars, beams,
ker Kalid(l.8 Bhabhani Pole todla

'r,-ikaml"l ){aneklal .548, Chhikni Yala- 125 Residenoe Door-frame, pillars, portion Flower-creeper, pitcher, pea-
Patel ni Pole below balcony cock, parrot, dancing pes-
cock, elephant, human
figures
421 Sukhtlevbhai Me.nor- ()74, Piplavali Pole 75 Residence Door·frame. pillars Flower-creeper, pitcher. head
das Patel of lion, vina-player, human
figure
422 Sukhdevbhai Manor- 575, Piplavali Pole 125 Residenoe Balcony, madal Flower-creeper, balcony, ele-
das Patel phant, pair of peacocks
423 .\Iohmedbhai Ahmed- 1020, Timba Pole 125 Residenoe Madal Flower.creeper, parrot, pea-
bhaiPathan cook
424 Pirmobmed Abdul- 1087, Targalani 100 Residence Door-frame, pillars, madal ]'lower-creeper, pitcher,
hhai Shaikh Khadki parrot, peacock, elephant

425 Nuruddin Mohmed- 1168. Karodani Pole lIiO Residence Madal, door-frame Flower-creeper, pitcher, pes-
husain Valiulla cock, parrot
426 Mohmedmiyan Mo- 1196, Karodani Pole 150 Resideno Madal. door-frame Pitcher, flower-creeper, pea-
hmedhusain vaH- cock, parrot
ulla
427 Vahidmiyan Abdul. 1239, Panch Khad- 150 Residence Door, door-frame, madal Flower-oreeper, pitcher, pea.
bhai BbavJl&gri kini Pole cock, parrot
428lSamratben Kant,j- 1979, Bhanderi Pole 150 Residence Pilars, balcony Flower-creeper, dancing pea-
lal Modi cock, parrot, elephant,
human figures
429 Ratilal Jetha1a1 1994, Matavali Pole 126 Residence Door-frame, pillarl'!, balcony Flower-creeper, dancing
Khat,ri peacock, elepha.nt, human
figures, pratihart

430 Maganlal Trikamlal 2016. Mata.vali Pol~ 100 Reaiden.ce Doors, pillars, madal, balcony Flower-creeper, peacock,
Khatri parrot, elephant
431 Maniben Narottam- 2062, Padi Pole 125 Residenoe Door-frame, pillars. madal, Flower-creeper. pitcher,
das Kayastba balcony parrot, elephant
432 'C" Daudbhai VarB- 2104, Tsrgalani 125 Residenoe M adal, balcony Flower-creeper, peacock, ele-
bhai Mansuri Khadki phant
433 Nanibi1:Ji Gulam- 3073. Lakhota Pole 100 Residence Pillars, madal, ceiling Flower· creeper , flowers, ele-
hUllain Slll\ikh phant
 60
STATEMENT l-contd.

Buildinp with Wood Caw. .

Approxi.
mate age
of build- Type Portion of building ,Brief desoription of
81. Census household No. ingin of containing wood nature of wood
No. Owner and location years building carving carving

2 3 I) 6 7
AHMEDABAD DISTRICT-comd.
AH:VII:<;DABAD C1TY ('fALUKA: AHMEDABAD CITy)-contd.

Dl\RIA]'>UR WARD No.2

434 Ratilal Valjibhai 177/A/2 Chamarvad 40 Residence l'illars, madal, beam Creeper, flower, JeI1VeS,
Parmar behind Futimasjid- parrot, elephant, lion
ni Pole
43.3 Mafat!a! Gagaldas 880, Rupspari 200 Residence Door-frame, madal, pillars, Creeper, pitcher, elephant,
beam human figure
436 Dahyabhai Jamna· 1086, Kikabhattni 200 Residence Door·frame, pillars, todla, Creeper, flower, pitcher
das, Ratilal Pole madal, balcony peacock, elephant
Jamnadas
437 Galabhai Kachara- lIlO/A, Kika.bhstt. 40 Residence Door, door-frame, pillars, Spiraling pillars, flower-creep-
bhai, Jivanbhai ni Pole beam er, birds, .tiger, human
Kacharabhai figures
438 Vahivlttdar, Patel 1284,1284/1, 1284/2, Residence Windows, pillars, beams
Ishwarlal and 1284/3, 1284/4,
Ranohhoddas Jada BhagatIli
Ramdas Pole

439 Kantil.. 1 Narandas 1294/A. J",ds 150 R6sidence Door-frame, window-frame, Flower-"reeper, peaCOck, ele_
Bhagatni Pole pillars, beam, ceiling, bra- phant, human figure
cket
440 Jethalal Achartlal, 1295, Jada Bhagat. 150 Residenoe Door-frame, pillars, todla, Flower-creeper, pitcher, pea-
Narendraprasad ni Pole beam, baloony cock, elephant
Virendraprasad
441 Pratapbhai Jag- 1296, .Tada Bha-gat. 150 Residence Door-frame, pillars, toala, Flower-creeper, flower,
jivanbhai Patel ni Pole beam, sides of windows peacock, elephant
442 Amba-Ia! Lallubhai 1297, Jada.Bha.gat- Residence Windows, pillars, beams,
ni Pole brackets
443 Nar ... ndas Lallubh",i 1297/1, Jada Rosidence Windows, pillars, beams,
Bhagatni Pole braokets
444 Ambalal Somnath 1300, Jada. Bhagatni 100 Residence Door-framc, tadla, pillars,
Panel of leaves, pitcher, ele-
Patel Pole beam phant
445 Balubhai Somnath 1357,/A, J"ada 100 Residence Door-frame. pillars, beam, Flower-creeper, panel of
Patel Bhagatni Pole balcony Rowers, pitcher, peacock,
elephant
446 Babu.lal Somnath 1357/A, Jada Residence Door-frames, pillal's, windows,
Bhagatni Pole beams, braokets
447 Kalidas Haribhai 1358, Jada Bhagatni 100 Residence Door-frame, pillars, beam, Flower·creepe?, flower. pea;
Patel Pole madal cook, elephant, pitcher
448 Bai Chandan D/o 1358/1, Ja.da Residence Door-frames, pillars, win-
Shaka.rabhai Bhagatni Pole dows, bel1ms, totila
Nathabhai

Bai Sita (W/o Nat- 1358/2, J",da Residence Door-frames, pillars, win-
warlal Manilal) Bhagatni Pole dows, beams, todla
and Patel Raman-
lal Manilal
430 Kantibhai Jivanlal 1566, 8utarV"a.d 100 Residence Pillars, door· frames, beam Flower.creeper, fi 0 we r
pitcher, peacock, elephant
'51 Chandulal Pana- 1571/1, Kadva Pole, 100 Residenoe Door-frame, pillars beam Flower-creeper, pit c her
chand Rajputvado flower, peacock, elephant'
4-52 Kantilal Parsot- 1654, Kadva Pole 100 Residence Door-frame, pillars, todla, Creeper, flower, leaves, pea.
tambhai Patel beam cock, elephant, pitcher
453 Lalbhai Chhotalal HI99, :!Sa"" Tali- , 100 Resideno'3 Pillars,-'beam, balcony Creeper, flower, leaves, pea-
Beni yani Pole cock 9lephllnt
 61

STATEMENT I-contd.

Buildinp with Wood CarviDl

Approxi-
mate age
of build Type Portion of building Brief description of
SI. Census hlJll~ehold No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
I 2 .3 4 5 6 7

AHMEDABAD DISTRICT.contd.
AHMEDABAD CITY ('rALUKA: AHMEDABAD CITY)-contd.

DARI&PUR WARD No. 2-contd.

454 Kachrabhai Shakra· 1700, Nava Tali- 100 Residence Door-frame, piliars, madal, Creeper, flower, pitcher, pell-
bhai Suthar yani Pole beam, balcony cock, elephant
455 Dahiben Ranchhod- 1948, Nani Havelini 140 Residence Door-frame, beam, balcony Creeper, pitcher, panel of
lal Patel Pole flowers, flower, leaves
456 Santi)",l .Tivanlal 1959/1/2, Nani 140 Residence Door-frame, pillars, bellm Creeper, pitcher, flower,
Patel Havelini.Pole leaves, elephant, huma.n
figures
SHAHPUR WARD No.
457 Babubhai Ghelu- 45, Moti Pole 100 Residence Door-frame, pillars, beams, Flower-creeper. flower,
bhai madal, todla, sides of window flower-pot, trunk of
elephant
458 Kacharalal Natha- 54. Moti Pole 100 Residence Pillars, beam, todla Flowers, leave8, peacock,
la} Shah human figure, zuL
459 Popatben Harilal 60, Moti Pole 100 Residence Door-frame, pillars, beam, Creeper with leaves, trunk
Shah todla of elephant, zul
460 Ramanlal Jechand- 62, Moti Pole 100 Residence Pillara, beam, todla Creeper of leaves, trunk of
bhai elephant, zul
461 Jaymohandas Gor- 63. -Moti Pole 150 Residence Door-frame, pillars, madal, Flower.creepers, flower,
dhI1ndas Chokshi sides of window flower-pot, zul

462 Bacbubhai Patel 251,Mankodi Padani 100 Residence Pillar, todla, door-frame, Elephant's head, peacock,
Pole beam, rafters creeper, ornamental arches,
panel of leaves, panel of
flower, flower-pot
463 Popatlal Khodidtls 1015, Navi Pole 100 Residence Pillars, loella, .door-frame, Creeper, ornamental arches,
Patel beam, window-frames panel of leaves, dancing
peacocks, flowers
464 Manubhai Sakara· 1032, Navi Pole 100 Residence Pillars, todla, door-frame, Ornamental arches, dancing
bhai Patel beam, chowk peacocks, parrots, panel of
leaves
46fi Shivlal Maganlal 1035, Navi Pole 125 Residence Pillars, todla, door-frame. Creeper, ornamental arches,
Patel beam, chowk panel of leaves. dancing
peacocks, flowers
466 Virchand Hem- 1074, Bhabanpura 50 Residence Door·frame. todla, pillar, Dancing peacock, croeper,
chand 07a beam elephant's head, flower,
panel of leaves, design
at the four corners of pillars
467 Chh.. ganlal Chhota- 1079, Bhabanpura 125 Residence Door-frame, todla, pillar, Creeper, elephant's heads,
lal Patel clwwk dancing peacocks, flowers,
leaves
468 Rasikbhai Dhanji- 111'1/0, Ambliwali 650 Residence Pillar, door-frame, todla, Elephant's head, dancing
bhai Patel Pole beam, base of pillar peacock, parrot, dragon,
human figures, woman with
children, warrior, fairy,
creeper, panel of flowers
469 Manibhai Narandas 1141/0, Ambliwali 125 Residence Door-frl1ille, todla, chowk, Elephant's head, peacock,
Patel Pole pillar, beam creeper, panel of leaves,
panel of flowers.
ornamental arches, pot
470 Dahyabhai Jetha- 1171/1, Nani Rangila Residcnce Pillars, todla, door-frame. Elephant's head, peacock,
bhai Thaker Pole rafters, beam, window. human figures,creeper, pot,
frames, door, base of pillar flower-pot,panel of flowers
leaves, birdS, flowers '
4.71 Chandiben Parso- 1215, Dehlawali 125 ReRidence Pillar~, todla. door-frame, Panel of leaves. ornamental
tambhai Patel Khadki beam arches, creeper, parrots,
dancing peacocks, animals.
elephant's head,flower-pots
62

STATEMENT I-conld.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building lIrief description of
Sl. Census household Xo. ing in of containing wood nature of wood
No' Owner and location years building carving carving
.2 ;) 4 5 6 7

AHMEDABAD DIS'l'RICT-oontd.

AHMEDABAD Cl'l'Y (TALt;.KA: AHMEDABAD CITy)-contd.

SliAHPUR \'YARD No. l-contci.

472 J ..y~hanker Jagan- 1211:!, Dehlawali 125 Residence P ilIars, todla, door. frame, Creeper, ol'namolltal al~ches,
nath Tripathi Khadki beam dancing peacock
473 Sakt·....bhai Mohanlat 1256, 1256/1, Moti 120 Residence Pillars, todla, beam, ceiling,Elephant's hea.d, peacocks,
Patel Hangil.. Pole portion beside windows panel of leaves, creeper,
panel of flowers, ornamental
arches
474 Ambalal Prem- 1259, Moti Rangila 17,) Residence Pillars, todla8, door-frame, Elephant's head, peacock,
chand Patol Pole beams, portion beside panol of leaves, flowers,
windows, doors, chowk creeper, human figures,
~ ornamentararches
475 Anandiben Som- 1260/0, Moti Rangila 175 Residence Pillar, todla, beam, rafters, Elephant's head, dancing
nath Patel Pole portion beside windows, peacocks, creepers, panel of
chowk leaves, flowers, human
figures, flower-pot, peacock
-l76 Lalitaben Ganga- 1266/0, Moti Rangila 160 Rosidence Todla, frame, chowk, rafters Creeper, flower, birds panel
ram Patel Pole of leaves, flowers, flower-
pot, dancing peacock

477 Chandnl"l Keshav- 1284, Nawghsrini 125 Residence Pillar, door-frame, bea.m, Elephant's head, peacock,
lal Patel Pole ceiling, todla, portion beBide creeper, panel of leaves,
windows flowers, flower-pot
4,78 Vrandavanbha.i 1301, Kidipo.dani 71S Residence Door-frame, pillar, todla, Creeper, elephant's head.
Jagjivandaa Pandya. Pole beam flower. panel of leaves
.71) Laxmiben Chhagan- Kidipa.dani Pole 75 Residenoe Door-frame, beam, pillar, Panel of flower, ornamental
lal Patel kJdla arches, tiger's head, creeper
480 Durgapraao.d 2078, Khajuri Pole 150 School Door-frame leaves, todla, Flower-creeper, creeper with
Lashkal'i sides of windows leaves, flower-pot, peacock
481 Jayantilal Popo.t- 2UI2, Bukha:rani 100 Residence Door-frame, beam, todZa Flower-creeper, creeper with
10.1 Shah Pole lea.ves, human figures, a
woman with child

482 Ra.manlal Chime,n- 2229, Modhvali 100 Residenoe Door-frame, beam, todZa Flower-creeper, creeper with
lal Shah Pole leaves, flower-pot, flower,
peacook
483 Vanichand Gulab- 2406, Vadikotdini 200 Residence Pillar, todla, beam, door- Elephant's head. creeper,
ohand Bhavao.r Pole frame, rafters flower-creeper, flower-pot
parrot, dancing peacock;
hume,n figures
484 Bai Parwati 2410, VBdikotdini 125 Residence Pillar, totlla, beam, rafters, Elephant's head, human
Keshawlal Bhavsar Pole door-frame figures, peacocks, orna-
mental arches, panel of
leaves, creeper, panel of
flowers_ flower-pot
486 .1aysinghbhai Bho- 2414, V Bdikotdini 200 Residence Pillar, todla, beam, raft..,rB Elephant's head. panel of
gilal Bhavsar PolQ fiOWe!B, creeper, flower-pot.
danCIng peacock, human
figure
486 Santilal Olthotalal 2424, Vadikotd.;m :too Residenee OhOUtle, door-frame, bea.m, Panel of plants and flower.
BhavRar Pole ~1l8r. todla. sides of windows pots, oreeper, flower,
dancing peaoock, panel of
]eave~. human figure
 63
STATEMENT I-contd.

Buildings witb Wood CarvinM

Approxi.
mate age
of build· Type Portion of building Briel description of
Sl. Census household No. ing in of containing wood na turc of wood
,No' Owner and location years building carving carving

2 3 4 5 6 7
AHMEDABAD DISTRICT-conld.

AHMEDABAD CITY (TALuKA: AHMBDABAD: C[TY).contd.

SHAIIl'UR \V ARD .No. 1-contd.

.*87 ::;allttlal Ohhotalal 2425, V u.diko tdini 200 ResidellCe Pillar, lodla, door·frame, Elephant's head, hmnaJl
Bhavsar Pole beam, sides of windows figures, dancing peacock,
creepers, flower-pot, panel
of flowers, leaves
488 ~Ianilai Ramji 2575, Sadrnatani 100 Residence Door-frame, pillars, todla. Flower-pot, leaves, I;ul,
Barot Pole sides of window human figures
489 Manilal Harila1 2575. Gozariani Pole 60 Residence Door·frame, pillars, ckowk, Flower.creepel', creeper with
madal, todla leaves, flower, parrot,
human figures
4,90 Jethalal U,nedraln 2576, Gozariani Pole 80 Residence Door-frame, beam, todla, Flower-creeper, leaves,
Patel madal, sides of window flower-pot, peacock,
parrot, human figures
491 Hatilal Hargo· 2639, Garnalani Pole 125 Residence Door-frame, pillars, beam, Flower-creeper, flower·pot,
vandas todla geometrical deSign, zul,
leaves

492 Ratilal Kachartt· 2659, Garnalani Pole 125 Residence Door-frame, pillars, beam, Flower-creeper, Ic a v c 8 ,
bhai Shah todla flower-pot, zul
493 Ambalal Nanshah 2667, Vasta Galjini 120 Residence Door.frame, beam, todla Flower-creeper with leaves,
Patel Pole.' flower-pot, elepbant, parrot,
peacock, zul
494 Nathalal Motilal 2669, Vasta Gaijini 150 Residence Door-frame, beam, todla. Flower-creeper ,flower ,flower-
Pole sides of window pot, creeper with leaves
495 Daslll"athial Chatra- 2671, Vasta Galjini 150 Residence Door·frame, beurn, todla, Flower-creeper, flower,
bhuj Shukla Pole sides of window flower·pot, geometrical
design
196 .Jasodaben Nandlal 2695, Vasta Galjini 150 Residence Door.frame, pillars, beam Flower·creeper, creeper with
Pole leaves, flower, geometrical
design

497 Nalinchandra N. 2696, Vasta GaJjini 150 Residence Door·frame, pillars, beam, Flower, zul
Tripathi Pole todla, sides of windows
498 Champaben Vishnu- 2699, Vasta Galjini 150 Residence Door-frame, beam, todla, Flower-creeper, flower, zul
bhai Chunilal Mehta Pole sides of window
499 Ambalal Nanchand 2700, Vasta Galjini 150 Residence Door-frame, beam, todla, Flower, creeper with leaves
Patel Pole sides of window flower·pot, human figures '
500 Motilal Bhailal 2702, Va.t.. GaIjini 150 Residence Door-frame, beams, chowk, Flower-creeper, fl 0 w e r ,
Patel Pole todla, sides of window flower.pot, zul
501 Manilal Bechardas 2707, Vasta Galjini 80 Residence Pillars, ceiling, beam, todla Flower, creeper with leaves,
Patel Pole peacock, human figures,
geometrical design

.502 Manilal Babubhai 2742, Kuwa VaH 150 Residence Door·frame, pillars, bcam, Flower-creeper, flower,
Shah Pole todla flower-pot
503 Manilal Chhaganllll 2746, Kuwa Vali 150 Residence Door.frame, pillars, beam, Flower·creeper, creeper with
Shah Pole todla leaves, flower, elephant,
pitcher
504 Chetanlal ::IIohanlal 2749, Kuwa. VaH 200 Residence Door-fra.me, pillars, todla, Flower-creeper, creeper with
Shah Pole sides of windows leaves, elephant, peacock
505 Jain Derasar 2751, Kuwa Vali 80 Temple Pillars, beam, todla, sides of Flower.creeper, flO'l\rer, "'"l
Pole windows
.506 Kamlaben :Nagin· 2753/1/2 Kuwllo Vali 80 Residence Pillars, beam, lodla, sides of Flower-creeper, flower, zu~
das Shah Polo windows
64
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mat<; age
of build· Type Portion of building Brief description of
81. Census household No. ing in of conta.ining wood nature of wood
No. Owner and location years building carving carving
1 2 3 4 5 t) 7

AHMEDABAD DISTRICT·contd.

AHMEDABAD CITY (TALUKA: AHMEDABAD CITy).concld.

SHAHPUR WARD No. I-concld.

507 Milnubhai Dahya- 2754, Kuwa VaH 100 Residence Door-frame, pillars, beam, Flower-creeper, flower.
bhaiShah Pole chowk, tadla flower-pot, peacock, zul
508 Amritlal Hakaro- 2769, Jiwan Kamal- 125 Residenoe Door-frame, pillars, beam, Flower-creeper, fiower,
chand Shah shini Pole todla, sides of windows flower-pot, peacock
509 Chandulal Mohanlal 2771/1, Jiwan 125 Residence Door-frame, pillars, beam, :Flower-ereeper, creeper with
Shah Kamalshini Pole todla, sides of windows leaves, flower, flower-pot
510 Dhaneshwar Jay- 2775, Jiwan 125 Residence Door-frame, pillars, beams, Flower-creeper, creeper with
shankar Shukla Karoalshini Pole tadla, sides of windows leaves, flower, flower-pot,
zul
511 Keshavlal Magan. 2780, Jiwan 100 Residence Door-frame, pillars, beam, 1!'19wer~-creepel'> ~ereeper with
1801 Shah Kamalshini Pole tadla - leaves, flower, flower-pot

512 Keshavlal Masukh- 2185, Jiwan 125 Residence Door-frame, pillars, beam, Flower-creeper, creeper with
1801 Kamalshini Pole madaZ, todla leaves, flower, zul
513 Popatlal Bababha.i 2786, Jiwan 125 Residence l'illars, sides of windows, Flower-creeper, creeper with
Shah Kamalshini Pole beam, todla leaves, trunk of elephant.
",ul
514 Manilal Maganlal 2791, Vasta Galjini 125 Residence Door-frame, beam, tolila, Flower-creeper, creeper with
Pole madal, sides of windows leaves, flower-pot, flower',
geometrical design
SHAHPUR WARD No. 2

515 Bhanuprasad Chan- 3344/2, Lallubhai Residence Windows, pillars, beams

dulal Pole
516 Bhanuprasad Chan- 3344/4, LaUubhai Residence Pillars, beams
dulal Pole
517 Amritlal Maganlal 3478/B, A/2, San- 120 Residence Door.frame, pillars, beam Flower.creeper8, pitcher,
Shah kadi Sheri elephant, peacock
518 Chamanlal Maha- 3490,3490/1, 3490/2, 100 Residence Doors, door-frame, pillars, Flower.creepers, flowers,
Sllkhram 349013, Sankadi balcony, windows, beam, pitcher, lion, tiger, elephant,
Sheri madal peacock
519 Mahendrabhai 3491, 3491/1, 100 Residence Doors, door-frames, pillars, Flower-creepers, flower,
Ambalal Vakil and 3491/2, Sankadi balcony, chowk, madaZ pitcher, elephant, peacock:
Bai Lalita W/o Sheri
Keshavlal Kalidas

520 Popatal Sukhlal 3492, Sankadi 100 Residence Door-frame, pillars, beam Flower-creepers, pitcher,
Shah Sheri elephant, peacock

VIRAMGAM (TALUKA VIRAMGAM)

WARD No. 2

521 Chandrakant Jedev- 180.185, Rugnath. Very Residence Front portIOn, door-frame Creepers
pra.sad and Gomti- das Maholla old
ben alias PU8hpa-
vati Ramanlal
Jiwabhai guardian
of minor Shashi-
kant alias Tulsidas
Ramlal
622 JashvanLlal Shanti- 189, Rugnathdas Very Residence Front portion, door-frame Creepers
lal Parmanand Maholla old
Pranjivandas
 6S
STATEMENT I-contd.

Buildiap with Wood Carnal

Approxi-
mate a.ge
of build-· Type Portion of building Brief descript ion of
Sl. COIl.U8 household No. ing in of containing wood nat1l1'0 of wood
~o. Owner and location years builrEng carving carving
2 3 5 6 7

AHMEDABAD DISTRICT-contd.
VIRA;\lGAl\{ (TALUKA: VIRAKGAM).contd.

'VARD No.2-contd.
523 Ambaprasad l\Iafat- 348, near Ambaji Very Shop Front portion, balcony Creepers
lal Mata old
524 Khan Natwarlal, 614, Kahanno Dehlo Very Residence Front portion, brnckcts Human figures
Navnitlal, Rati- old
lal Chandula\,
Some hand and
Nanalal Chimanlal
523 Sllbamiyan Bapu- 898, 899, Barot Very Residence Front portion, pillars Creepers
lUlyan, .Adrninis· Haveli old'
tr~tor of Paththar
MasJid

"YARD No.3

526 Mohamed Habib 1219, Vorvad, Very Residence Front portion, pillars, Creepers
Abdul Kadar Bharawadi Road old bracket, lattice
Valanisa, Presi-
dent of Hazrat Pir,
Mahamadshah
Dargah Commit.toe
527 Hitriprasad Radha- 1366, Gordhannath- Very Temple Cbowk, balcony, brllCket Creepers
lal, Administrator jinu Mandir old
of Gordhannathii
Mandir
528 Radlla Gopaldas 1554, Moti Vyas Very Residence Front portion, balcony, Creepers, human figures
LalCtnichand Vyas Fali old bracket
529 Chanchal DID 1563, Moti Vyas Very Residence Balcony Creepers
Keshavlal Bhalu- Fali old
bhai
530 Bai Champa 1622, Moti Vyas VCQ' Residence Balcony Creepers
Keshavlal Prem- Fali old
chand

"YARD No.4

531 Adambhai Dosa- 544, near Adani Very Residence Front portion Creepers
hhai, Administra- Masjid old
tor of l\fulak
Sharif MUkat of
Ghanchis
532 :-.rohanlal Muljibhai 642, Raiyapur nenr Very Residence Front portion, balcony Creepers
Sutharvada old

533 Painter Alaudin 674, Adani Masjid Very Masjid Bracket Human figures, creepers
Alihh .. i Admini.- old
trator of Ad"ni
l\fftsjid
534 Hu,<onhhRi Abdul 1833,Opp. Kumbhar Very Shop Bracket Human figures, animal9
N",bi Vada, Bharwadi old
Road
(B\t}Y-3-\'I
66
ST ATEMENT I-contd.
Boildings with Wood Carvina
Approxi.
mate age
of build. Type Portion of building Brief description of
SI, Censue household No. ing in of oontaining wood nature of wood
~o. Owner and looa.tiQn yeaH building oaT?ing oo:rving
2 3 4 5 6 7

AHMEDABAD DISTRICT.contd.

DHOLKA (TALUKA : DHoLIU)

WARD No.1

535 Nathalal Ramii. 231. So,l'kari DavQ' 100 Residence Balcony Dancing peacock, human
bhai khana. Road figures ill trunk shape
536 Admin.strator Vaid 232. Opp. Mukhya 73 Khoja Jamat Pillars, beams Flower-creepers
lafarbhai liwa- KanY3shalp. No.1. KhanaDhar-
bhai Sarkari Dawa- tnaathlln
khana Road
537 Parsotam Motibhai 265. Sarkari Dawa- 100 Residence Pillars. beams Flower-creepers, design, human
RaIl& khana Road figures
;)38 Parsotam Motibhai 266. Sarkari Dawa· 100 Residence Pillars, heams Flower-ci:eepers~ design, human
Rana khana Road figures
539 Ja.fa.rbhai Jivabhai 278. Sarkari Dawa- 150 Residence Balcony. beams Varieties of crce}l(ltS
Vaid khana Road

MO Jafarbhai Jivabhai 279. Sarkari Dawa- 150 Residence Balcony, beam~ Varieties of creepers
Vaid khana Road
541 Khodabhai Babar- 290. near Sarkari 100 Residence Pillate 1<'lower-creepers, design, birds
bhai Dawakhana
542 Khodabhai BabaJ."· 291, near Sarkari 100 Residence Pillars. entrance gate Flower-creepeJ."s, design, biJ."ds
bhai Dawakhana Road
543 Chima1\bhai Kho- 313. Sarkair DawQ.· 100 Residence Pillars. entrance gate Flower·oreepers, design, birds
dajiRana khana Road
;;44, Somabhai Makan- 330, Sarkari Dawa· 100 Residence Doors. baloony, pillars, Human-figures, ere e per s,
bhai Rana khana Road. Kan- beaIll8, todla animals, birds
sara 01

545 Dhanjibhai Shan- 332, Sarkari Dawa- 100 Residence Balcony, pillars Flower· creepers, design
karlal Rana. khana Road, Kan-
sara 01
546 Govindlal Vanmali· 369, Ambaji Matani 100 Residence Doors, pillars, door-frame, Flower-creepers, design, birds
das Pole beams
547 Chhota1al Lallu· 370, Amhaji Matani 100 Residence Doors, pillars, beams Flower·creepers, design, birds
bhai Pole
548 R80rnanlal Harilal 372, Ambaji Matani 100 Rosidence Doors, balcony, beams. Flower-creepers, design, birds
Pole entrance gate
54,9 ChhotalaJ Lallu· 375, Ambaji Matani 100 Residence Balcony Flower-creepers, birds, design
bhai Pole

550 Pra.nlal Bhurabhai 376, Ambaji Mata.ni 100 Residence Beams, entrance gate Hooded serpent, creepers'
Shah Pole human figures, birds, pea.
cock
551 Mohalllal Manilal 381. Arohaji Matani 100 Residence Balcony, beams, todla, en- Flower-creepers, square
• Pole tranoe gate designs, human figures
1)52 :Manilal Shantilal 388, Arubaji Matani 100 Residence Doors, balcony. pillars. Flower- creepers, design of
Pole beams,IOIIla leaves
553 Vijibuben Hoan- 389. Ambaji Matani 100 Residence Doors. balcony, beams. todla Flower-creepers, animals
chhodlal Pole, near Kanya-
shala No.2
554 Mani.ba 434, Bhim Shethni 100 Residence Pillars. balcony, beams, etc. Flower-creepers, bird~. design
Pole
 67

STATEMENT I-contd.
Dolldinp with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

2 3 4 5 6 7

AHMEDABAD DISTRICT·contd.
DHOLKA (TALuKA : DHOLKA)-contd.

W AltD No. l·cantd.

555 Vishnuprasad 4,47, Bhim Shethni 100 Residence Pillars, balcony, lodla Flower-creepers, bil:ds
Gaurishankarbhai Pole
556 Desaibhai Ganeah· 518, Behind Sheth 100 Residence Pillars, balcony, todla, door- Flower.creepers, birds,
bhaiPatel Hasanali High frame design
School
557 Amba shankar 695, Mahalaxmi 100 Residence Balcony, beams Flower-creepers, design,
Shastri Matani Pole human figures,
558 Shantilal Vakil 718, Mahalaxmi 100 Residenoe Balcony Flower.creepers, desigll
Matani Pole
Madhusudanbhai 739, Mahalaxmi 100 Residence Front portion, todla Flower-creepers, design
Kalidas Matani Pole
560 Suratba Jamnadas 740, Mahalaxmi 100 Residence Balcony, beams, todla, Flower-creepers, design,
Matani Pole entrance gate animals, birds, humall
figures
561 Natwarlal Shah 800. Raghuram 100 Residence Balcony, beams Flower-creepers, birds,
Bhaoni Bari design
562 Jagdishohandra 806, Raghuram 100 Residence Balcony, beams, todla Flower-creepers, birds
Hiralal Sheth Bhaoni Bari
563 Shamlal Hiralal 816, Mahalaxmi 100 Residence Entrance gate, balcony, Flower-creepers
Matani Pole todtG
564 Nandkeshavlal 834, Kuberjinu 100 Devsthan Entrance gate, balcony, Flower-creepers, design,
Baldev Mandir (Temple) pillars, beams, todla human figures, birds

56.; Devendrabhai V skil 873. Bmhampuri, 100 Residence lEntrance gate, pillars, arch, Flower-creepers
nea1 Kuberjina - bellms
Mandir
566 .Jagabhai Gheewala 876, Brahampuri, 200 Residence Front portion, pillars, bal- Creepers, birds, Varieties
near Kuberjina cony, beams, mdla of deSign"
Mandir
567 Itamanlal Chunilal 889, near Kuberji. 150 Residence Gate, balcony, door-frame, Flower·creepers, birds,
Vakil na Mandir beams, etc_ design
568 Adm i n i s t rator 890, Damodardasnu 175 Temple Balcony, beams, todla Human figures, design
Ramanlal Chuni- Mandir
lal Vakil

WARD No'. 2
569 Fakirbhai Ram- 19, Kansara OJ 100 Temple Pillars, front portion of the Flower-creepers, human
shankar Bhatt gallery figures
Administrators of
Kalka. Mata
Temple
570 Administrator 182, Khadiyani Masjid Balcony Flower·creepers
Sarfuddin Gull\m- Masjid
rasul
571 Administrator 301, near Navi 150 Masjid. Dome Flo'll'er-creepers
Abdulgaffar Haji. Shak Market Dargah
nurnabi
572 Pir Safari 316, near Tankani 125 Residence Doors, door-frames Flower·creepers
Masjid
573 Mahajan Mandalnu 446, Juni Shak 150 Shops Balcony Flowers.creepers
Dahelun, Shantilal Market Mochi 01
1ItIaneklal Vaki!
 68
STATEMENT I-contd.
BuUdialS with Wood Carvilll
Approxi-
mate Ilge
of build- Type Portwn of building Brief dcscription of
SI. Cen~u~ hou~ehold~No_ ingi n of containing wood nature of wood
No. Owner and location years building carving carving

1 2 3 4 l) 6 7

AHMEDABAD DISTRICT-contd.
DHOLKA ('fALUKA DHOLKA)-contd.

'VAHO No_ 2-corltd.

5H !.iahajan -'Iandalnu 447, Juni Shak 150 ShopB Balcony Flower-croopel's

Dahelun, Shantilal Market, Mochi 01
Maneklal Vakil
57:5 ~bhajan Mandalnu 448, Juni Shak 150 Shops Balcony Flower.creeper"
D .• helun, Shantilal Market, Machi 01
Maneklal Vakil
.}76 H. ,slllhhai::-or ajarali- 474, Machi Vad 75 Residenco Doors, balcony j<'lower-creepers, design
hhai Gltanchi
.n7 Building of Mochi 488, Dabgar Vad 75 Hesidence Balcony Flower-creepers
Caste, Khushal-
Bhikhabhai
578 Building of ).lochi 489, O",bgar Vad 75 Rcsidence Balcony Flower-creepor'L
Caste, Khushal-
bhai Bhikhabhai

.}79 IiilU.tlal Govind- 595, Gandhi Vad 50 Residence Windo,n Human figures, creeper!!
bha.i
580 Xaranda.s Prem- 602, Gandhi Vad 150 Residenc Balcony, pillars, windows Flower-creepers
chand
581 Narandas Prem. 603, Gandhi Vad 150 Residence Balcony, pillars, windows Flower-creepers
chand
582 Narandas Prem- 604, Gandhi Vad 150 Re9idence Balcony, pillar.., windows Flower.creepers
chand
;')83 Shantila.! Vakil 606, Gandhi Vad lJO Residence Doors, windo\vs, balcony Flower-creepers

.381 Slu'ltih~l
V"kil 607, Gdndhi Vad 150 l~esidenee Doors, windows, balcony Flower-creepel1'
.185 ~h
tn\,ilal Govindlal 609, Gandhi Vad 100 Residence D[){)rB. windows, balcony Flower.creepers
586 Ranehhodlal 960, Rabari Vad 100 Residence Pillars Creepers
Ganeshbhai
;jS7 ChllOt'LIaI Shankar- 1019, Vadi Sheri 1;10 Residence Balcony, pillars Flower-creepers
lal
588 Babubhai G'1Iab- 1313. Khatri 01 125 Residence Balcony, pillars Flower·creeper"
chand
589 Ohimanlal Gulab. 1314, Khatri 01 125 Residence Balcony, pillara Flower-creepers
chand
590 Bhailal Gulab· 1315, Khatri 01 125 Residence Balcony, pillars Flower-creepers
chand

'VARDNo.3
591 Pur8hottamShamji- 16, near Mahajan. 100 Residence Doors Flower-creepers
bhai na DehIa
592 Nurmahamad Ibra- 46, Hadhallpurivad 125 Residence Doors, lattices, front por- ]<'lower-croopers
him near Ghanohpisni tion
Masjid, Moti Bazaar
Altlrkh,ln Ihrahim 53, Radlumpuri 83 Front portion, upper stOl'Cy Flower-creepers
Vad near .Tumma
Masjid
Adamji Ismail 71, Radhanpuri Vad 50 Residence Front portion, upper storey Flower·creepers
near Jumma Mas-
jid
595 H'Llimabon Vali- 81, Radhanpuri Vad 100 Residence Front portion, upper storey Flower-creepers
bhai near .Tumma Mas-
jid
 69
STATEMENT I-contd.
BuildinRS with Wood CarviaK
Approxi-
mate age
of build- Type Portion of building Brief description of
SI, Cen"UB household ~o. ing in _ of containing wood nature of wood
~o, Owner and location years building carving carving
2 3 4 6 7

AHMEDABAD DISTltICT-cOHtd.
lJHOLK_-l> (TALUKA : DnoLKA)-contd,

WARD ='10, :~-conJd,

.596 Chaturbhai Devraj 138, l\loti Bazaar, 100 Shop Front portion, upper storey. Human figures
Danapith beams
597 Revaben Chhagan- la5, Moti Bazaar 125 Shop Fl'ont portion Flower-creepers
lal Ranchhodllll
598 Gala Chimanlal 150, Moti Bazaar 100 Shop Front portion Flower.creepers
Chhaganlnl
.599 Mohanlal Bhailal 160, Moti Bazaar 100 Shop Front portion Flower-croepe1'll
600 Abdulbhai Alibhai 234, ChokBhi Bazaar 125 Shop Upper portion Flower-creeperB
601 ~abibhai Rasulbhai 235, Chokshi Bazaar 100 Shop Upper ·portion Flower-crtlepers
602 Pursho~t .. mda~ 230, Ohok.hi Bazaar 125 Shop IIDler portion Flower-creepers
Shankarlal Shah
603 Ol~ima.nlal Punja· 250, Ohokshi Bazaar 125 Shop Upper portion Flower-creepers
bhai Rana
60~ Ambalal Harilal 257, Ohok'hi Bazaar 100 Shop Front portion Flower-creepers
Shah
6(}J Abdutk,\rim Gulam- 2;:;8, Chokshi Bazaar l()0 Shop Upper storey Flower-creepe....
mahamad

M6 Molvi Saheb Abdul- 21)3, Chokshi Baza.ar 100 Shop Upper storey Flower-creepers
gaffar Nurnabi
61)7 Bhikllabhai lIohan- 266, Chokshi Bal;aar 100 Shop Inner portion Flower-creepers
bha.i Chokahi
(j\}<l Kanubhai R,,,tilal 282, Kapad Bazaar 100 Shop Front portion, pillars Flower-creepers
Shah
!j1}l1 Siunkarial Boahar- 333, Kapad Bazaar 125 Shop Upper storey Flower-creepers
das Kapadiya
610 Shankarlal Bechar- 33., KapaJ Bazaar 125 Shop Upper storey Flower-oreepers
das Kapadia

611 Bai ParsoD. O!o 335, Opp. Moti 01 50 Residence Lower portion Flower-creepers
Dahya.bhai Bhai. Vad
ohand Saraiya
612 Trivedi Bhanu- 336, Kapad Bazaar 100 Shop Upper .torey Flower-creepers
shankar Chhotalal
613 Sheth Govindlal 337, Kapad Bazaar 100 Shop Upper storey Flower-creepers
Keshavlal, Admi-
u.istra.tor of Bschar
Arnichandni Pedhi
614 Allarakhan Haji- 338, Kapad B"zaar 125 Shop Lowe..- portioD. Flower·creepers
mahamad
615 Thakkar Dahya- 340, Kapad Bazaar 125 Shop Lower snd upper portioll Flower-creepers
bhai Harjibhai

616 Abdulbhai Gulam. 343, Kathi Bazaar 100 Shop Lower portion Flower-creepers
nabi
~17 Gulammayuddin 34;;, Kathi Bazaar 100 Shop Ceiling and beams _ Flower-creepers
Usmanbhai
618 Ma.neklal Jalllnad"B 31\0, Kathi Bazaar 100 Shop Front portion Flower-creepers
Shah
619 Shah Ambahtl Hari- 3.51, Kltthi BftzHar 100 Shop Front portion Flower-creepers
lal
620 Gulamra.ul "!'rttthu. 3';5, Kathi Bazl\,ar 100 Shop 'Vindow, lattice Flower-creepel"f!
bha;
 70
STATEMENT I·contd.
Buildings with Wood Carvina
Approxi-
mate age
of build- Type Portion of building Brief description or
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
1 2 3 4 I) 6 7
AHMEDABAD DISTRICT·coned.
DHOLKA (TALUKA : DnoLKA)-contd.

WARD No. 3-concld_

621 Badruddin Maha- 437,

Dabgar Vad, 60 Residence Doors :Flower· creeper,
tnadali near Ghanti, Gani-
pur
622 Khusha1bhai Bhi. 497, near Haji- 80 Residenoe Doors, todla :Flower. creepers
khabhai bhaini Ghanti
623 Haribhai Devjibhai 514, Ganipur, near 75 Residence :Front portion, pillars :Flower· creepers
Mota boring
624 Nagarbhai Dhana· 527, Ganipur, near 100 Residence Verandah, lattice, base of :Flower-creepers
bhaiPatel Mota boring pillars
625 Girdharbhai Lallu- 528, Ganipur. nOar 75 Residence Verandah, pillars :Flower. creepers ---
bhai Mota boring

626 Shankarbhai Je- 536, Ganipur. near 75 Residence Front portion, doors :Flower· creepers
",angbhai Mota boring
627 Khaodabhai Naran- 537, Ganipur, near 75 Residence Front portion, doors :Flower-creepers
bhai Mota boring
628 Narotambhai 542, Ganipur, near 50 Residence Front portion Flower·creepers
Becharbhai Patel Mota boring
629 pur s bot a m b h a i 548, Ganipur, near 50 Residence Front portion and doors Flower-creepers
Becharbhai Mota boring
630 Ch.aturbhai Bakor· 553, Ganipur, near 100 Residence Doors, lattice, windows, Flower-creepers
bhai Mota boring verandah, base of pillars

631 Chimanlal Mangal- 588, Ganipur Hari- 100 Residence Doors Flower.creepers
das Parmar jan Vas
632 Rudabhai Bhikha- 614, Ganipur 100 Residence Doors, todla Flower.creepers
bhai
633 Shankabhai 649, Nano Rabar; 100 Residence Doors, todIa Flower· creepers
Kalyanbbai Vas
634 Rabari Ganeshbhai 655, Nano Rabari 100 Residence Walls by the side of doors Flower-creepers
Bhulabhai Vas
635 Ahmedbhai Miyan- 656, Nano Rabari 100 Residence Door, todla Flower-creepers
bhai :Malek Vas

636 Dahya Dungarbhai 669, ChamaI' Vas 100 Residence Ba86 of pillars, doors Flower-creepers
637 Navghanbbai 1004. Bar Kotha 100 Residence Doors Flower-creepers
Bbudarbhai Vaghari Vas
638 Chbaganlal Ravji- 1008, Bar Kotha 100 Residence Doors Flower. creepers
bbai Vaghari Vas

WARD No. 4

639 Ma.nsuri Abdul 363, Darji 01 80 Residence Door.fra.mes, doors, balcony Flower-creepers
Nabibhai
640 Mansuri Ibrahim 3'19, Darji 01 80 Residence Door-frames Flower-creepers
Rasulbhai
64-1 Ghanchi Gulam· 400, near Post office 80 Residence Doors, windows, wall·cup. Flower-creepers
rasul Abhram Din boards
Miyani
642 Ghanchi Karimbhai 393, neftI' Post office 80 Residence Pillars Flower-creepers
Jiwabhai
643 Ghanchi Abdul· 394, n!'at' Post office 80 Residence Pillars Flower.crpepers
rahim Nabibhai
 71
STATEMENT I-contd.
Buildinp with Wood Carvin.
Approxi-
mate age
of build- Type Portion of building Brief description of
Sl. Census household No. ing in of conta.ining wood nature of wood
No. Owner and location years building carving carving
2 3 5 6 7

AHMEDABAD DISTBIOT-contd.

DHOLKA (TALUKA : DBOLKA)-contd.

WARD No.4-contd_

60U Ghanchi Bai Fat- 395, Dear Post office 80 Residence Pillars Flower-creepers
mabai Karimbhai
645 Ghanchi Allarakha 396, near Post office so Residence Pillars Flower-creepers
Nabibhai
646 Ghanchi Allarakha 397, near Post office so Residence Pillars Flower-creepers
Nabibhai
1,47 Ghanchi Gulam. 401, near Post office 80 Residence Pillars Flower-creepers
rasul Abhram
H4S Ghanchi Bai Fat- 402, near Post office so Residence Front portion Flower-creepers
mabai Pirbhai

649 Ghanchi Bai Fat- 403, Urdu Kanya 80 School Corners of window Creepers, leaves, flowers
mabai Pirbhai Shala
650 Ghanchi BaiFatma· 404, Dholka Vi. 80 Shop Windows, pillars, supports Creepers, leaves, flowers
bai Pirbhai Kam Co-operative
Society Ltd.
651 Dholka Municipa- 577, Dargah 100 Dargah Pillars Creepers, leaves, design, eto.
lity, Dargah of
Gahaniyan Pir-
saheb

"VARD No. a
652 Shantilal Vaniya 476, Khari Ku; 100 Residence Pillars, windows Creepers, butta
653 Mansukhlal Manilal 515. HoU Chakla 100 Residence Pillars Creepers, butta, ornamental
Shah carving
654 Jivanlal Bhagwan. a18A, Holi Chakla 100 Residence Windows, upper portion of Creepers, flowers, butta
das the staircase
655 N. G. Shah 524, Sutar Sheri 100 Residenco Main doors, pillars. beams Creepers, butta
656 Jayantila.l Bhikhalal 530, Sutar Sheri 80 Residence Pillars, beams Creepers, butta

657 Govindlal Ehag. 530A. Sutar Sheri 80 Residence Pillars, beams Creepers, flowers, butta
wandas
658 Popatbhai Ishwarlal 531, Sutar Sheri 80 Residence Windows, supports of pillars Creepers, bulta
659 Mangabhai Dahiben 532, Sutar Sheri 100 Residence Main doors, pillars, beams Creepers, butta
Ranchhodlal
Mathurdas
660 Chandanben D/o 539, Shethni Pole 100 Sohool Main gate, doors. water-room Creepers, flowers, butla
Parsotam Kalyan-
das
661 J"ivanlal Bhagwan. 540, Shethni Pole 100 Residence Doors Creepers, butta
das

662 K. J". Bhatt 542, Khari Kui 100 Residence Pillars, windows, beams Human figures, creepers.
butta
663 Darji Hargowan 553, Khari Kui 100 Residence Pillars, windows, beams Human figures, oreepers.
Haribhai butta
664 Baldevdas Gopal. 570, Khari Kui 80 Residence Pillars. beams Creepers, butta
das Shah
665 Baldevdas Gopaldas 571, Khari Kui 80 Residence Pillars, beams Creepers, butta
Shah
666 Manilal Reva- 574. Khari Kui 80 Hesidence Pillars, beams Creeper~, butta
shankar
72
STATEMENT I-contd.
BuildinlS with Woo~ CarvioK
Approxi-
mate age
ofbuil<l.. Type Portion of buildings Brier descriptioll ot
SI. Census household No. age in of containing wood 01\ I urI' of wood
No. Owner and location years building carving carving

2 3 4 5 (; 7

AHMEDABAD DISTRICT-cmlld.
DHOLKA (TALUKA; DHoLKA)

'VARD No. a-contd.

667 Shardaben Dlo 576, Entrance to 100 Residence Main door Creepers, buUa
Hiralal Ranchhod- Shethni Pole
lal
668 Shankarbhai Jhina· 576, Entrance door 100 Gate Beams Creepers, Imlla
hha; Shethni Pole
669 Ambalal Prabha· 586, Khari Kui 80 H.eaidence Pillars, beams CrceperF, butta
shankar
670 Ambalal Mangaldas 591, Khari Kul 80 Residence Pillars, beams Creepers, bUlla
671 Baldevdas Gopal. 606, Khari Kui BO Hesidence Pillars, beams Creepers, blltta
das Shah

~72 Baldevdas Gopal- 607, Khal'i Kui 100 Residence Pillars, windowF, beums
das Shah
673 Baldevbhai Gokal- 608, Khari Kui 100 H.osidence Pillars, beams Creepers, bulta
bhai
674 M:a.nsukhlal ){anilal 616, Shethni Polo 100 Residence Main doors, windows railing Human figures, creepers
675 Govindlal Keshav- 618, Shethni Pole 100 Residence \Vindows, balcony railing, Human figures, peacock,
lal Sheth pillars, beams, lattice-frame butta, cr{'cpom, flowers,
ornamental carving
676 Govindlal Keshav· 61 BfA, Shethni Pole 100 Residence Windows, balcony railing, Human figures, peacock,
lal Sheth piliars, beams, laUice-frame butta, creepers, flowers,
ornamental carving

677 :\Iallsukhh.l Manilal 619, SheLhni Pole 100 Hesidencc Pillars, beams on the front Creepers, flower>;, butta
Shah part
678 Dahyalal N analal 619. Shethni Pole 100 Residence Main doors, pillars, beams Creepers, b,ttta, design
Mohta
679 Hasffiukhlal Dahya- 619/A, Shethni Pole 100 Residence Front portion, windows, Human figures, creepers,.
1al Shah beams flowers, bulta
680 Chaturbhai Devraj 621, Shothni pole 100 Residence Pillars, beams, window. Human figure~, creepers
Thakkar railing bulta.
GS1 Dahya!al Nan"lal G23, Shethni Pole 100 Rosidenco Pillars, beaJUs on the front Crecp<'rs, flowel'8, butta
Sh;'h part

682 :\lansukhlal Manilal 625, Shethni Pole 100 \VindowB, balcony railing, Human figure", peacock,
Shah pillars, beams, la,Mice-frame bulla. creepers, flowers,
ornnnl~ntr(t.l carving

683 Thakkar Laljibhai 628/A, Shethni Pole 10l' Residence Main doors Creopers, hutta
Narsinhbhai
684 Thakkar Laljibhai 628jB, Shethni Pole 100 Residence Main doors Cref'pers, butta
Narsinhbhai
Vasantlal Gird" .. r- 633, Shethni Pole 100 Residence Doors, windows, pillars, bealll Human figures, creepers,
lal Sheth elephant, butta. design
686 Vasantlal Girdhar- 634, Shothni Pole 100 Residence Front portion Human figures, creepers,
Inl Sheth [,ulfa, design

687 Paheladji Umi~·a- 635, Shethni Pole 1 (10 ReRidonce Pillars, beams Creepprs, ImUn
shankar
688 Abhram Tribho- 636, Shethni pole 1(10 Residence Pilbrs, beams Creepers, bulla
W,'11 Thakkar
689 Govindlsl Keshav- 636,'B, Shetlmi Pol" 100 Residonce Main doorll, pillarR, beams Creepprs, butto
Inl
690 Godavariben Shan. 637, Shethni pole 100 Residence BetQll18, main doore: Cr('eper;;, I'ulta, orllflmental
karlal e.u'vin!!,
(:91 Govinrllal Keshav. 639, Sllflthni Pol" 100 Residence Pillars, beams Crecpers, b"rll1
lal
 73
STATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build· Type Portion of building Brief description of
81. Census household No .. ing in of containing wood- nature of wood
No. Owner and location years building carving car"ing

2 :3 4 5 I) 7

AHMEDABAD DISTRICT-conid.
DHOLKA (T.U.UKA : DnoLKA).COI1(d.

\VARD No. 5.concld.

692 ~lukhyaji Mohanlal 641. Shethni Pole 100 Residence Front portion, windows Human figures, creeper.,
Madhavji butta, design
693 .T. B. Mehta 645, Shethni Pole 100 Residence Doors, beams of the stair- CI'eeper~, flowers, bUlla
case
694 Ambalal Narotm. 1043, Swaminara- 80 Residence Pillars, beams Creepers, butta
das yan Mandir Chowk
695 r. G. Thakkar 1048, Swaminara. 100 Residence Pillars, beams Creep",rs, butta
yan Chowk, Opp.
Chakdi
696 Swaminarayan 1048, Mandirni 100 Templc Pillars, window, beams HUIDsn figure, creepers.
Mandlr, Manager, Again. Pal'sal butta
Acharya Deven·
draprasadji, Vasu·
devprasadji
697 S w~uninarayan 1048, Sinhasan 1 100 Temple Pilla-rs, window, beam Human figure., creepers,
Mandir, Manager, butta
Acharya Deven.
draprasadji VaSu.
devpra~adji
Swaluinarayan 1048, Sinhasan 2 100 Temple Pillars, window, beam Human figures, creeper".
Mandir, Manager, butta
Acharya Devon·
draprasadji Vasu-
devprasadji
Swaminarayan 1048, Sinhasan :I 100 Temple Pillars, window, beam Human figures, ~creeper8,
Mandir, Manager, butta
Acharya Devon-
draprasadji Vasu-
devprasadji
SWiuninal'ilyan 1048, SWaminara- 100 Temple Sinhasan-Moti Parsa! Human figure, flowers.
l'>lllndir, Manager, yan Mandir. Parsal creepers, butta
Ach"rya Devan-
draprasadji Vasu-
devprasadji
Swan1inarayan 1048, Swaminara- 100 Temple Sinhasan-Nani Parslll Human figure, flowers,
Mandir, Manager, ya-n Mandir. Parsal creepers, butta
Acharya Deven-
draprasadji Vasu-
devprasadji

'YARD No.6

698 Bccharji Daya-lji 705, Pa-ncha- Pole 60 School Front portien Flower-I'reeperF, . peacock
Municipa-lity Kanya- head
Shal.. No.1
699 Tl-Hjnikant. Somnath 754, Chhip Vad 100 Residence Balcony, pegs Flower·creE'pE'rE, hE'ad~ of
DCflai elephant.,. horses with
orna.mental carving
700 Rajnikant Somnath 757, Chhip Vad 100 Residence Doors, balcony, jhamaru Peacock, flower-creeperI'
Defl"i
701 Yithnldas Bhai- 807, Chhip Vad 100 Residence Front portion, doors Flow"r-creepers, head of
shankar Maheta elephant
702 2'\at.w>trlal Ma-nilal 905, Bh,,]a Pole !()O Residence Lower portion or the Head of horses, serpent,
Shah terraces, todla peaeo('k, crcepcrf:., bu/to

(Bk\ ~' __ :~_](l

74

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
S1. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
2 3 4 5 6 7

AHMEDABAD DISTRIOT·oontd.

DHOLKA \ TALUKA : DHOLKA}-co'ncld.

WARD No. 6-comd.

703 Mohani",l Bh"il,.l 918, Bhala Pole 100 Residence Front portion Creepers, butta
Shah

RANPUR (TALUKA : DHANDllUKA)

704 Jugaldas Harikri- House No. 30 200 'remple Pillars, railing Human figures, flower-
shna Administra- .creepers, animals
tor o'e Balaji Mandir
70.5 Jivabha Shivabha Houso No.)27 150 Residence Eaves HumH,n figures, animals
and Bapa Saheb
Shivabha
706 Parmar Bapumi- House No. 128 150 Residence Railings, eaves Human figures, anima.ls
yan Hamubha
707 Parmar Ranubha House No. 129 150 Residence Pillars, eaves Human figures, animals
Fatubha
7 OS Darbar Vakhtabhai House No. 132 150 Residence Pillars, eaves Human figures, animals
Devaji

709 Baishri Rupba House No. 137 150 Residence Pillars, railings, eaves Human figures, animals
Bapubha Bula-
khibhai
710 Baishri Umravbai House No. 426 150 Residence Pillars, railings, eaves Human figures, animals
Bapasahob Kesu-
bha
711 Parmar Bapjiraj Hou,e No. 427 150 Residence Pillars, railings, eaves Human figures, animals
Modjibhai
712 Sheth Parsotam House No. 428 150 ReRidence Pillars, railings, eaves Human figures, animals
Nanchand
713 Parmar Balubha House No. 429 150 Residence Pillars, railings, eaves Human figures, animals
Atubha

714 Parmar Fatosang House No. 430 1.50 Residence Pillars, railings, eaves, Human figures. animals
Agarsang latticE>
715 Parmar Dajiraj House No. 432 150 Residence Pillars, eaves Human figures, animals
Bapubha and
Bapasaheb Bapu-
saheb
716 Parmar Bapajiraj House No. 447 1,50 Residenae Doors, door-frames, pillars, Human figures, animals
Rajajibhai and railings, lattice, eaves
Parmar Bapa-
saheb Rajajibhai
717 Narottamdas Vadi- House No. 1820 150 Residence Door-frames, pillars Human figures, animals
lal, Rasiklal Vadi-
lal and Jayantilal
Vadilal
718 Parmar Alubha House No. 2004 150 Mosque Entrance gate Flower-creepers
Motimiyan. Mana-
ger of Ambaliya
Chorani Masjid
 75
STATEMENT I-contd.

Buildings with Wood Carving

Approxi-
mataage
of build- 'l'ype Portion of building Brief description of
81- Oensus household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

:l 3 4 5 6 7

AHMEDABAD DISTRICT-contd.

RANPUR (TALUKA : DHANDHuKA)-contd.

719 Parmar Bapasaheb House No. 2130 150 Residence Pillars, elloves Human figures, animllolfl
Keshubha, Faju-
bha Keshubha,
Bachubha Keshu-
bha and Nanbha
Keshubha
720 Pathubha Devubha House No. 2130/1 150 Residence Pillars, eaves Human figures, animals
721 Parmar Alubha HOllse No. 213S 150 Residen.ce Pillars, eaves Hum&n figures, animals
Motimiyan
722 Parmar Madhubha House No. 2151 150 Residenoe Pinars, eaves Human figures, animals
Snbamiyan

DHANDHUKA ( TALUKA : DHANDllUKA)

723 Natwarlal Vrijlal 6, Modi Fali 70 Residence Balcony Human figures

Modi
724 Ambalal Kalidas 113, Modi Fali 60 Residence Doors, gallery Human figures
Modi
725 Bhagwandas Gor- 337, Vakhar Fali 70 Residence Doors, balcony Human figures, fiowers.
dhandas creepers
726 Baldevdas Nan- 345, Vakhar Fali 75 Residence Doors, balcony Human figures, flowers,
chanddas Shah creepers
727 Ambalal N armada- 449, Modh Vada 65 Residence Balcony Flower-creepers, animals,
shankar minute carving

728 Balkrishna Ganda- 451, Modh Vada 65 Residence Balcony Flower-creeperR, minute
lal Shah carving
729 Amritlal Popatlal 453, Modh Vada 65 Residence Balcony Flower-creepers, minute
carving
730 Babulal Jamnadas 468, Modh Vada 50 Residence Balcony Flower-creeper. etc_
Shah
731 Baldevdas Manilal 482, Modh Vada 50 Residence Balcony Flower-creepers, etc_
Shah
732 Govindlal Har- 527, Modh Vada 40 Residence Balcony Human figures
govinddas

733 Jechand Bhurabhai 559, Kureshi Vada 45 Residence Balcony Human figures, flower-
creepers
734 Parmananddas 614, Kureshi Vada 60 Residence Doors Flower-creepors
Manilal Patwari
735 Bhagwanbhai Jas- 615, Kurashi yada 50 Residence Doors Flower-creepers
rajbhai Patwari
736 Babubhai Gordhan- 616, Kureshi Vada 60 Residence Doors Flower-creepers
das Patwari
737 Jagmohan Manek- 617, Kureshi Vada 6;-; Residence Doors Flower-creepers
lal
738 Chimanlal Durlabh- 628, Ksndoini 50 Residence Doors Flower-creepers
das Khadki
76
STATEMENT I-colltd.

Buildings with Wood Carving

Appro::d-
mate "go
Cun'3U S household No.
of build- Type
of
PorLiou 0"
building
containing wood
Brief description of
nature of wood
Sl. ing in
No. Owner a.nd Inca tion years building carving carving

1 2 3 4 5 6 7
AHMEDABAD DlSTRICT·coneld_

DH.A.;.~DHUKA ('fALUKA : DHA"DHuKA)-contd.

73!J Kesha,vlttl Narandas 6:30, Kandoini 50 Residence Doors Flowor-creepers

Khadki
14,0 :l.£ohanlal Keshavlal 631, Kandoini 60 Residence Balcony FIDwer-creepers
Khadki
741 Amritlal Mohanlal 6:12, Kftndoini 60 Residence Balcony Flowor-creepers
Khadki
712 Gop,tldas Maganbl 639, Mandir Fali 65 Residence Balcony Inower-creepers
743 Vaishnav Mtndir 6':;0, 2Ifandir Fali 70 Mandir Doors, balcony Designs

7H Jain Temple ( Dera- 697, Bazaar 70 Jain Temple Doors, balcony Designs
sal' )
745 Popatlal Tribho- 7lil, Deka Vada 50 Residence Doors Flower-creepers
vandas
HI) L'arma,nanddftR Vrij- 716, Daka Vada .50 Residence Gallery Human figur~s
lal
14,7 Ghanshyamdas 88:2, Lavingiya Fali 60 Residence Gallery Human figures
Girdharlal
748 Balmukun Bhai- 883, Lavingiya Fali 50 Residence Gallery Human figures
shankar Dixit

KAIRA DISTRICT

VAsa (TALUKA: NADIAD)

Anantprasad 1/291, Haveli 164 Residence From 1st floor to 4th floor, Human figures, flower-
Vithaldas Amin Mahollo pillars, ceiling, besani, creepers, historical events,
famala religious events, animal.
2 M a hen d I' a b h a i 1/299, Haveli 164 Residence From 1st floor to 4th f1oDr, Human figures, flower·
Gopald&1! Desai Mahollo pinars, ceiling, betani, creepers, historical evente,
/ansala religions events, animals

NADIAD (TALUKA : NADIAD)

3 Pandya Divya- T.No_lO,S. No.Z30, Residence Door-frl1mes, gallery Design

prasad Motibhai Nagar Vada. Acha,-
bhaini Khadki
4 J' &ni Parshotam T. No_lO,S_ No. 232, Residence Front l'oom, door-frames, Design
Aoh&bhai Nagar Vada, Acha- gallery
bhaini Khadki
~ Desai Bansilal 1-239, Nagal' Vada, Residenoe Door-frames, gallery Design
Biharilal Achabhaini Khadki

6 'rripJ,thi Dh trtll"1 T_No. 10, S. No_ 241,

4
RBsidence Door-fra.mes, pillars, beams Human figures, design
"ukhram Tan.ukh- Nagar Vada, Jha-
ra,m ghadiya Pado
7 Yajnik Popatlal 1-244, Nagar Vada, 20u Residence Door-frames, gallery Design
Javerilal A"habhaini Khadki
8 G"ngagauri DID 1-255, Nagar Vada, ltesidence Door-fritmes, supports Design
.Tani Bulakhiram Jhaghadiya Pado
Mansukhram
9 P"ndy" Virmanilal 1-257, Nagar Vada, Residence Door-frames Design
Chha~anlal Jhaghadiya Pado
II) Patel ChhoLabh»i 1-268, Nagar Vada, Residence Door-frames Design
Bhailalbhai Jhaghadiya Pado
 77

STATEMENT I-contd_

Buildings with Wood Carving

Approxi-
mate age
of build- 'fype PorLion of building Brief description of
Sl. Census h011sehold ~o. lng :in~ of (containing wood nature of wood
No. Owner and 10caLion years building eafvlllg carving

2 3 4 5 6 7

KAIRA DISTRICT-contd.

NADIAD {TALUKA 'tXADIAD i-coned.

11 Surnndra bhai 1-269, Nagar Vada, Residence Door-frames, pillars, beams Design
IShwarbhai,etc. Jhaghadiya Pado
12 Pramodray Chiman- 'r. ='To. 11, S. Residence Door-frames, beams, supports Human figUres, design
lal No. 271, Sutariya
Pole
13 Pandya Chhabila- 1-275, ='Tagar Vada, Residence Door-frames Design
ram Udyamram _ Jhaghadiya Pado
14 Ashaben Viranchi- 1-286, Nagar Vada Residence Door-frames Design
)al Ramniklal
15 Pandya Narendra- 1-295, Nagar Vada, Residence Dool'-fral11eS Human figures, design
lal Nayansukhlal near Vaniya Pole

16 Bhatt Bhawani. 'J'. Xo.10,S. No. 298, Residence Door.frames Human figures, design
shankar Dajibhai Nagar Vada, near
Vaniya Pole
17 Chandravadan 1-434-435, Pipala Residence Door-frames, beams Human figUres, design
Manishankar Mul- Pole
shankar, etc.
18 Parikh Ramanlal 1-463-476, Nagar Residence Gallery, doors, door-frames, Human figures, design
Manila] Vada, Vaniya Pole beams
19 Manoramaben Dlo 1-464, ='Tagar Vada, Residence Door·frames Design
IBhwarlal Maneklal Vaniya Pole
20 Pandya Madanray 1-465, Nagar Vada, Residence Door.frames Design
Mukundray Vaniya Pole

21 Soni Paramsukhram 1-477, Nagar Vada, Residence Door·frames Design

Krishnaram Vaniya Pole
22 Maheta Pranlal 1-515, Hira Kalidas- Residence Doors Design
Laxmilal no Khancho
23 Jain Derasar, 1-523, Hira Kalidaa- .rain Temple Door-frames, pillars, gallery Human figures, design
Manager, Shanti- no Khancho
Ial Shana bllai Shah
24 Sutariya Panubhai 1-529, Hira Kalida.- Residence Door-frames Design
Navnitlal no Khancho
25 Manager , .rain 1-534, Narkhi Pole Residence Door-frames Deilign
Derasar, Shanti-
lsI Shanabhai Shah

26 Hariba Mohanbhai 1.,j70, Sutariya Pole Residence Door-frames, beams Human figures, design
Shamalbhai Patel
27 Patel Jhaverbhai 1-571, Sutariya Pule Residence Door-frames, beams, Human figures, design
Shankarbhai supports
28 Dave Shankarlal 1-1308, Kanth"riya Residence Door-frames, beam. Design
Jeshankar Chukla
29 Majasben Manaklal 1.1320, Thobhan Residence Door.frames Design
Arjanlal Maheta Parekhni Khadki
30 Maheta MulupraR"d 1-621, Thobhan Residence Door-frames Human figures, design
Balashankar Parekhni Khadki
78
STATEMENT I-contd.

Buildings with Wood Carving

Approl<i.
mate age
of build. Type Portion of building Brief description of
SL Census household No. ing in of containing wood nature of wood
No. Ownor and location years building carving carving

1 2 3 4 5 6 7

KAIRA DISTRlCT·conid.

NADIAD (TALUKA: NADIAD).contd.

31 Desai Rasik!al T. No.ll, S.No. 753/ Besidence Door-frames Design

Chandula! B, Khari Pole
32 Shri Santram T. No.17, S. No.177, Temple Different parts of the build· Ornamental carving, human.
Maharajnu Mandir, 1·1167, Shri Santo ing. arch, pillars. lattice. etc. figures, design
MahantShriJanki· ram Mandir, San!;·
daB Maharaj ram Road
33 Trivedi Dhirendra- 1·1464, Khari Pole Residence Door·frames Design
prasad Ochchhavlal
34 '.rrivedi Pulinprasad 1-1465, Khari Pole Residence Door.frames, beams Design
Ochchhavlal
35 K an c han I a 1 1·1468, Khari Pole Residence Door·frames Design
Krishnalal. etc.

36 Modi Bhikhabhai 1·1469, Khari Pole Residence Railing of windows Design

Sankalohand
37 Modi Navinchandra 1.1471, Khari Pole Residence Door·frames Human figures, design
Sankalohand.
3S Sarswati Ambalal 1.1478, Khari Pole Residence Door-frames Design
Hargowanbha.i
39 Parikh Biharilal 1.1481, Khari Pole Residence Door-frames, Human figures, design
Amritla.l
40 Gandhi Manilal 1·1515, near Patwa. Residenoe Door·frames, pillam. beams Human figures, animals,
Bapuji Printery design

41 Sha.h Rasiklal 1·1525, Azad Pole Residence Door-frames, support Design

Mohanlal
42 Shah Bani)ital 1·1533, Azad Pole Residence Door-frames Design
Pitamba.rda.s
43 Soni Ambalal 1·1534, Azad Pole Residence Door··frames Design
Krishnaram
44 Shri Ha.tkeshwar 1-1632, Brahm Pole Temple Pillars Human figures, design
Mahadev Mandir
45 Kashiben Mohanlal 1.1640, Diwali Pole Residence Door-frames Hllman figures, design
Dolatram Barot

46 Barot Chunilal 1.1641, Diwali Pole Residence Door.frames Human figure, design
Parshotam
47 Mehta Sanatkumar 1.1675, Diwali Pole Residence Door-frsmes Design
Chhaganlal
48 Patel Ramanlal 2·69. Gordhan Residence Door-frames Design
Chunilal. etc. Parekhni Pole
49 Trivedi Mangubhai 2.78. Panch Kui Residence Supports Human figures
Dayashankar
50 Narandev Temple, T. No.8. S. No. 629, Templtl Different parts of the bnild· Ornament.al carving, human
Manager, Hari- 2-201. Narandev ing, doors, door· frames. figures, animals, design
bhaktivala Sheth Mandir, Opp. balcony, etc.
B hagwandas Majmudarni Pole
Dahyabhai of
Baroda
 79

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type portion of building Brief descriptiOQ (,f
S1- CenSUS household No. ing in of containing wood nature .. of wood
No. Owner and location years building carving carving

2 3 4 6 7

KAmA DISTRICT-contd.

NADIAD ( TALUKA : NADIAD )-contd.

51 Thakkar Mahendra- 2-230, nea.r Suraj. Residence Door·frames, beams, support Human figures
prasad Maneklal ram Mahadev
52 Manager, Pramod- 2-238, HiraKalidas. Temple Pillars of Sabha mandap, Human figures, animals,
ray Chimanlal no Khancho beams design
Mehta, Surajram
Mahadev
53 Patel Gordhanbhai 2-597, Kharnbholja Residence Door-frames, supports, beams Design
Maganbhai Pole
54 Patel Chhotalal 2-598, Khambholja Residence Door-frames, supports, beams Design
Maganbhai Pole
5/) Popatlal Harilal 2-602, Khambholja Residence Door-frames, supports, beams Design
Polo

56 Kamalaben Bhai- 2-617, 619, Mochi Residence Door-frames Design

lalbhai Parsotam- Vad, Desai Pole
das, guardian of
minors
57 Shah Chhotalal 2-632, Mochi Vad, Residence Door-frames Human figures, design
Tribhovandas Desai Pole
58 Pandya Mohanlal 2-633, Mochi Vad, Residence Door-frames Design
ChhotalaJ Desai Pole
59 Taraben Amritlal 2.639, Mochi Vad, Residence Door-frames Design
Himatlal Desai Pole
60 Shah Ambalal 2-641, Mochi Vad, Residence Door-frames Design
Ranchhoddas Desai Pole

61 Desai Bapalal 2-6(5, Moohi Vad, Residence Door·frames Design

Chhotahtl Desai Pole
62 Desai Chandulal 2-646, MD chi Vad, Residence Door·frames Design
Chhotale.l Desai Pole
63 Mochi Maganlal 2-694, Mochi Vad Residence Pillars, supports Human figures, deeign
Panachand
64 Desai Chandulal 2-699, Khambholja Residence Khadki, gallery, beams Design
Muljibhai Pole
65 Dave Thakorlal 2-763, Mochi Vad Community Pillars, supports Human figures, design
Chnnilal building

66 Swaminarayan T.No.15,S.No.625, Temple Different parts of the building, Ornamental carving

temple, Manager, 2-774, Swami- arch, pillars, support .• etc. human figuros, design
Bhavanishankar narayan Mandir,
Naranji Chhagan- BhavsarVad
bhai Dhoribhai, etc.
67 Manager, Batuklal 2-825, near Samadi Temple DooT-frnmes, pillars, etc, Human figures, design
Harilal Soni Chakla, Vaghesh.
wari Matanu
Manrlir
68 Rrahmchari NaTen- 3-692, n.ear Fulaji Temple Balcony, beams, supports Design
draray Chimanlal Pole
69 Soni Manharlal 3-707, Ghoda Polo Residence Door-frames, gallery Human figure", deRign
Premanand
70 Shah Nanalal 3-712, Mochi Vad, Residence Door-frnrnm;;, be.8IDA HumHn figures, birds,
Moharda\ Haveli design
80
STATEMENT I-contd.
Buildings with Wood Carving
Approxi·
IDate age
of build· Type Portion of building Drief description of
Sl. CenSllS housohold No. ingin of containing wood nature of wood
No. Owner and loct'tion years building carving carving
2 3 4 5 6 7

KAIRA DlSTRICT-contd.
NADIAD (TALuKA: NADIAD ).contd.

71 Ismailbhai Gafllf' 3·1398, Vor Vad Residence Pillars Design

bha;
72 Bal Mariyam Haji 3·1399, Vor Vad Residence Pillars Design
Ibra himbhai
Mahomadbha;
73 Karimji Karimbbai 3·1400, Vor Vad Residence Door-frames, pillars, Dpsign
Vora supports
74 Shah Ratilal Parso· T. No. 15, S. No.4· Residence DOOl·frames Design
tamlal 188/B, Sheth Pole
75 l\fanager, Vora 4-189, Vor Vad Mosque Gallery, pillars, beams Design
Abhram Rimbhai
Vankana, Handi.
fod Masjid
76 Dalal Chandulal 'r. No. 15, S. No. Residence Door·frames, pillars Human figures,_tJesign
Amra,tlal 4·203, Modi Santh
77 Shah Natwarlal T. No. 15, S. No. Rosidence Door·frames Design
Kanaiyalal 4-210, Sheth Pole
78 Shah Keshavlal 4·297, Sheth Pole Re~idence Door·frames Design
Nathalal
79 Parikh Harilal 4·3IJ3, Sheth Pole Residence Door·frames·
Ambalal
80 Trivedi Chimanlal 4·338, Opp. Pateliya Residence Pillars, balcony, supports Design
Manilal Pole

81 Dave Parsotam 4·339, Opp_ Pateliya Residence Door.frames, balcony Design

Shankarl..l Pol"
82 Isubbhai Ismailbhai 4·458, Barot Vaga Rcsiilence Door·frames Design
83 Shah Sankalchand 4·468, Modi Pole Residence Beams Human figures, design
Mansukhlal
84 Parikh Kanaiyalal 4.484, Baini Pole Residence Door ..frames, heanls Human figures, design
Sankalchand
85 Parikh Manubhai 4·485, Baini Pole Residence Beams Human figures, design
Ambalal
86Ramanlal Chhagan. 4.486, Modi Santh Residence Door-frames Human figures, design
lal, etc.
87 Shah Mohanlal 4·496, Baini Pole Hesidence Door·frames, pillarA Human figures, design
Gokaldas
88 Parikh Gordhan. 4-497, Baini Pole Residence Door·frames Human figures, design
bhai Chunilal
89 Parikh Ramesh. 4.499, Modi Santh Residence Door·frames Human figures, design
bhai Somabhai
90 Shah Nabwarlal 4.500, Modi Santh Rosidence Beams Human figures, design
Sankalchand, etc.
91 l\fodi Kanti)al 4.505, Modi Santh Residence Door·frames Hllman figures, design
Mohanlal
92 Parikh Mafatl",l 4.506,Modl Santh Hesidence Door·frameR, pillar~, Human figures, design
Mohanlal supports, etc.
93 "Parikh Muljibhai 4·501), Modi Santh Residenco Door-frames Human figures, design
Mohandas
94 Pi1dmaben Jetha· 4.512, Modi Sunth Residence Fra1nes, beamg Human figures, design
1",1 Mohonlal
9;i Modi ShalOaldas 4·518, Modi Santh Residence Beams Human figures, design
]\fa th urdas
96 Hawaban Himatlitl 4-522, Modi Santh Residence Door·frames, supports Design
Bhagubhai Parikh
 81
STATEMENT I-contd.
Buildings with Wood Carving
Approxi·
mate age
of build- Type Portion of building Brief doscription of
SI. Census household No. ing in_ of containing wood nature of wood
No. Owner and location years building carving carving

1 2 3 4 5 6 7

KAIRA DISTRICT-contd.

NADIAD (TALuKA : NADIAD}-contd.

97 Ambalal Chunilal 4-523. Modi Santh Residence Door-frames, supports Design

98 Parikh Sornabhai 4-527, Modi Santh Residence Door-frames, beams Human figures, design
Jethabhai
90 S<1vitaben Amritlal 4-528, Modi Santh Residonce Frames, beams Human figures, design
Mohanlal
100 Balol Abdulkarim 4-677. Santh Gate Residence Beams Design
Hasanbhai
101 Dahiben Fulabhai 4-676, Santh Gate Residence Pillars, beams Design
Bhikhabhai

102 D"sai R"vjibhai 6-124, Vachhc Vad Residence Door-frames, pillars Human figures, animals,
Maganbhai birds, design
103 Desai Chandubhai 6-125, Vachhe Vad Residence Door-frames, pillars Human figures, animals,
Chunibhai birds, design
104 Dasai R_.manbhai 6-128, Vaehhe Vad Residence Door-frames, pillars, etc. Human figures, animals,
Govindbhai birds, design
105 Pcttel Nandkishor- 6-137, Satmalni Residenoe Doors, Door·r.rarnes, pillars, Human figures, design
bhai Vithalbhai Haveli etc,
106 Apabhai Gordhan- 6-1 ~8, Shankardas Residence Door,frames, supports Design
bhai Desaini Khadki

107 Desai Shantilal 6·139, Shankardas Residence Doors, door·frames, lattice, Design
Kishordas Desaini Khadki etc.
108 Desai Ramanand 6,154, Shankardas Residence Door-frames, beams Human figures, birds, design
alias Kalidas Dosaini Khadki
Purushottamdas
109 Jayramdas Bechar- 6,17Ll, Shankardas Residence Door,frames, lattice Human figures, birds, design
das, Guardian of Desaini Khadki
minors
llO DAsai Sadhuram 6-179/180, Shankar- Residence Doors, door, frames, supports, Human figures, design
Prasankumar Par- das lJesaini Khadki lattice, etc.
manand
III Chimanlal Mohanlal T. No. 14,S.No. 185, Residence Door-frames, pillars Human figures, animals,
R. B. Dalal Pole design

112 Kashiba Prabhu- 6·199, near Doctor Residence Beams Human figures
das Desai Ratilal's Dispen.
sary
113 Patel Chaturbhai 6,224, Alad Vago Residence Door-frameR Human figures, birds, design
Babarbhai
114 Mohcmlal Somabhai, T. iNo. 14, S. No. Residence Doer,frames Human figures, design
Guardian of minors 6-256. Sindusi Polo
115 JaY'tnt,ilal Dalsukh- T. No. 14, S. No. 6,317, Residence Door-frames Human figures, design
ram Sindusi Pol"
116 Vodant Bhuwan 6,372,Kansara Bazaar Residence Door,frames, pill a r s, Human figures, design
supports, etc,

117 Shah Shantilal 6.397, Vadwa Kuva Residence Door-frames, supports, beams Human figures, design
Motilal
118 Shah Ramanlal 6·412, Shankar Badani Residence Door-frames Design
Harivallavdas Pole
110 Shah Muljibhai 6,413,Shankar Badanl Residence Door-frames, walls Human figures, design.
Harivalhtvdas Pole animals
UI) K"njibhai Anandji 6-440, Vadva Knva Residence Gallery, supports Human figllres, design
Kansara
121 Mohanla! Somabhai, 6-450, Sindllsi Pole Residence Door-frames Human figures, design
Guardian of minors

(Bk) y-3--11
82
STATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build. Type Portion of building Brief description of
S1. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
1 2 3 4 5 6 7

KAIRA DISTRICT·contd.
NADIAD (TALUKA : NADIAD).contd.

122 Desai Manmohan. T. No. 14, S. No. Residence Pillars, supports Design
das Bhagwandas 6·482, Shankardas
Desaini Khadki
123 Gordhandas Man- T. No. 7, S. No. Residence Door·frames Design
sukhdas 6·487, Sindusi Pole
124 Valand Dhanubhai 6.501, Valandni Khadki Residence Door.frames, pillars, etc. Human figures, design
Kuberbhai
125 Valand Chhakka- 6.503, Valandni Khadki Residence Door·frames, pillars, etc. Human figures, design
bhai Lallubhai
126 Valand Ranchhod· 6-504, Valandni Khadki Residence Door-frames, pillars, etc. Human figures, design
bhai Shanabha;,
etc.

127 Parikh Chimanlal T. No.7. S. No. 6-507, Residence Door-frames Human figures, design
Tribhowandas Sindusi Pole
128 Dasa; Ramanand T. No.H. S. No. 6·508, Residence Door-frames Design
alias Kalidas Pu- Shankardas Desaini
rushottamda. Khadki
129 Desai Shantilal T. No. 14, S. No. 6-515, Residence Door-frames, supports Design
Kishordas Shankardas Desaini
Khadki
130 Narharibhai Babu- 6·519, Dudheshwar Residence Door-frames, pegs Design
bhai, etc. Mahadevni Pole
131 Parikh Kanaiyalal 6·530, near Dalal Residence Door-frames Design
Nathalal Pole

132 Chandrakanta Kan- 6-531, R. B. Dalal Residence Frames in wall Design

tHaI Chhotalal Pole
133 Shah Chimanlal 6-532, R. B. Dalal Residence Frames in wall Design
Gordhanbhai, etc. Pole
134, Jayantilal Keshav- 6-533, R. B. Dalal Residence Frames in wall Human figures, design
lal. eto. Pole
135 Shah Kanaiyala.1 6-536, R. B. Dalal Residence Frames in wall Design
Ohimanlal Pole
136 Shah Maganlal 6-541, R. B. Dalal Residence Frames in Wall Design
Bhogilal Pole

137 Luhar Harilal 6·605, Luharni Residence Door-frames Design

Khadki
138 Shah Baldevdas 6-617, Sinduei Pole Residenoe Door.frames, beams Human figures, design
Gordhandas
139 Shah Gordhandas 6.618, Sindusi Pole Residence Door-frames Human figures, design
Shamaldas
lolO Kashi Maganlal 6·633 Parekhni Residence Door-frames, pillars, beams Human figures, design
Amritlal Parikh Khadki
141 Talati Pranlal 6-63i, Parekhni Residenoe Door-frames, beams Hnman figures, design
Motilal Khadki

14.2 Shah Chandulal 6·643, Kuwa Va 10 Residence Door-frames, beams, supports Human figures, design
Mohanlal Kh"ncho
143 Shah Chandulal 6·644, K u Wa Valo Residence Supports Human figures, design
Mohanlal Khancho
144 Ramanlal Ambalal 6-645, K u wa Va 1 0 Residence Supports Human figures, design
Khancho
145 Manager N atwarlal 6-649, Sin d u siP 0 I e Residence Door-fra.mes, beams, supports Human figures, design
Keshavlal
146 Shah Keshavlal 6-655, Sin d u siP ole Residence Door-frames, pillars, beams Human figures, desigu
Nathji
 83
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
SI. Census household No. ing in of contaiping wood nature of wood
No. Owner and location years building carving carving

1 2 3 4 5 6 7

KAIRA DlSTRICT-contd.

NADIAD (TALUKA : NADIAD)-contd.

147 Shah Bhogilal 6·662, Sindusi Pole Itesidence Door·frames, beams, supports Human figures, design
Tribhowandas
148 Shah Bansilal 6-692, Opp. Dalal Residence Pillars, beam" Human figures, design
Gokaldas Pole
149 Shah Navnitlal 6.694, Sindusi Pole Residence Door-frames Human figures, design
Chhotalal
150 Parikh Chimanlal 6-714, Sindusi Pole Residence Door-frames, pillars, railings Human figures, design
Tribhowandas
151 Shah Kantilal 6-725, Sindusi Pole Residence Door-frames, beams Human figures, design
Ambalal

152 Maniben Mohanlal 6·715, Sindusi Pole Residence Door-frames Human figures, design
Nanalal
153 Shri Gokulnathji T. No.7, S. No. 686, Temple Different parts of the build- Ornamental carving, human
Maharaj Mandir, 6·813, Santh Ba~·aar, ing, doors, supports, balcony, figures, animals, design
Manager, Shri Vaishnav Haveli etc.
Mahalaxmi Vahuji
Maharaj-Maharaj
Shri Anirudhlalji
Vrijratanlalji
154 Gor Harilal NanalaJ 6-820, near Handi Residence Beams Design
Fod Masjid
155 V:J,nkana Ibrahim 6·823, near Handi Residence Door-frames Design
Hasanbhai Fod Masjid
156 Desai ChanduJal T. No. 14, S. Residence Door-frames Human figuros, birds, design
Trikambhai, etc. No. 7-477, Opp.
Bhawanidasni
Khadki

157 7-913, S oj i triya

;\'["niben Ambalal Residence Door-frames, beams Human figures, design
Fulabhai Khadki, K. V.
Khanoho
158 Desai Chhotabhai 7·914, Chora Valo Residence Door-frames Design
Somabhai Khancho
159 Dasai Chunilal 7-915, Chora Valo Residence Door-frames Design
Khushalbhai Khancho
160 Dssai Chhotabhai 7-920, Ohora Valo Residence Door-frames Design
Hathibhai Khancho
161 DB",ai Kuberbhai 7·932, Ramdasbhaini Residence Door-frames Design
Nat.habhai Khadki

162 Cnt.. nohalben Mani-

7·933. Ramdasbhaini Residence Door-frames Design
hhai Naranbhai, Khadki
etc.
163 Desai Bhailalbhai 7-934, Ramdasbhaini Residence Door-frames Human figures, design
Maganbhai Khadki
164 Desai Gordhanbhai 7·935, Ramdasbhaini Residence Door-frames Design
Motibhai Khadki
165 Desai I"hwarbhai 7-936, Ramdasbhaini Residence Door-frames Design
Somabhai Khadki
166 Dahiben Rughnath. 7·937, Ramdasbhaini Residence Door-frames, beams De,ign
hha; Ishwarbhai Khadki
Patel
84
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
SI. Consus household No. ing in of containing wood nature of wood
No. "ud location years building carving carving

2 3 4 5 6 7

KAlKA DISTRICT-conld.
NADIAD ('l'ALUKA: NADIAD)·contd.

167 Desai Dahyabhai 7 -940, R,trndasbhai- R.ssidence Door-frames, beams Human figures, design
13echarbhai ni Khadki
168 Desai Dahyabhai 7-9B, Ramdasbhaini Residence Door-frames, Design
Dosaibhai Khadki
169 Desai Shivabhai 7-944, Ramdas- R.esidence Door-frames Human figures, birds, design
Shankarbhai bhaini Khadki
170 Sm"jba Chunibh"i 7-94,;, R"mdas- Residence Door-frames Human figures, animals,
Dhanjibhai bhaini Khadki design
171 Manager, Chatur- 7-946, Ramdas- Residence Door-frames Human figures, dosign
bhai Bhailalbhai bhaini Khadki

172 Desai Saubhagya- 7 -IH8, Ramdas- Residence Door-frames Design

chandr.. Chatur· bhaini Khadki
bhai
173 Desai Parsotarn- 7-950, Ramdas. Residence Door-frames Human figures, birds, design
bhai Taljabhai bhaini Khadki
174 Desai Chaturbhai 7-9,.2, Ramda.- Residence Door-framcs Human figureH, animals,
Motibhai bhaini Khadki birds, design
175 Maniba Fulabhai 7-9;:;3, Ramdas- Residence Door·frames Human figures, animals,
Nathabhai, etc. bhaini Khadki design
176 De;ai .llaganbhai 7-9,H/5ii, Ramdas- Residence Door-frames, beams Human figures, dosign
Mathurbhai, etc. bhaini Khadki

177 De,Jai Amb;llal 7-9;;7, Ramda.- Residence Door-frames, lattice, supports Human figures, birds, design
Mang"lbhai bhaini Khadki
178 Desai Ishwarbhai 7-960, Ramdas- Residence Door-frames Design
Somabhai bhaini Khadki
179 Desai Rarnanbhai 7-977, Chora Valo Residence Door-frames Human figures, design
Ravjibhai, etc. Khancho
180 Desai Motibhai 7 -979, Sojitriya ResideneE1 Door-frames Design
Haribhai Khadki, K. V.
Khancho
181 Desai Jhavarbhai 7·982, Sojitriya Residence Beams Human figures, design
Vabhai Khadki, K. V.
Khancho

182 D"sai 7-992,

Chunibhai Sojitriya Residence Door-frames Design
Motibhai Khadki, K. V.
Khancho
183 Desai Da,hyabhai 7-993, Sojitriya Residence Door-frames Design
Becharbhai, etc. Khadki, K. V_
Khancho
184 Ddsai Shiv,tbh"i 7-1002,7-1038, near Residence Door-frames, beams Human figures, design
Vallavbhai Ranjit Bhuvan
185 DCHai Arubalal 7-1009, K. V. Khan- Residence Doors, door-frames, balcony, Human figures, design
Vaghjibhai eho etc.
186 Dasai :Munubhai 7-1011, K. V. Khan- Residence Door-frames, pillars Design
Ambalal eho

187 D~sai Shanabhai 7-1036, nCar Ranjit Residence Door-frames Design

.Jhavarbhai Bhuvan
188 Delsai Ambalal 7.1041, Desai Vaga Residence Door-frames Design
Lallubhai
189 Desai V"ghjibhai 7-1(41), Desai Vaga Residence Door-frames, beams Human figures, animals,
.Jhavcrbhai design
190 Dep,ai Pa.r::o;otaln 7-10;;0, De"ai Vaga, Residence Beams Human figures, design
Motibhai Bnrajni Khadki
191 Ka.shiha Gokalbhai 7-1061, Desai Vaga, Residence Door-frames, beams Human figures, animals,
Lallubhai Humjni Khadki ,1esign
 85

STATEMENT J-contd.
Buildings with Wood Carvinl
Approxi-
mate age
of build· Type Portion of building Brief description of
81. Canaus household No. ing in of containing wood nature of wood
-"'0. Owner and looa,tion years building carving carving
2 3 4 6 7

KAIRA DISTlUCT·contd.

NAurAD (TAI,UKA : NADIADj.contd.

192 Desai Dahyabhai 7-1090 DOAai Vag.. ReHidence Door.frames Design

Motibhai, etc.
193 Desai Pawankumar 7·1093, Desai Vaga, Residence Dour-frames, pillars, beams Design
Manibhai Holi Chakla
194 Desai Induben 7-1094, Desai Vaga, Residence Beams Design
Harshadbhai Holi Chakla
195 Desai Ambalal 7-1095, Desai Vaga, Residence Beams Design
Gobabhai Holi Chakla
196 Desai Dahyabhai 7-1096, Desai Vaga, Residence Beams Design
Shivabhai Holi Chakla

197 Desai Rameshbhai 7·1100, Desai Vaga, Residence Dool··frames Design

Shivabhai Holi Chakla
19B Desai Talsibhai 7-1111, Bapuji Residence Pillars, beams Design
Samalbhai Desaini Khadki
19r1 Desai Chhotabhai 7-1112, Bapuji Residence Pillars, beams Design
Kashibhai Desaini Khadki
200 Desai Chaturbhai 7-1113, Bapuji Residence Pillars, bcame Design
Kashibhai Desa in; Khadki
201 Desai Bachubhai 7.1114, Bapuji Residence Pillars, beams Design
Dahyabhai Desaini Khadki

202 Desai Chunibhai 7-11l5, Bapuji Residenoe Pillars, beams Design

Shankarbhai DesWni Khadki
203 Desai Raojibhai 7-1116, Bapuji Residence Pillars, beams Design
Mithabhai Desaini Khadki
204 Desai Chhotabhai 7-1117, Bapuji Residence Pillars, beams Design
Kuberbhai Desaini Khadki
205 Dahiba Lallubhai 7-1122, Desai Vaga, ltesidence Door.frames, pillars, beams Design
Kishorbhai Holi Chakla
206 Desai Mangalbhai 7-1131, Desai Vaga, Residence Door-frames Human figures, design
Babarbhai Holi ChakJa

207 Rewa Manibhai 7-1132, Desai Vaga, Residence Door-frames Design

Ishwarbhai Desai Holi Chakla
20B Desai Ra.manbhai 7-1137, Dosai Vaga, Residence Door-frames Design
Prabhudas Holi Chakla
209 Desai Natwarlal 7-1162, Sojitriya Residence Door-frames, pillars Human figures, design
Chhotabhai Khadki
210 D0sai Thakorbhai 7·1163, Sojitriya Residence Door-frames, pillars Design
Muljibhai Khadki
211 Desai Ravjibhai 7-ll65, Sojitl'iya Residence Door-frames Design
l\faganbhai Khadki

212 D~saj
Ishwarbhai 7-1167, Sojitriya Residence Door-frames Human figures, design
Motibhai Kh"dki
213 Desai -",atwarlal 7-ll6S, Sojitriya Residence Door-frames Human figures, design
Ohhot,alal Khadki
214 Pushpaben Ran- 7.11 78,1181, K.V. Residence Doors, door-frames, balcony, Design
chhodbhai J{hoda- Khancho etc.
bhai
215 Bhailalbhai Talshi- 7·1187,13hawanidaE_ Residence Door-frames, wall, lattice, Animals
bhai ni Khadki wall-cupboards
210 Dahiba, Guardian 7-1185, Bhawanidas. Residence Door·frames Human figures, design
of Gordhanbhai ni Khadki
Jhaverbhai
1>6

STATEMENT I-contd.
Buildings with Wood CarviIIg
Approxi-
mate age
of build- Type Portion of building Brief desoription of
Sl. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
1 2 3 5 6 7

KAmA DISTRICT-contd.
NADIAD (TALUXA: NADIAD)-contd.

217 Maniben Somabhai 7-1191, Dhawanidas- Residence Door-frames, walls Design

Desaibhai ni Khadki
218 Dahiben Shiva- 7-1192, Bhawanidas. Residenoe Door-frames, walls Design
bhai Shankarbhai niKhadki
un Ambalal Chuni- 7-1194, Bhawanidas. Residence Door-frames, walls Design
bhai ni Khadki
220 Sarajben Chuni. 7-1209, Bhawanidas. Residence Doors, door-frames, baloony, Human figures, birds, desigll
bhai Shankarbhai ni Khadki beams
221 Desai Shantilal 7-1213, Bhawanidas- Residence Door·frames, walls, pillars Humanfigures,animaI8, birds,
Laxmidas ni Khadki design
222 Kamlabon Bhikha- 7-1214, Bhawanidas. Residenoe Door-framos, walls Human figures. animals,
bhai Vaghjibhai ni Khadki birds, design
223 Desai Haribhai 7-1218, Bhawanidas- Residence Door-frames, pillars, Human figures,. animals.
Marghabhai ni Khadki supports, m,sign
224 Chanchalben Ram- 7-1232, But Sheri Residence Doors, door-frames, balcony, Human figures, birds,
bhai Talshibhai beams design
225 Desai Manibhai 7-1236, But Sheri Residonce Doors, door-frames, balcony, Human figures, birds, design
Somabh"'i beams
226 Desai Chunibhai 7-1237, But Sheri Residenoe Doors, door-frames, balcony, Human figures. birds. design
Somabhai, etc. beams

227 Bai Champa Shiv- 7.1242, But Sheri Residence Doors, door-frames, balcony.
shankar Ambalal Human figures, birds, design
beams
228 Desai PUl'ushotam- 7-1252, Rawal Vado Residence Door-framos, balcony Design
daB Ambalal
229 Manager, Vivek- 7.1254. Hawal Vado Residence Door-frames Design
chandra Manilal
Desai
230 Patel Bhailalbhai 7-125fl,Rawal Vado Residence Door-frames
Aditbhai, etc, Design
231 Desai Manubhai 7-1263, Chatur Residence Door-frames
Ravjibhai Human figures, design
Matano Khancho

232 Manager, Magan- 7-1264, Chatur Residenoe Door.frames, pillars

bhai Ishwarbhai Human figures. design
Matano Khancho
233 Desai Rambhai 7-1265, Chatur Residenoe Door-frames, pillars
Shankarbhai Human figures. design
Ma tano Khancho
234 Desai Babubhai 7-1266-67, Chatur Residence Door-frames, pillars
Haribhai Human figures, design
Matano Khancho
235 Natwarlal Dahya- 7-1269-70 Chatur Residence Door-frames, pillars Design
bhai, etc. Matano Khancho
236 Desai Ambalsl 7-1275, Chatur Residence Door-frames, pillars Design
Himabhai Ma tano Khancho

237 Diwalibai Dahya- 7-1276, Chatur Residence Door-frames, pillars Design

bhai Kalidl1s Matano Khancho
238 Manubhai Ravji- 7-1279. Chatur Residence Beams
bhai Human figureR. design
Matano Khancho
239 Patel Ravjibhai 7-1296, But Sheri Residenoe Door-frameR, balcony, beams
Jhaverbhai, etc. Human figares, birds, design
240 Desai Manubhai 7-1469,Desai V"ga, Residence Doors, door-frames, gallery
Haribhai Design
Dhathi Khatri
241 Dosai Chhaganbhai 7-1471, Desai Vag", Residenoe Doors, gallery
Kashibhai Bhathi Khatri
 87
STATEMENT I-contd.
Buildings witll Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
81. Census household No. iug in of containing wood nature of wood
",0. Owner and location years building carving carving

2 3 4 5 6 7

KAIRA DISTRICT-conld.
NADIAD (TALUKA: NADIA.D)-contd_

:N2 Ja.hbhai D"hya- 7-1481, Des",i Vag", Residence Gallery Design

bhai, etc. Bhathi Khatri
243 Desai Ravjibhai 8-10, Rawal Vado Residence Door-frames, balcony Birds, deSign
Chhotabhai
244 Desai L",Uubhai 8-11, Rawal Vado Residence Door.frames, balcony Design
KuberbOOi
245 Desai N atwarlal 8·104, near Safe Pillars, beams Human figures, animals,
Thakorlal deposit Vault designs
246 DahyabOOi Anandji 8-155, Nagar Kui Residence Balcony Design

247 Desai Chimanlal 8-185, Nagar Kui Residence Frames and side of main Human figures, design
Bhogilal entrance
248 Shah Banshilal 8-188, Nagar Kui Residence Frames and side of main Human figures, design
Damodardas entrance
249 Shah Ochchhavlal 8-221, Kodiya Pole Residence Door-frames Human figures, design
Chhaganlal
250 Muliber. Ishwarbhai 8-222, Kodiya Pole Residence Door.frames, supports, pillars Human figures, design
Becharbhai
251 Bhatt Ramanlal 8.227/1-2, Kodiya Residence Door-frames, supports Design
Mohanlal, etc. Pole

252 Parikh Chinubhai T_No.9,S. No. 8-246 Residence Door-frames, pillars Design
Ranohhodbhai to 248, Nagar Kui
253 Chhaganbhai Dhori. 8-317, LakOO Vad Residence Door-frames, pillars, balcony, Human figures, animals,
bOOi beams, etc. design
254 Branch Post Offioe 8-320, LakOO Vad Office Door-frames, supports Human figures, design
255 Patel Narendrabhai 8-374, J~akha Vad, Residence Doors, door. frames Design
Punjabhai llear Chora
256 Gangaba VenibOOi 8-380, Lakha Vad, Residence Door·frames Animals, design
J esangbhai Patel near Chora

257 Patel Dahyabhai 8-384, Lakha Vad Residence Door-frames Design

Marghabhai
258 Shashikant Manilal T. No_ 1, S. No_ 8-415, Residcnce Doors Design
NagarKui
259 Patel Khodabhai 8·430, Lakha Vo.d, Residence Door.frames Design
Nagarbhai near Chora
260 Dr_ Tulsibhai 8·431, Lakha Vad, Residcnce Door-framos, gallery, pillars, Design
Nathabhai near Chora et,c_
261 Patel Ambalal 8-565, Patwa Pole Residence Door-frames, gallery, pillar, Human figures, design
Umedbhai, etc. etc.

262 Patel Shivabhai T_ No.9, S. No. 8·645, Residence Doors, door-frames Human figures, design
Motibhai Patwa Pole
263 Patel Chunibhai T_ No.9, S. No. 1e-660, Residenoe Support, pillars, etc. Human figures, design
Umcdbhai Patwa Pole
264 Manibhai Vallav- 8.678, Patwa Pole Residence Balcony Human figures, design
bhai
265 Balvantgauri Jivan- 9-87., Kansara Bazaar Residence Door-frames Human figures, design
lal Chhaganlal
266 Kapilaben Kanaiya- 9-117, Vaidya Pole Residence Doors, Joor·frames, walls Human figures. birds, design
lal Chhotalal
 88
STATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
Sl. of build. Type Portion of building Brief description of
Census household No. ing in of cQntaining wood natuer of wood
Owner and lecation years building carving carving
I 2 3 4 5 6 7
KAIRA DISTRICT-contd.
NADIAD (TALUKA : NADIAD).conld.

267 Manubhai Gokaldas 9·11B, Vaidya Pole Residence Door.frames, walls Design
26BShah Bhailal 9·123, Dalal Pole, Residence DoorE!. door.frarnel::! Design
Keshavlal !lear Santh Gate
269 Vora Jitendra 9·128, Dalal Pole, Residence Door·frames Design
Kanaiyalol near Santh Gate
270 Chhannu!al Natha- 9.130, Dalal Pole, Residence Tania of Khadki Human [;gures
la1 Guardian of near Sant,h Gate
minors
271 Vora Ramanlal 9·133, Dala Pole, Residence Door·frames, beams DeSign
Sankalchand near Santh Cate

}
272 Dalal ChhannUlal}9.134 and 135, Residence Gallery, supports, etc. Human figures, animal".
Parsotamdas Dalal Pole, near design
Dalal Chhannulal Santh Gate Gallery, supports, etc.
Parsotamdas
273 Vora Ramanlal 9-139, Desai Pole Residence Door.frames, pillars Human figures, design
ManilHI
274 flai Jothiben Gokal- 9-140, Desa.i Pol" Residence Door·frames, pillars, gallory, Human figures, design
das Maganlal Vora supports
275 Chudgar Baldevdas 9·145, Desai Pole Residence Door·frames, pillars Design
Chhotalal
276 Hlralal Chunilal, 9·146, Desai Pole Residence Door·frames, pillars Design
etc.

277 Maniben Keshavlal 9·148, Desai Pole Residence Door.frames, pillars Design
Nathalal Desai
278 Desai Ramanlal 9·155, Desai Pole Residenco Door·fra.mes, supports Design
Sankalchand
279 Thakar Balubhai 9·176, Khajuri Pole Residence Door·frames, supports Design
Parshotamdas
Maheta Harshad. 9·179, Khajuri Pole Residence Door·frames, supports Design
ray Harilal
281 Sha,h Tribhovan. T. No.9, S. No. Residence Gallery Human figures, design
das N arotamdas 9.179IB, Koyala
Pole

282 Bhatt Upendra. 9·180 Khajuri Pole Residence Doors, door· frames Human figures, design
kumar Vishnu·
prasad
283 Shah Ishwarlal T. No.9, S. No. Residence Door·frames Human figures, design
Damodarda~, etc. 9·199IA,Dhora Pole
28i Bhailalbhai Keshav· 9-250, Santh Bazaar Residence Door·frames Human figures, animals,
lal design
285 Shah Ramanlal 9·255, Khadayata Residence Door-frames, back· wall Design
Muljibhai Polo
286 Parekh Manubhai 9·260, Khadayata Residence Pillars, b"ame Design
Motibhai Pole

287 Saraiya Shankar- 9·265, Khadayata Residence Door·frames Human figure~, design
lal J amnadas Pole
288 Parikh Harilal 9·270, Khadayata Residence Door-frames, pillars Human figures, design
Tribhovandas Pole
2R9 Pandya Chandra- 9·400, near Dhora Residence Pillars, beams Human figures, animals,
prasad Motilal Pole design
290 Chandulal Bapalal 9·401, Dhora Polo ReRirlence BeamR Human figures, design
291 Dhora Manshankar 9·403, Dhol'll Pole Residence Door.frames Human figures, design
Pranshankar
 R9

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brif'f description of
SI. Census household NQ. ing in of containing wood na ture of wood
No. Owner and locatio Il years building carving carving

2 3 4 5 6 7

KAIRA DISTRIC'r-col1td.
NADIAD rrALUKA: NADIAD).concla.

292 Talati Thakorlal 9-414, Madhi Chakla Residence Door-frames Design

Mohanlal
293 Trivedi Chanora- 9-424, Panch Kui Residence Door-frames Design
prasad Chimanlal,
etc.
294 Dave Hariprasad 9-425, •. Panch Kui Residence Frames, household shrine, Human figures
Jethalal supports of railing
295 Thakar Kanubhai 9-426, Panch Kui Residence Frames, houeshold shrines, Human figures
Someshwar supports of railing
296 Dr. Saraiya Harilal 9-427, Panch Ku i Residence DOOl'-frames Design
Jhaverdas

297 Desai Chimanl ...1 9-433, Panoh Kui Residence Support of balcony Human figures
Manilal
298 Trivedi Mohanlal 9-435, Panch Kui Residence Door-frames Human figures
No.ndlal
299 Pandya Ratilal 9-441, Gop ...l Lalji Temple Mandap Design
J amnashankar Maharaj Mandir
300 Pandya Chandra- T. No. 8, S_ No_ Residence Doors, door-frames, pillars, Human figures, design
prasad Motilal 9-806. Pandyani etc_
Haveli
301 Trivedi Chandra- T. No. 8, S. No. Residence Frames of front doors Design
prasad Ohimanlal 9-732, Panch Kui

302 Manibhai Lallu-T. No. 8, S. No. Residence Door·frames Design

bhai 9-964, Khadayata
Pole
303 Bhatt Maneklal T. No. 8, S. No. Residence Door-frames Human figures, animals,
Pranshe.nkar, etc. 9-1068, Madade. design
Bari Pathshala
304 Vora Jivanlal '1'. No. 8, S. No_ Residence Doors, door-frames, pillars Design
Chhaganlal 9-1071, Desai Pole

KAIRA ( TALUKA : MEHlrIEDABAD )

30li Sheth Maneklal 1041 to 1043, Laxmi- 100 Residence Doors, door-frames, ceiling, Animals, etc.
Mansukhlal,Rajen- ram Dhaneshwarni pillars, lattice
drakumar Manek- Haveli, near Mulji
lal, Saubhagya- Bhuwan
laxmi Maneklal
Mansukhlal
306 Raj e ndrakuma r 2681 to 2687, Motu Very Temple Doors, door-frames, balcony, Flower-creepers, animals,
Balabhai Sheth Derasar Old Rang Mandap etc_
Manager, .fain
Derasar

UMRETH (TALUKA: ANAND)

307 Babulal Shankarlal 1655, Jamavadini 250 Residence Railing Flower-creepers
Pole
308 Umiyashankar Ra..j- .Tamavadini Pole 250 Residence Doors, door-frame, lattice, Flower-creepers, pitcher,
krishna pillars, eaves, madal, todla elephant, parrot,
peacock, Ganpati
309 Umiyasakar ehha- 174\), neal' Pipardi 200 Residellce Door-frame, pillar, todle, Flower-creepers, creeper
ganllli Khambholja Mata beam with loaves
310 Kantilal Narbhe_ 1749, near Pipardi 200 Residence Door-frame, pillar, madal Flower-creepers, elephant,
shankar Pandya Mata peacock, fairy, human
figure, lotus
311 Bai Goatamben Near Pipardi ~iata 200 Residence Pillars, railing, madal Elephant, pitcher,
C/oVahi'l'apishan_ human figures
kar Bhaishankar

(Bk) Y-3-12
90

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
Sl. Census hou!<ehold .No. ing in of containing wood nature of wood
.No. Owner and location years building carving carving
2 3 4 5 6 7

KAIRA DISTRICT-contd.

UMRETH (TALUKA: ANAND}.contd.

312 Narharibhai Pran- 1936, Ilear Sankadi 200 Residence Doors Flower-creeper
shankar Joshi .Nali
313 ChimanlalFulchand 2791, Sundar Bazaar 200 Residence Pillars, railing, madal Flower-creepers
Soni
3J4 Bai Lalita Shankar- 2924, Dalal Pole 200 Residence Pillar, railing, madal Flower- creepers
Jal
315 Manidhar Punam- 2926, Dalal Polo 200 Residence Door-frame, r .. iling, madal Flower-creepers
chand
316 Urmilabeu Bhag- 2943, Dalal Pole 200 Residence Door-frame. lintel, madal, Flower-ereepel"s, head of
wanIal Dalal railing. beam elephant, dancing peacock,
- Krishna, pratihari, Mira,
Krishna

:n 7 Ambalal Shankar- 2953, Dalal Pole 200 Residence Door, door-frame, Flower-creepers,
lintel. flower-pot,
lal Parikh lodla, railing elephant, pitcher, Ganpati
318 Chandulal Jethalal 2954, Dalal Pole 200 Residence M adal. railing Flower-creepers, peacock,
Parikh Krishna, pratihari, Krishna,
Mira
319 Manilal J amuadas 2963, Dalal Pole 200 Residence Pillars. beam, mOOal Flower-crecpers, elephant.
Dalal pitcher
320 Manilal Somabhai 2967, Dalal Pole 200 Residence Doors, beam, madal, railing Flower-creepers, elephant,
Dalal pitcher
321 Javantilal Ram- 3862, Boyadi Falia 200 Residence Door-frame, pillars, lodla, Flower-creepers, pitcher.
chandra Dave Naka railing, madal, chowlc Ganpati, peacock, parrot,
monkeys

322 Mahalaxmi Ganpat- 3867, Boyadi FaJia 200 Residence Window, pillar, balcony, Flower-creepers, pitcher,
ram Thakar Naka madal elephant
323 Jamiyatram Kri- 3868, Rewa Kakani 200 Residence Door-frame, madal, pillar, Flower-creepers, pitcher,
shnaram Dave Pole eaves leaves
324 Chhotalal Ganpat- 3870, Boyadi Falia 200 Residence Door-frame, pillar, Flower-creepers,
railing pitcher,
ram Bhatt leaves
32.3 Balkrishna Umiya- 4003 & 4004, Bhat 250 Residence Door-frame. pillars, eaves, Flower-creeper, creeper with
shankar Shelat pipli mOOal, todla leaves, trunk of elephant,
peacock, parrot, human
figures, Mahalaxmi, Vishnu,
Ganpati, pratihari
326 Umiyashanka r 4192 & 4193, Vagh- 200 Residence Door-frame, pillars, in chowk, Flower-creepers, peacock,
Muljibhai Joshi nath Chaklo madal Ganpati

327 Vinodray Chunilal 4711, Tikhami Pole 250 Residence Door-frame, pillars, eaves, Flower-creepers, elephanl',
Bhatt beam peacock
328 Dr. Umiyashankar 47.35, near Santram 250 Residence Door-frame, pillar, madal Flower-creepers, pitcher,
Mandir elephant
32,) Upendra Jayantilal 4R82, Tikhami Pole 250 Residence Door-frame, railing, madal Human figure, pratihari,
Bhatt Ganpati
330 Bhailal Keshavlal 5190, Mota Faliyun 200 ReRidenee Door-frame, pillars, madal Flower-creepers, pitcher,
Bhatt elephant, creeper of leaves
331 Mohanlal Mangal- 6252-A, Tran Pole 250 Residence Door-frames, railing. beam, Flower-creepers, elephant,
das todla, chowlc Ganpati, Vishnu with
Garuda, goddess, Hanuman,
Krishna
 91

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
maW age
of build- Type Portion of building Brief description of
SI. Cerums household No. ing in of containing wood nature of wood
No Owner and location y<"ars building carving carving

2 3 5 6 7
KAIRA DISTRICT-contd.
UMRETH (TALUKA: ANAND)-concld_

332 Chimanlal Mugi- 6261, Tran Pole 250 Residence Door, door-frame, pillars, Flower-creepers, elephant
bhai Shah eaves
333 Govindlal Manilal 6303, Rangio Ma,hal, 250 Residence Door- frame, pillars, railing, Flower-creepers, elephant
Chokshi Tran Pole porches
334 Ranchhoddas Tran Pole 200 Entrance Doors, lintel Flower-creepers
Jethabhai Parikh gate of the
pole
335 Jayendrabhai Mani. Baleli Pole 200 Residence Door-frame, pillars, railing, Flower-creepers, pitcher,
lal Shelat madal in chowk elephant, parrot, peaoock,
Ganpati
336 Manekben Somesh· Mota Faliyun 200 Residence Pillars, ceiling, eavcs, madal Flower-creepers, elephant,
war Krishna, human figure

337 Ravjibhai Ambalal 2/4, Swamino Khan- 150 Residence Front portion Ornament,a1 design
cho
338 Swaminarayan 2/4, Swamino Khan- 95 Swaminara- Pillars Ornamental design
Mandir cho yan Temple
339 Manubhai Ashabhai 2/2/138, Golden 90 Residence Front portion Human figures, ornamental
Street design

SOJITRA (TALUKA : PETLAD)

340 Jashbhai Vaghji- 4/3/2, near Juni 150 Residenoe Doors Human figures
bhai Haveli
341 Chandubhai Mulji. 4/3/9, Il,ear Juni 100 Residence Doors, pillars, arch Human figures
bhai Haveli
342 K"ntilal Maganlal 4/2/30, Magrolano 100 Residence Front portion Human figures, etc_
Kasor Khancho
343 Atnbalal Chunilal 4/2/54, Magrolano 100 Residence Front portion Human figures, etc.
Kasorna Khancho
344 Bhailalbhai Dha- 4/3/14, Opp_ Dasno 40 Residence Arch, gate Arch, gate
bhai Maho11o

345 Manubhai Shiva- 4/3/112, Bhamabhai 60 Residence Inner portion Ornamental design
bhai Rambhaino Mahollo
346 Gopalbhai Shiva- 4/3/1169, near Juni 200 Residence Front portion Human figures
bhai, Manager, Haveli
Thakerbhai Javar-
bhai
347 Narmadaben Shan- 5/2(45, VYQs Vado 100 Residence Door-frames Ornamental design
karlal Dolia
348 Babubhai Arjanlal 5/2/46, Vyas Vado 100 Residence Door-frames Ornamental design
349 Jamnashankar 5/2/52, Vyas Vado 200 Residence Door-frames Ornamental design
Jatashankar

350 R",manbhl11 N",tha· 512178, Vya'6 Vado 150 Re'Oidence Rear portion Human figures, ornamental
lal Pathak design
351 Maganlal Ambalul 5/2/79, Vyas Vado 150 Residence Door-frames Human figures, ornamental
Pathak design
352 Shankarlal Ganpat- 5/3/55, Magrolano 75 Residence Back portion Human figures
ram Maheta Khancho
353 Jain Shwetarubarnu 5/3/55, Apasarana 150 Jain Temple :Front port,ion Human figures, animals
Mandir Dahera
354 Raichand Fulchand 5/3/58, Sankadi 50 Rosidence Front portion Ornamental design
Sheri
92
STATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build. 'rype Port.ion of building Brief description of
SI. Cen8us household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving
2 3 4, 5 6 7

KAIRA DISTRIOT·contd.
SOJLTRA (TALUKA: PETLAD).contd.

355 Digambar Jain 5/3/77, Apasarana 150 Jl1in Temple Windows, pillars Ornamental design
Mandir Dahera
356 Jain Shwetam· 5/3/78/79, Apasa. 100 Dharamshala Front portion Ornamental design
barnu Mandir rana Dahera
357 Digambar Jain 5/3/80, Apasarana 150 Jain Temple Front portion, pillars Ornamental design
Mandir Dahera
3ilS Prahalladbhai Tal. 5/3/241, Rav.pum 100 Residence Door·frames, at the entrance Ornamental design
sibhai Barot and inside
359 Jashbhai Talsibhai 6}3/10, Pipal Faliya 80 Residence Front and rear portion Human figures, ornamental
design
360 Vithalbhai Kasibhai 6}3}23, Swamino 200 Residence Arch Ornamental design
Khancho
361 Narsihbhai Chuni. 6/3/39, Pipal Faliya 300 Residence Front portion -Ornamental d~~ign
bhai and Hoirs of
Jashbhai Girdhar.
bhai
362 Vithalbhai Rambhai 6/3/106, Verai 100 Residence Arch. pillars, etc. Human figures, etc.
Matano Khancho
363 Babubhai Chhota. 6}3/107, Verai 100 Residence Arch, pillars, etc. Human figures, etc.
bhai Matano Khancho
364, Himatbhai Dahya. 6/3/109, Verai 100 Residence Front portion Ornamental design
bhai Matano Khancho

365 Ambalal Umedbhai 6/3}134" Verai 125 Residence Front portiou, arch, etc. Ornamental design
Matano Khancho
366 Himabhai Chhota. 6/3/136, Mukhat 100 Residence Front portion, arch Ornamental design
bhai Vado
367 Puuj",bh",i Ambalal 6131136/1, Verai 5 Residence Front portion, arch Ornament"l design
and Ramubhai Matano Khancho
Aditram Verai Matano Kha· 100 Residence Frames Ornamental design
ncho
368 flalkrishna Ram. 6/3/158, Mukhat 100 Residence Frames, pillars Ornamental design
bhai Vado
369 Manibhai Chhota. 6/3/177, Mukhat 100 Residence Front portion, door·frame Human figures
bhai Vado

370 Narharibhai Hira· 6/3/178, Mukhat 100 Residence Frames Ornamental design
bhai Vado
371 Prafullbhai Ravji. 6/3/206, Mukhat 50 R<)sidence Rear portion, supports Human figures, animals
bhai Vado
372 Ambalal Bhailal 6/3/208, Mukhat 70 Residence Front portion, arch Human figures, ornamental
Vado design
373 Bhagubhai Veribhai 6/3/227, near Juni 50 Residence Rear portion, supports Human figures, animals
Haveli
374, Babubho.i Kasibhai 6/3/232, Verai 50 Residence Rear portion, supports Human figures, animals
Matano Khancho

375 Shivabhai Hath;· 6/3/233, Juni Haveli Residence Human figures, animals
bhai
376 Dadubhai Talsibhai 6/4/11, Pipal Faliya 250 Residence Front and inner portion AnimalR, ornament/al
and Gordhanbhai design, etc.
Talsibhai
377 Jashbhai Parso· 6/!/by the side of 100 Residence Frames and inner portion Ornamental carving
tamdas 11, Golden Street
378 Dahiben Jashbhai 6/4/17, Golden New Residence Door·frames Ornament,al design
Jethabhai St,reet building
379 Fakirbhai Ambal ..l 6/4/ by the side of 100 Residence Front and inner portion Animals, ornamental design
58, Shanti Pole
 93

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build· Type Portion of building Brief description of
S1. Cen~Ud household No. ing in of containing wood nature of wood
No. Owner and loc<1tion years building carving oarving

2 3 4 5 6 7

KAIRA DISTRICT·contd.
SOJITRA (TALUKA : PETLAD )·contd.

:180 Shallbibhai M.thul'- 6/4,/62, Sh,wt,i Pole 100 Residence Front and inner portion Animals, ornamental design
bhai
381 Chunibhai Govind- 6/4/98, Khari Kui 70 Residence Front portion Ornamental design
bhai
382 A.habhai KaHibhai 6/4/155, Golden 80 Residence Frames Ornamental carving
Street
383 Chhotabhai Gor- 6/4/156, Golden 80 Residcnce Frames Ornamental carving
dhanbhai Street
384 Jashbhai Jivabhai 6/41159, Golden 100 Residence Frames Ornamental carving
Street

385Gordhanbhai 6/5/78, Khari Kui 100 Residence Doors, door· frames Ornamental design
Chhaganbhai
386 Shakubhai Manor- 6/5/131, Khari Kui 60 Residence Door-frame Ornamental design
bhai
387 Bhailalbhai Moti- 6/5/145, Khari Kui Old Residence Doors, inner portion Ornamental design
bhai
388 Pravinbhai Amba· 6/5/195, Mahadev 80 Residence l!'l'Ont portion Animals, ornamental design,
lal Faliya etc.
389 Rambhai Dwarka· 6/5/196, Vadva1a 60 Residence Front portion Ornamental design
das Fa1iya

390 Muljibhai Vaghji 8, Pandya Khadki Residence Wood Flower-creepers

bhai
391 Juno Jain Apasara 156/1/2, Bazaar 'l'emplc Wood Flower.creepers, human
figures
392 Shri Bapanu Mandir 266, Moti Khadki Temple Wood Flower·creepers
393 Hiralal Purusho· 282, Moti Khadki Residence Wood Human figures, flower.
tambhai Patel creepers, etc.
394 Dahyabhai Naran. 301, Mo~i Khadki Residence Wood Human figures, flower-
bhai and Chuni- oreepers, etc.
bhai Dahyabhai
Patel

395 Gosaijinu Mandir 387, Vad Talav Temple Base of pillars Human figures, flower-
creepers, etc.
396 Patel Ashabhai 642, Mahadev Faliya Residence Door-frames, pillars Flowers·creepers
Lallubhai
397 Patel Ambalal 643, Mahadev Faliya Residence Door-frames Flower-creepers
Kishabhai
398 Patel Vaghjibhai 865, Limadi Chowk Residence Door-frames, etc. Flower-creepers
Muljibhai
399 Jain Derasar 901, Bazaar Temple Wood Flower-creepers

400 Patel Jiv"bhai 935, Kotno Dhal Residonce Pillars, etc. Flower- creepers
Khushalbhai
401 Patel Hirubhai 969, Chop at Residence Door-frames Flower-creepers
Purushotamdas
402 Patel Chhobabhai 974, Chopat Residence Base of pillars Human figures, flower-
Ranchhodbhai creepers
403 Patel Dahyabhai 995, Tran Khadki Residence Door-frames, pillars, etc. Flower-creepers
Fakirbhai
40.J, Patel Mot,ibhai 1040, Kotno Dhal Residence Four houses Human figures, flower.
Pragdasbhai creepers, etc.
94

STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
SI. Census household No. ingin of oontaining wood nature of wood
No. Owner and location years building carving carving

2 3 4. 5 6 7

KAIRA DISTRICT-concld.

SOJITRA (TALuKA : PETLI<D).concld.

405 Swaminarayan 1048, Kotno Dhal Temple Pillars, ceiling, etc. Human figurcs, !lower-
Mandir creepers, etc.
406 Patel Shankarbhai BOS, Tran Khadki Residence Door-frames, pillars, et.c. Flower-creepers
Nathabhai
407 P",tel Chhot(tbhai 1139, Tran Khadki Residence Door-frames, pillars, otc. Flower-creepers
Motibhai

NAR (']'ALUKA: PET.LAD )

40S Somabhai Mundos- 1173. Malav Bhagol Residence Door-frames, todla Flower-croepers
bhai
40fl Shivabhai Motibhai Kankol Fali Residonce Flower-creepers

BHADRAN (TALUKA: BORSAD)

no Navnitbhai Mani- A/646, Navan Gha- 50 Residence Balcony, etc. Human figures
bhai Patel ran Sattar Gharni
Ot

HI KanyaBhala Kh/3/359, Aling 60 School Doors, entrance door Flower.creepers

412 Shah Chanduh,l Kh/596, Boriya Pado 60 Residenoe Balcony, window, baloony Design
Lakhabhai
413 Stambhe shwar Ch/52, Bariya Pado 60 Temple Doors, entrance door Flower-creopers
Mahadev

CAMBAY (TALuKA: CAMBAY)

H4 Gajanan Someshwar Ch/l/136, Kolam 60 Residence Doors Flower-creepers

Pado near Maha-
dev
60 Residence Windows Human figures
U5 Boni Thakorlal J /1032, 1033, Ghas-
Ambalal gawar Road
60 Residence Doors, inner room, upper Design
416 Shah Shantilal D/l02l, Dantar Vado storey
Lallubhai
Manek- 60 School Outside portion Human figures
417 Manekchowk, Kan- N/3/370,
yashala chowk

BARODA DISTRICT

DABHOI (TALUKA : DABHOI )

.J ayantilal Ku berlal Kh/852, Patel Vaga 30 Residence Front portion Flower-creepers

.Joshi
Nathalal Kh/R90, Patel Vaga 30 Residence Front portion Flower-creepers
2 Shah
Raghnathji
Kantilal Kh/891, Patel Vaga 25 Reisdence Front portion Flower-creepers
:I Shah
Chhita!al
Chhitalal Kh/892. Patel Vaga Residence Front portion Flo,ver.crAepers
4 Shah
Moti:al
MoWal Kh/901, Patel Vaga 40 Residence Front portion Human figures, flower··
(I Shah creepers, animals
Maneklal Udedi-
vala
 95
STATEMENT I-contd.
BniIdings with Wood Carving
Approxi-
mate age
of bUild- Type Portion of building Brief description of
81. Census household No. ing-in of containing wood nature of wood
Xo. Owner and location years building carving carving
2 3 4 5 6 7
BARODA DISTRICT-contd_
DABHOI ('TALUKA: DABHOI)-contd_
6 Shah Manilal Kh/909, Patel Vaga 25 Residence Front portion Flower- creepors
Lallubhai
7 Jayantilal Khushal- Ch/138, Shl'imali 100 Residence Balcony Human figures
chand Amrolivala Vaga
8 Kalidas Dalpatbhai, 5/154, Ch/l41, Shri- 30 Jain Temple Doors, walls Human figures, flower-
Manager, Adishwal' mali Vaga creepers, animals
Bhagwan Derasar
9 Banailal Chimanlal Ch/449, Chokshi 50 Residence Balcony Flower- crcepors
Akudavala Sheri
10 Hiralal Parsotam- 5/564,(Ch/521), uear 95 Residence Balcony Human figures, flower-
das Jetpurvala Vakil's Bungalow creepers, animals
11 Jivanlal Manilal" 5/565, (Ch/522), near 55 Residence Balcony Flower-creepers
VakiPs Bungalow
12 Chandulal Maganlal Ch/523, near Vakil's 80 Residence Balcony Flower- creepers
Bungalow
13 Shankarlal Punjalal 5/Ch/558, Sheth 40 Residence Front portion, balcony Human figures, flower-
Parekh Faliya creepers
14 Himatlal Mansukh- Ch/906, Sbrirnali 100 Jain Tample Doors, walls Human figures, flower-
bhai, Manager,Sbri Vaga creepers, animals
Shantinath Derasar
SANKHEDA ('rALUKA : SANKHEDA )

15 Chunilal Ishwar 2/803, Bazaar 40 Residence Windows, railings Human figures

Dal'ji
16 Govindlal Amratlal 2/805, Bazaar 125 Residence Windows, railings Human figures
Vaidya
17 OcIlCbhavlal Garban- 2/806, Bazaar 76 Residence Windows, railings Human figures
das Desai
18 Chandulal Maneklal 2/816, Jbaveri Vago /j/j Residence Front portion, supports Human figures
Surya
19 Bai Kamla Dio 2/843, Mali Vago 150 Residence Front portion, supports Human figures
Manilal Chbagan-
lal

20 Chuuilal Motilal 2/860, Bazaar 100 Residence Balcony Human figures

Fudi
21 Gigubhai Mohanlal 2/865, Mali Vago 100 Residence Front portion, supports Human figures
Mebta
22 Keshavlal Chhagan- 2/901, Mali Vago 50 Residence Front portion, supports Human figures, horse-rider
lal Rusha
CHHOTA UDAIPUR (TALUKA : CRROTA UOAIPUR)

23 The Late Kumar 2/276, Kumar Sbr; 100 Residence Gate, balcony, railing, pillars Human figures, butta, orna-
Shri Ra; Sinhji Rai Sinhji Dada mental carving
Dada Saheb Sabebni Haveli,
Bazaar ward,
Rajput Falia
24 Kumar Shri Mohan 2/278, Kumar Shri 100 Residence Gate, balcony, railing, pillars Human figures, butta,
Sinhji Dada Sa,heb Hari Sinhji Dada ornamental carving
Sahebni Haveli,
Bazaa,r ward,
Rajput Falia
25 Sbrimant Maharaja 2/683, KUAum Vilas 100 (Juno Raj- Balcony, ceiling Ornamental design
Saheb Shri Palace mabal Killo)
Virendra Sinhji Residence
Natwar Sinhji
Chauban
96
STATEMENT I-contd.
Buildings with Wood Carving
Approxi.
mate age
of build- Type Portion of building Brief description of
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location yoars building carving carving

1 2 ;l 4 5 6 7

BROACH DISTRICT
BROACH (TALUKA : BROAOH )

1 Swaminarayan A/85, Swaminarayan 125 Swaminara- Doors. brackets, throno :Flower.creepers, animals
'l'emple Dholav yan Temple
2 Natwarlal Hhi· A/1291, Swami- 100 Kanya Pillars, base of pillars Flower-creepers
khabhai Pat,,1 narayan Dholav shala
Pramodbhai
Chunilal Patel
3 Rutanlal and B/175, Parekh 100 ResidenCB Door-frames, base of pillars Human figures, flower· creepers
Indulal Biharilal Khancho
4 Ratanlal Muhanlal B/175/1, Achar Vad 125 ResidBnce Gate, door-frames, pillars, Flower-creepers
Road lattice in partitiun
Ii Natwarlal M. B/365, Nava Dera 150 Residence Front portion of gallery, Flower-creepers
Shelat pillars, lattice

6 Surendralal Kri- B/398, Lallubhainu 1,000 Residence Front pillars Flowe):'·c:reepers

shnalal Majmudar Chaklu
7 Nathubhai Amrit- B/565, Nava Dera 100 Residence Pillars Flower-creepers
lal Dangaruvala
8 BansHa! Acharat!a! B/746, Kotiyavala 100 Residence Door-frames, base of pillars Animals, Flower-creepers
Rasta
9 Krishnala! Damo· B/956, Padapoleni 100 Residence Front portion of gallery Flower-creepers
dardas Vakhariya Khadki
10 Krishnalal Damo· B/1032, Lallubhai 100 Temple Door-frames, baBe of pillars Animals, flower-croepers
dardas, Manager, Chakla
Shri Swarup Mandir

11 Ramanlal V orilal B/I035/1, Lallu- 80 Residence Front portion of gallery Flower-creepers

bh",inu Chaklu
12 Jayanti!al Tribho· C,1036, 1037, .Jami- 150 Residence Door-frames, base of pillars Human figures, animals,
wandas y"tramni Klmdki flower-creepers
13 Upendralal Raman- B/I035, LaUubhai JOO Residence Door-frames, base of pillars Human figures, animals
lal Majmudar Chak!a flower.creepers
14 Fatmabu D:o B/I072, Kothi 100 Residence Door-frames, base of pillars Animals, flower-creepers
Saleji Asmalji Chowk
15 Ochchhavalal T. C/156, Nava Der" 60 Shes(tinu Ceilin;; Flowor-creepers
Shroff Mandir

16 Shelat Ratanlal C/179, Shuk"l Sheri 300 Residence Door.frames, base of pillars Flower-croc-pers
Hiralal
17 Jashvanlal Jaya- C/575, Jawahar 90 Office Ceiling, lattice, partition Flower-creepers
kishandas Choksh i Bazaar
18 Harendra Mukund- 0/601-602, Lalbhai- 100 Residonce Door-frames, base of pillars Animals
lal Jhaveri ni Pat
19 Surlljlal Hiral,,1 0/630, Dhadiya 150 ltesid,mee Front portion of gallery Flower-crpppers
Majmudar Sheri
20 Kikabhai Krishna- C/630/1, Dhadiya 300 Residence Dool'-frames, base of pillars HUInan figures, flower-
lal Majmudar Sheri creepers

21 Rameshchandra 0/1048, Mali Vad 100 Rosidonce Front portion of gallery, door- Flower-creepers
Vakil frames
22 Rameshchandra C/I057, Mali Vad 100 Hesidenoe Front portion of gallery, Flower-creepers
Vakil door-frames
23 Sundarlal Manilal C/1073, Mali Vad 80 Residence Entrance door, door .. frames, Flov,rcl'-cl'eepeI's
beams of gallery
24 Vrijlal Tejpal, C/l075, Mali Vad 100 Ashram Door-frames, beam of gallery Flower-creepers
Trustee
25 Jain DharmaFund 0/1080, Jawahar 100 Rosidence Lattice. ceiling Flower-creepers
Pedhi, Chunilal Bazaar
Raichand
 97
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
SI. Census household No. ing ill of containing wood nature of wood
No. Owner and location years building carving carving
1 2 3 4 {j 6 7
BROACH DISTlUCT-contd.
BROACH ( TALUKA : BROAOH )-contd.
26 Guuvantray Lallu- 0/1096, JunaBazaar 100 Residence Door-frames, base of pillars Human figures, flower-
bhai creepers
27 Bachubhai InaIn- 0/1096/1, Jawahar 80 Residence Lattice, ceiling Flower-creepers
da.. Bazaar
28 Desai Rariprasad 0/1183, Maljino 100 Residence Door-frames, base of pillars Human figures, anim&ls.
Vishnuprasad Khancho flower-creepers
29 Thakorlal Dayalji C/1511, .Twnma 400 Residence Door-frames, base of pillars Flower-creepers
Masjid
80 Hariprasad Vishnu- C/1190, .Tawahar 125 Residence La. ttice, ceiling Flower-creepers
prasad Desai Bazaar
31 Trustee Abbasali 0/1802, Vahor Vad 700 Masjid Pillars, ceiling Flower-creepers
Gulam Rusen
Trunkwala
82 Saiyad Haid..r- 0/1812, Kat, Parsi 65 Residence Ceiling, railing Flowor-crecpers
saheb Pirsaheb V .. d
33 Manager. Raid..r- 0/1815. Kat, Parsi 950 Madresani Pillars Flower-creepers
saheb Sadar, Pir Vad Maajid
sheb
34 Fat.. Talav Garage E, Fa ta Talav 200 Motor A portion of Shethjini Flower-creepers
Garage Haveli
ANKLESVAR (TALUXA.: ANXLESVAR )
35 Ohimanlal and 521, Mewada Falia- 50 Residence Balcony Lotus. small peacock, human
Gopal Motilal no Nicheno figures
Darwajo
86 The Temple of 609, Mewada Falia- 60 Residence Balcony Human figures with drum
Sachna Devi. no Uplo Darwajo and guitar
Mataji, Mahavir
Swami Temple.
Managt>r, Mohanlal
Naginalal, etc.
37 Nirmalagauri D/o 610, Mewada Falia- 60 Residence Balcony Human figure with symbols
Rikhavohand no Uplo Darwajo
Zaverchand
38 Kalida.. Mulji, 2377, Goya Bazaar 75 Residence Balcony Human figures with flute
Manager in the and mace
shop of Hindu
Nesti Mahajan
39 Thakorla.l Hiraial 2380, Goya Bazaar 50 Residence Balcony Human figures with drum
Desai. trustee of and guitar
Uai UjamDayalji
W/o Dayalji
Lallu
40 Bai llhikhi D/o 2682, Samdi Faliya 68 Residence Balcony Human figures, with flower
Harkisandas HaT- and guitar
govandas
41 Bhikha Narotam 2940, 2941, Mullan 75 Residence Balcony Human figure with flute,
himself and G/o Vad human figure with mace
Thakorlal and
NagiIl Narotamdas
SISODARA (TALUXA : NANDOD )
42 Sha rnalbhai Jhaver. 2, Sisodara 100 Residence Front portion, doors, walls, Human figures, flower-
bhai base of pillars creepers
43 Shah Tribhuvandas 3, Khali Faliya 70 Residence Front portion, door· frames, Human figure. flower-
Parbhudas pillars creepers
44 Vaghji Ambalal 18, Khali Faliya 100 Residence Front portion, doors, walls- Human figures, flower.
baso of pillars creepers
45 Jasbhai Baherbhai 36, Khali Faliya 100 Residence Front portion, doors, pillars Flower-design
46 Chhaganbhni Harji- 73. Roka Faliya 103 Residence Front portion, doors, pillars Flowcr-crcopers, vadi design
bhai

(Uk) Y-3-lJ
98
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- 'rype Portion of building Brief desoripLion of
Sl. Census household No. ingin of containing wood nature of wood
~o. and locatio. yeals building carving oarving
1 2 3 4 5 6 7

BROACH DISTRICT-coneld.
SISODARA (TALUJl:A : NANDOD )·contd.

47 Tribhowan Nathu- 177, Darvaja Faliya 100 Residence Front portion, doors, pillars Human figures, flower-
bhai creepers, design
48 Motabhai Jinabhai Mandi .. Faliy" 75 Residence Front portion, door-frames Flower-creepers, vadi design
49 Veribhai Jethabhai Sarpanch vala 90 Residenco Front portion, door-frames Flower-creepers, vadi design
and Manibhai Faliya
50 RanchhodbhaiSaro.- Sarpanch vala 200 Residence Front pot'bion, door-frames, Flower-creepers, design
bhai and Bhikha- Faliya pillars
bhai Chhaganbhai

JURAT DISTRICT
RANDER (TALUKA: CHORASI)

1 Chhaganlal Lal· 7.58, Shravak 300 Temple lnncr portion, pillars

chand Shah, Mana- Mandir Lala
ger, Shravak Thakorni Pole
Mandir
2 Chhaganlal Lal- 7.257, C, Shrava.k 300 Temple Inner portion, pillars Human figures
chand Shah, Mana- Mandir Uttamram
ger, Shravak Street
Mandir

SURAT CITY ( TALUKA : CHoRAsr )

3 Ra.tila.l Da.jihhai 2/4352, Ohhapgar 35 Residence Front portion Pillars with design of trul'Lk
Sheri Sagarampur .:>f elephant and other
carved design
4,Nurmahumad Haji 7/354 to 360, Rosidence, Residential portion Minute carving
Ahmed Suleman N'agorivad, Dinath hospital
Dinath Hospital
5 Shri Vadtalvasi 7 {3369, 3389, 3402, Temple Inner portion Minute carving
Acharya, Shri 3412, 3413, 4966,
Narendraprasadji, Rampura, Swami-
Shri Anand narayan Mandir
Prasadji Maharaj
6 Jechandbhai 8/1528, Sir K. P. Residence, Front portion, pillars on the Flower-creepers
Manguhhai and Road hospital platform, and front door
Ohandravati _W/o
Raichand Prem-
chand
7 Ohima.nlal Pana- 8/1636, Sir K. P. Residence, Front portion, pillara on tho Flower,crflepers
chand and Chuni- Road hospital platform, and front door
lal Panachand

8 Natwarlal Ran- 9/290, Pagathia Residence, Doors, windows, ceiling Design

chhoddas Kham- Sheri hospital
bhati
9 :Y.rnnager, Tribho- 9/30-1, Ranchhoddas Residence Front portion, doors, windows, Design
vandas Morardas 'vakilni Sheri ceiling
10 Bhagubhai Dahya- 9/305, Ranchhoddas Residence Front portion, door, window, Design
hhai Dadawala Vakilni Sheri ceiling
11 Balwantrai Magan- 9/316, Ranchhoddas Residence Front portion Design
Ial Desai Vakilni Sheri
12 Ushaben Sakarlal 10/773,Ambaji Road 25 Residence
"tc.
 99
STATEMENT I-contd.
Buildings with Wood Carving
Approxi-
mate age
of build- Type Portion of building Brief description of
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

1 2 3 4 5 6 7

SURAT DISTRICT-contd.

SURAT CITY (TALUKA: CnoRAsI )-contd_

13 Trustees of Sheth 10/1108, Sir K. P. Dharmshala Door, pillars Flower-creepers, design

Raichand Dip- Road, Gopipura
chand Dharmshala
14 Manager, Khush- 10/1206/A, 1206/B, 50 Dharmshala Pillars on otla, doors, Flower-creepers, human
manIal Nanabhai, Sir K. P. Road, balcony figure
etc., Raichand Dip- Gopipura
chand Dhaxmshala
15 Ramniklal Manek- 10/1215, Sir K. P. 25 Residence Pil!ars on otla Flower-creepers, design
lal Shah :Road, Gopipura
16 Thakorbhai Daya- 10/1559 to 1564, .Tain Temple Door, balcony Flower-creepers, human
chand Malji and Agam Mandir, figures, animals
others, Trustees Gopipura
of Agmodvark
Samstha
17 Dahyabhai Parbhu- 10/1825 and 1828. 30 Residence Doors, railing Flower·creepers, human
das, etc. Sonifalia Road figure

18 Chandulal Tribho·
11/49, Kelapith
vandas, etc. Bazaar
19 Mahcndralal Tha· 111422, Ramjini 45 Residence Balcony, doors, windows, Flower-creepers
kordas Lakhpati Pole, Nanavat ceiling
20 Navalchand Balu- 11/1183, Kinari 40 Residence Doors. windows Flower-creepers
bhai Bazaar, Nanavat
21 Hiralal Motiram 12/91, Rani Talav, 200 Residence Balcony Flower-creepers, human
Main Road figure
22 Chandrakant, 121369, Rani TaJav, JOO Residence Door. window Flower-creepers
Champaklal Main Road

23 Thakordas Naran- 12/370, Rani Talav, 200 Residence Doors, windows, balcony Flower-creepers, human
das Main Road figure
24 Kumudben 12/375, :Rani: Talav, 250 Residence Window. balcony Flower-creepers, human
Shantilal Main Road figure
25 Kadarhusan 12/643, Rani Talav, 250 Residence Door. window. balcony Flower-creepers
Mahomed Malek Post Khatkivad
26 Venilal.Tekishandas 12/1189, Dr . .Tam- 325 :Residence Balcony, door Flower-creepers
shedji Lashkari
Marg
27 Chandrakant 12/1183, Dr. .Tam- 300 Residence Front portion Flower-creepers
M.. ganlal Vakil shedji Ls,shkari
Marg

28 Shr; Chintamani 1407, Shahpor Built in .Tain Temple Pillars, ceiling Extensive carving
Parasnath Dera- V.S.
sar, Manager, 1720,
Babubhai Amar- 1664
chand A. D_

KUJ\'TA (TALUKA: PARDI)

29 Kunteshwar Maha- 100 Temple Doors. window-frames Flowers

dey Temple
100
STAT.EMENT I-contd.

JluiJdiogs witb Wood CaHill!

Approxi-
mate age
of build- Type l'ortion of building Brief description of
SI. Census household No. ing in of containing wood nature of wood
No. Owner and location years building carving carving

1 2 3 4 5 6 7
SURAT DISTRICT-contd.
VATAl{ (TALUKA: PARDI)

30 Bhikhubhai Khan- 56, Vatar 100 Resideuce Doors Flower-creepers

dubhai
31 Nichhabhai Vasauji 57, Vatar 100 Residence Doors Flower-creepers
32 Babubhai Paragji 58, Vatar 100 Residence Doors _Flower-creepers
33 NaLwarlal Nichha· 202, Vatar 100 Residence Doors, pillars Flower-creepers
bhai
3-1 Krishnaram Kal- 203, Vatar 100 Residence Door,\ pillars Inower-creepers
yanji

35 N. J. Jiwaui 204. Vatar 100 Residence Doors. pillars Flower-creepers

36 Amritlal PUl'shotam 20;:;, Vatar 75 Residence Doors pillars, ceiling Flower-creepers
37 Harikrishna Nar- 206, Vatar 75 Residence Doors, pillars, ceiling" Flower-creeperil
bheram cupboards in the wall
38 Nagarji Jamanji 217, Vatar 75 Residenoe Doors, pillars, oeiling Flower-creepers
39 P "lioan :\i"'lllbi 218, Vatar 75 Residence Doors, pillars, ceiling Flower-oreepers

40 Harshadrai Bawa. 219, Vatar 75 Residence Doors, pillars, ceiling Flower-oreepers

bbai
41 Bbulabha.i Bhag- 220, Vatar 75 Residence Deers Flower-creepers
wanji
42 Nichhabhai Abba· 221, Vat.. r 100 Residence Doors Flowor-oreepers
bhai
-i3 Kunvarji Hariabbai 222, Vat",r 100 Residence Doors Flower-creepers
44 Daya1ji Bhikhabhai 227, Vatitr 100 Residence Doors Flower-creepers

45 Makanbhai Narsinh- 243, Vatar 100 Rcsidence Doors, ceiling Flower-creepers

bhai
46 Gandabhai Parag. 342, Vatar 100 Residenoe Doors, ceiling Flower-creepers
bhai
47 Keshavbhai Nana- 340, Vatar 100 Residenae Doors, ceiling Flower-creepers
bhai
AMBACH ( TALUKA : PARDI)

48 Lallubh>l.i Bhikha. I, Patidar Mahono Built in Residenoe Front portion, pillars Flowers
bhai V_S.
1936
(1880
A.D.)
49 Amritlal Bhikha- 2, Patidar Mahelle Built in Residence Front portion, pillars Flowers
bhai V. S.1936
(1880
A.D.)
50 Kalyanji Bhikha- 3, Patidar Mahollo Built in Residenoe Front portion, doors Flowers
bhai V.S.1936
(1880
A. D.)
51 Sunmntbhai Durla· 4, Patidar Mahollo Built in Residenoe Front portion, doors Flowers
bhbhai V. S.1936
(1880
A.D.)
52 Bhikhabhai Durla· 4 A, Patidar Mahollo Builtin Residence l?ront portion, doors Flowers
bhbhai V.S.1936
(1880 A. D.)
 101

STATEMENT I-concld.

BuildinlS with Wood Carvin&

Approxi.
mate age
of build· Type Portion of building Brief description of
Sl. Census household No. ingin of containing wood nature of wood
No. Owner and location yoars building carving carving

1 2 3 4 I) 6 7

SURAT DISTRICT·conold.
AMBACH ( TALUKA : P ARDI}·oontd.

53 Jerambhai Jiwanji 4/B, Patidar Mahollo Builtin Residence }'ron t portion, doors Elephant
V.S.1936
(1880
A.D.)
54 Vasanji Jiwanji 5. Patidar Mahollo Builtin Residence Front portion, doors Flowers
V.S.1936
(1880
A. D.)
55 Deviben Ran. 6, Patidar Maholio Built in Residence Front portion, doors Flowers
chhodji V.S.1936
(1880
A.D.)
56 Ukabhai Nagarji 7/A, Patidar Mahollo 100 Residence Doors Flower-creeper, flowers
57 Gandabhai Nagarji 8, Pa.tidar Mahollo 100 Residence Doors Flower.creeper, flowers

5~ Makanbhai Khu- 13, Patida1' Mahollo 100 Rosidenoe Pillars Flower·creeper, flowers
shalbhai
59 Khuehalbhai Dayalji 14, Patidar Mahollo 100 Residence Pillars Flower.creeper, flowers
60 Naranji Jiwanji 15, Patidar Mahollo 100 Residence Pillars Flowers
61 Bhikhubhai Nagarji 22, Patidar Mahollo 100 Residence Doors Flowers
62 Fakirbhai Kalyanji 23, Patidar Mahollo 100 Residence Doors Flowers
63 Chhotabhai 'fa1'a- 25, Patidar Mahollo 100 Residence Doors Flowers
chand
64 Vallabhbhai Hari- 33. Patidar Mahollo 100 Residence Cupboards in the wall Flowers
bhai
 102

STATEMENT II
Furniture and other Articles with Wood Carving
St. Census household No. Articles oon.taining Description. of
No. Owner and location wood carving wood carving
1 2 3 5

JAMNAGAR DISTRICT
JAMNAGAR (TALUKA : JAMNAGAR )

Sheth Lalji Naranji Vinod Kunj, Near Khambhalia Dressing table, waste-basket Flower-creepers, birds,
gate 30 years old
2 Shri N arandas Brothers Digvijay plot, Sheri No. 49 Wall, cupboards, chairs, frames Flowers, flower-creepers,
20 to 22 years old
3 Govermnent Lal Bungalow, Guest House Sofa-set, chairs

4 Mulchand Parshotam Mehta Ananda Bavana Chakla, Opp. Cupboard, wooden seat Ornamental design, 100
Vaju Kandoino Dehlo years old
(Bharani-no Dohlo )

RAJKOT DISTRICT

VINCHHIA ( TALUKA : JASDAN )

5 Suri Jain Martipujak Sangh Gandhi Chowk Shrine

SURENDRANAGAR DISTRICT

WADHWAN CITY (TALUKA: WADHWAN)

6 Anandji Kalyalljini Pedhinu 376, Near old Custom office Chariot of deity
Motu Derasar
7 Maharana Thakor Saheb Sh1'i 7011-2, Darbar Gadh Chariot with elephant for
Su"ondrasinhji Jorawarsinhji (in the town) seating
8 Maharana Th%kor Saheb Shri 71, Near Dajiraj High School Bed-steads, cupboards, tables,
Surendrasinhji (outside the town) sofa-sets
9 Aoharya 8hri Rajendra 811 to 8/92, Swaminarayan Cupboard in the Sabha Mandap
Prasadii Kunjbihari Prasadji Mandtr, Outside Khandi Pole; of Swaminarayan Mandir
Maharaj containing photos of Shri
Ghanshyam Maharaj and
others·

DHRANGADHR;A- ( TALUKA : DHRANGADHRA )

10 Swaminarayan Mandir Dhrangadura Turone of the deity Elephant, peacock, lion,

horse, sun, moon, cree.
pers, design, !ltc.

BHAVNAGAR DISTRICT

BHAVNAGAR (TALUKA :BHAVNAGAR)

11 Laxrnilal Maganlal Vora 611/48, Haveli-vali 8heri, Dehlo, Secret drawer, lcupboard
near Bachubhai Dudhwala
12 Dr. Pravinbhai Oza 9/1/253, Near Congress House, Bed-stead, sofa-set, chairs
Diwan Para Road

GADHADA ( TALUKA: GADJIADA )

13 Shri Akshar Purshottam Mandir Bhadli-na Zampe Two wooden thrones
14 Swaminarayan Mandir Bazaar Sabha'Mandap:of Brahmacha1'iji
15 Swaminarayan Mandir Bazaar Throne of the idols of Nar-
Narayan

MAHUVA (TALUKA: MAHUVA)

16 Harila] Mohanlal Soni 3-475, Haveli Sheri Cupboard:

17 8hri Jain Shvetambar Murti- 3-1400, Derasar-no Khancho Derasari, chariot with hunuln
pujak Derasar figure"
 103

STATEMENT I1-contd.
Furniture and other Articles with Wood Carving
Sl. 0en"us household No. Articles containing Description of
No. Owner and location wood carving wood carving

2 4 5

AMRELI DlSTRIOT
AMRETJI (TALUKA: AlIfRELI)

18 Virohand Panaohand Khara 196/4, Station Road. :.\Iahatma Flower stand, tripod
Gandhi Road, :.\Ianek Para
'>Vard
19 Girdharohai Sangraval 174, Dalal Road, Sardarvas Table
Ward
20 Triveniben Ihrjivandas 685, Chitaliya Nake, Veraipa Cupboard, mirror-set
Ward
21 8waminarayan Mandlr 17/5, Jail Road, Veraipa Ward Throne with human figures,
animals
BAGASARA (TALUKA: KUNKAVAV-VADIA)

22 Odhav Lalji Laxmilalji 2;128 Haveli Sheri Chariot~swingb

23 Dalpatram Chakubhai 4/616, Balapir Sheri Chariot
24 Mahashankar Kalidas 137, 8amudri Matanu Mandir. Mandap of Mataji
Haveli Sheri

JUNAGADH DISTRIOT

JUNAGADH (TALUKA: JUNAGADH )

25 Navinchandra Chandubhai D/8/28, )'[a'5nath Road Rl1iling with human figures 160 years old
Diwan

PORBANDAR (TALUKA: PORBANDAR )

26 Shl'i Govindrayji Ranchhodlalji 2/330. 8hri Gopinathni Haveli Swing Human figures, flower-
Maharaj creepers
27 8hri G"pallalji )laharaj 4{2H, Near Old Darbar Gadh Chariot, swing Human figures, flower.
creeper
28 Musa Abdulla Salyani 6{97, Matva Sheri Chest Flower-creeper, five kinds
of design, 200 years old,
55 years old
29 Laxmidas Ratandas 6{368, Jagannathji ::Ilandir, Chariot
Sudama Chowk
30 Porbandar Shaher Sudhrai 10{324, Manek Chowk Cupboard Hanumanji, Bower-cree-
pers, 60 years old
31 P. W_ D"partment, Gujarat n/H, Juno R",j Maha1 Show-case, mirror.stand Flower-creeper, human.
State figures, fairy, lion,
design, 75 years old

KUTCH DISTRICT
BHUJ ( TALUKA : BnUJ )

32 Hazur Privy Purse Darbargadh Chariot, cupboard, bed-stead

MANDVI (TALUKA : :\'[ANDVI )

33 Murli Manoharnu Mandir 3273, G_ T_ Road Chariot

34 Sundarvarnu Mandir 2510{A, Behind Market Chariot
35 Mistri Jethalal Khatwa Near Cinema Chair
36 Mistri Jivan Harji 459, Sharaf Deli Tripod, Marine creatures

MUNDRA (TALUKA: ML':~mRA)

37 Sharadchandra Rat an s hi 2/104, ~car Gandhi Chakla Cupboard, coach Flower-creepers, birds
Swami
104
STATEMENT Il-contd.
Furniture and other Articles with Wood Carvinl
Sl. Census household No. Articles containing Description of
No. Owner ·and location wood l'a.rving wood carving
2 4 5

lIfEHSANA DISTRICT
P ATAN: (TALUKA: P ATAN )

WARD No.1

3S Ratanlal 1/436/4, Jagdish Mandir Chariot

39 Mahavir Swami Mandir S93, Mania Shano Pado Chariot, pat
40 Nagindas Ujamchand 927, Mania Shano Pado Human figures, elephant, shrine
41 Mafatlal Bhikhachand 972, Mania Shano Pado Human figures, dome

WARD NO.2

42 Gnan Mandir 2/905/1, Pachasara Shrino, cupboard

43 Panchasara Mandir 906, Panchasara. Chariot
H Himatsagar Mohansagar 1152, Dhandher Vado, 1\lain Cup·boards
Road

WABD No.5
45 Kantilal Sure hand 329, Kanasano Pado Human figures. cbariot, shrine
46 Jayantilal Devchand Shah 760, Bhabhano-Pado Throne, elephant, staircase
of shrine
47 Chandulal Laherchand Shah 1424, Poleni Sheri Shrine
4S Popatlal Ohunilal 1359, Vasu-pujyani Sheri Tkrone, shrine, pat

WARD No.6

49 Chandulal Ho.thising Sha,h 26, Abji Mahetano Pado Throne, pat

1)0 Dahyalal Sankalchand 1561/1, Keshu Shethno Pado Pat

WARD No.7
1)1 Jamaluddin Nur Khutub 690/1, Bakta Va do Pat with design of flower-
creepers
52 Miyan Bakkar Mahamad 14S7, Panch Pado Pat with design of flower-
Bannan creepers
53 Ahmed Abdul Baheman 1530, Panch Pado Pat with design of flower.
creepers
.4 Abdul Raheman Mahomed 1532, Panch Pado Pat with design of flower-
Patwllo creepers

WARD No. 9

55 Rughnathji Mandir 1)37, Rughnathjino Pado Elephant, swings, toys

AHMEDABAD DISTRICT
VIRAMGAM ( TALUXA : VmAHGAK)

WA.RD No. !
50 Jethalal D. Somani 741, Mangal Ve)ano Delo Triocd

WA.RD No.3

57 Vij aysinhj iF u 1 sin h j i !l25, Neal' Tower Chairs

Kumudchandra Fulsinhij
 105
STATEMENT II-contd.
Furniture and other Articles with Wood Carvin.
SI. Cen.us household No. Articles containing Description of
No. Owner and location wood carving wood carving
1 2 5

AHMEDABAD DISTRICT-contd.

DHOLKA ( TALUKA: DHOL&A)

58 Mansukhlal Manilal Shah 5/620. Shethni Pole Cupboard

59 Sheth Vasantlal Girdharlal 5/633, Shetlmi Pole Swing
60 Swaminarayan Mandir, 5/1087, Swaminarayan Mandir Throne
Manager, Acharya Devendra-
prasadji Vasudevprasadji
61 Swaminarayan Mandir, 5/1088, Swaminarayan Mandir Thrones
Manager, Aeharya Devendra·
prasadji Vasudovprasadji
62 Brahmachari Maharajnu Mandir 5/1088, Near Swaminarayan Bajoth
Mandir

KAIRA DISTRICT
NADIAD (TALUItA: NA.DIAJ:; )

Shri Narandev Mandir 2[101, Opp. Majmudar Pole Swing, chariot, throne, palan.
quin, cradle, bajoth
64 Jitendrabhai Arubalal 4/305, Sheth Pole, Ramji Mandir Throne
65 Parikh Gordhanbhai ChunH..l 4/497, Baini Pole Sofa, chairs
66 Ana.suyaben J ethabhai Ran. 6/127, Vachhe Wad Book-stand
chhodbhai
67 Desai Shantilal Kishordas 6[139, Shankardas Desaini Cupboard, frame
Khadki

68 Desai Purushotamdas Ambalal 7/1252, Raval Vado Cupboard, frames, dressing-

stand
69 Desai Babubhai Haribhai, etc. 7/1266[67, Chatur Matano Swing, easy chair, cradle
Khancho. Desai Vago
70 Bhalabhai Ranchhodbhai 8, Lakha Vad, near CllOr" Cupboard, swing
71 Dahyabhai Anandji 8/155, Nagar Kui. Diwanani Cupboard, frames
Khadki
72 Soni Kantilal Khimchand 8/318, near Chora Sofa

73 Gangaba Venibhai Jesanghhai 8/380, Ilear Chora Table, sofa

Patol
74 Patel Dahyabhai Marghabhai 8/384, Lakha Vad Cupboard, swing
75 Patel Parshotam Lallubhai 8/398 Lakha Vad Top of cupboard
76 Pandya Chandra prasad Motilal 8[806, N"gar Kui, Pandyani Cupboard
Haveli

KAIRA (TALuKA: MEHMEDABAD)

77 Jain Dara.ar. M3Ilager, Sheth 2681 to 2687, Motu Jaill Derasar Shrine with human figures,
Rajendra Kumar Bnlabhai models of .cared hills

PANCHMABALS DISTRICT
SANTRAMPUR ( TALUKA : SAK1.'RAlIl.PUR )
78 Shri Digambar Jain I1landir 240, Shri Digambar Jain Mundh' Chariot Human figures
flower,creeper
BARODA DISTRICT
DABHOI (TALUKA : DABHOI)
WARD Xo. [,

79 Devchand Dha.rmchandni Pedhi 250, Shrimali Vag" Chariot

(Bk) Y-3-14
 106
STATEMENT I1-concld.
Furniture and other Articles with Wood Carving
Sl. Census household No. Articles containing Deflcription
~o. Owner and location wood carving wood carving
2 3 5

BROACH DISTRICT
BROACH (TALUKA : BROACH)

80 M. P. Chokshi B.06::J, P",da Poleni Khadki Table, chair

81 Surendralal Krishnalal C-630, Dhadiya Sheri Chair
82 Pr",t",p Kary",laya 0-l230,Ounnar Vad Bed-stead, partition frame
83 Saiyad Ha.idal'sahcb Sardar C.18120, Kat, Parsi Vad Table, writing table, chair
Pirsaheb

ANKLESVAR (TALuKA: ANKLESVAR)

84 Kekoba<1 ,TalUsuedji Kathavala 1089, Parsi Vad Bed-stead, cupboard, stool,

chair, table, wooden tray,
etc.

RAJPIPLA (TALUKA: RAJPIPLA )

WARD No.1

85 Suri Laxminal'ayan :Mandir Iii, Vinayakrao Road Throne Flowerccreeper

62 years old
83 Shd Ranchhodji Mandir 426, near Parekh Khadki Throne, swing Flower-creeper,
60 years old
87 Shl'i Vithalnathji Mandir 637, Soni Wad Throne, awing Flower-creeper
88 Shri Ramji Mandir 1018, Visa Vaga Throne, human figures Flower-creeper.
60 years old

WARD No. 3

89 Sl11'i Radha Krishna Mamlir 435, Station Road Throne Flower-creeper,

60 Y"''ll"S old
 BIBLIOGRAPHY

ENGLISH

BROWN, PERCY Indian Architecture (Buddhist and Hindu Periods), 1956

BUNT, CYRIL, G. E. A Note on Jali Windows in Rupam, No. 29, January, 1927
BURGESS, JAMES AND COUSENS, HENRY.. The Architectural Antiquities of Northern Gujarat, Archaeological
Survey of Western India, Vol. IX, 1903
COWEN, D. V. •• Flowering Trees and Shrubs in India, 1957
GARNETT, J. H. Wood Carving, 1923
GOETZ, H. 1. The Pretty Archaic Style in Old Gujarat Sculpture, Two bronzes
in the Baroda State Museum in Journal of the Gujarat
Research Society, Nos. 2 & 3, April and July, 1946
2. A Monument of Old Gujarati Wood Sculpture, in The Bulletin
of the Baroda Museum and Picture Gallery, Vol. VI, Part
I-II, 1950
3. Art of the World, India, Five Thousand Years of Indian Art,1959

HAVELL, E. B. 1. Indian Architecture, 1927

2. Indian Sculpture and Painting, 1928
JAMES, SIR, H. EVAN 1. Wood Carving in Gujarat, in 'The Journal of Indian Art and
Industry, Vol. XVII, Nos. 129-131, 1916
2. Ahmedabad Carved Screen and Bracket in The Journal of
Indian Art, Vol. V, Nos. 38-45, 1894
KAPADIA, G. A. Timber Wealth of Maha Gujarat in Journal of the Gujaratf
Research Society, Vol. XVI, No. I, January, 1954
KIPLING, J. L. Punjab Wood Carving, in The Journal of Indian Art, Vol. I,
Part I, 1883

LANCASTER, CLAY Indian Influence on the American Architecture of the XIX Century
in Marg, Vol. VI, No.2, March, 1953
MAJMUDAR, M. R. Cultural History of Gujarat, 1965
O' DWYER, M. F. Wood ManuFacture in the Punjab in The Journal of Indian Art,
Vol. III, Nos. 25-32, October, 1890
RANDHWA, M. S. Flowering Trees, 1965
ROWLAND, BENJAMIN The Art and Architecture of India, Buddhist-Hindu-Jain, 1953
SmVESHWARKAR, LEELA The Decorative Use of Wood in The Hindustan Times, Sunday
April 12, 1959
SHORE, SURGEON R .. Wood Carving in Nepal in The Journal of Indian Art, Vol. IV,
Nos. 33-37, January, 1892
SMITH, VINCENT, A. A History of Fine Art in India and Ceylon, 1930
THURSTON, EDGAR Wood Carving in Southern India in The Journal of Indian Art
and Industry, Vol. X, Nos. 81·88, October, 1904
107
108 BlBLlOGRAPHY

TREASURYWALLA, B. N. Wood Sculpture from Guzerat in Rupam, July-October, 1928

WALES, J. A. G. A Monograph on Wood Carving in lhe Bombay Presidency, 1902

WATT, SIR, GEORGE Wood-work in Indian Art at Delhi, 1903

Encyclopaedia Americana, Vol. XXVI

Encyclopaedia Britannica, Vol. II, 1965
Encyclopaedia of the Social Sciences, Vol. II and XIII
Gazetteer of Bombay State (Revised Edition)
General Series, Vol. A, Part II, Timbers, 1957
The Imperial Gazetteer of India, The Indian Empire
1. Vol. III, Economic, 1908 .
2. Vol. VII, 1908
The Journal of Indian Art, 1884-1886, Embracing the Colonial
and Indian Exhibition, 1886
Drawings by students of the Bombay School of Art, in The
Journal of Indian Art, Vol. VI, Nos. 46-53, January, 1896
Wood Sculptures of India, Desk Diary 1965 of Tata Industries
Private Limited

GUJARATI
DAVE, KANAIYALAL BHAISHANKAR Patananun Anupam Kashta Shi/pa in Navchetan, Divali issue,
October, 1965

DESAI, DR. HARIPRASAD VRAJRAY Jeevan Sangeet, 1935

JOTE, RATNAMANIRAV BHIMRAV 1. Gujaratnun Patnagar Ahmedabad, 1929
2. Gujaratnun Vahanvatun
NANAVATI, JAYENDRA AND DHANKI, Gujaratnun Kashtha-Sthapatya in Kumar, No. 489, September,
MADHUSUDAN 1964
NAVAB, SARABHAI Jain Chitra-kalpa-druma, 1935
SANDESARA, DR. BHOGILAL, J. Gujamt Vishe Ibn Batuta in Navchetan, Divali issue, October,
November, 1963
SOMPURA, KANTI Gujaratnun Kashta Shi/pa Sthapatya in Lokbharati, 1959

SANSKRIT

VARAHMIHIR Brihat-Samhita, TR. JOSHI, RAMASHANKAR MUKTASHANKAR, 1965

MALLA Parimana Manjari or Kashta Map Sangraha, TR. GOSAI, NARAYAN

BHARATI YASHVANT BHARATI, 1912

SHANKARACHARYA Saundarya Lahari

Rajvallabh, TR. GOSAI, NARAYAN BHARTI YASHVANT BHARTI, 1924

 GLOSSARY

A D-coTltd.

Ajkarna - Name of a tree; Vateria inclica Dhinchaniya . -.- Knee-rest

Ajolo - A carver's tool for dra.wing a. circle Dholia - A bedstead
Akhand saubhagya - Unbroken marital bliss Dilcpala8 - Guardians of the qUartet's
Ambli - Tamarind tree; Tamarindus indica Divi --- A lamp-stand
Ambo - )Iango tree; ""'-angiJera indica Dudhi -- Lagenaria vulgaris tree
An-gul .- A finger; a linear meas~re
Anjan - Hardwickia binata tree F
Apsara .- A celestial nymph Farma - A stencil
Farsi - A chisel
Ar - A type of chisel
Arani _ A tL-ee of which the wood is used for kindling G
the "acrificial fire; Olerodendron phlomoides
Gajagamini -. A woman with majestic gait of an elephant
Arjun - Terminalia arjwta tree
Gaja thar - A f"ieze of elephants carved in temples
Asopalav - Polyalthia longifolia tree Galefas - An inst,l·ument to meaSUre diameter
Gar - Heart-wood
B Geru - Red ochre
Ghani -_ An oil press
Babul - Acacia arabica tree Ghar derasar -- Household shrine
Baheda - Terminalia belerica tree GhatpaUav ~~ Pot and foliage
Bajoth - A low stool Ghee -- Clarified butter
Bansi - A flute Ghughra -- Small bells
Bawa - An ascetic Goti1o -- A mallet
Bhaktimarga - 'rhe path of devotion Gu1er ---- FicuB glomerata tree
Bhatwari - A woman who carries food to the farmer
Gur -~. Molasses
working in the field
Guru -_. A preceptor
Bio -- Pterooarpus marsupium tree
Bilu - Demon B
Butta· - Small floral motif used in embroidery
Hado - A part of a cart
Haldarvo - Adina cord;folia tree
c
Hansa - A swan
Okaitya - Original1y a tumulus; a Buddhist temple Hathodi _.- A hammer
Ohamar - A fly whisk H ave1i - A mansion
Champah - Name of a tree and its yellow fragrant Hooka -_. A huble-bubbJe; a long stemmed Iilmoking pipe
flowor; Michelia champaca
1
Chapati - Bread
Ohavi - A screw-driver; a key
Ja1i -- Lattice; pierced 0'· perforated pattern
Ohe~tah - A panther
Jharukha - A balcony
Ohhadi - A nosegay of flowers bound in a cluster at the
Jhula - A swing
top of a. stick; a sceptre; a. mace; a cane; a switch;
a ratan
K
D
Dal .- Pulse Kadam - AnthrocephaluB cadamb tree
Damachia - A wooden stand for keeping mattresses Ka1ash --~ A pot which is an auspicious symbol
Dandia ras -A kind of folk-dance Kali-chuna - Lime
Dari - A mattress; carpet Kamangiri - Wood work done on hand turned lathe
Darshan - Sight ; glimpse of the deity in an attitude of Kangara --CrenuJations
reverence and prayer Kanjhi Pongamia glabra tree
Deodar - A species of pine; dealwood; Oedrus deodara Karvati _. A saw
Derasor -- A temple Kegar .- Acacia jerrunginea tree
Dev darbar . __ The court of !fod" Khadi -- Chalk
Dev dravya - W",,-tth dedic>lted to t,h"! doitv Kharadi - A turner, an artisan making lathe turned
Dharm-chakra - The wheel of rt'J;gioll lacquered ltl'ticlt'S
DhofJ -- Anogei981U lat;!Qlia tree Kher -~ Acacia catechu trl"e
109
110 GLOSSARy

X-comd. P-comd.

Kichaka -...- A dwarf human figuro carved in capital of a Puja - Ceremonial worship
pillar Purdah - A veil; the custom of veiling the face by women
Kinnar -~ A celestial musioian of certain communities
KOlka ~ Large r,,~eptacle for storage made of clay or wood R
L Ramzi - Red ochre
Randho - A plane
Lakadiyu -- A wooden box for keeping spices Rang M andap - Assembly han in the front of a shrine
Lanckhan·~ A symholical mark of a Jain Tirthankar where devotees congregate
Limbdo - Nim tree Raj darbar - A royal court
Limbodi - Nim fruit Raym, - ManiEkana hexandra; Minusops htxandro tree
Linga - 'I'he phallic representation of Lord Shiva Rohira - Tecoma unduloJ.a tre ..
Rup - Ornamental work
s
Madal - A bracket on a pillar Sad/ttl - Au ascetic
Mahudo -_ Madhuka indica; bassia lat,jolia tree Sa(J - Teak; Tectona grandis tree
Makdi - A device for drawing an ohlong Sajad - Terminalia tomentosa; Terminalia glabra tree
Mandap -- A large hall; the hall in front of the inner Sal- Shorea robusta tree
sanctum of a shrine Sata! - A stone cutter; a stone-mason
Manjira - Small cymbals Samadi -Prosopis spicigera tree
Mantra - An incantation; a formula sacred to a deity; Sangamachi --A low chair
a spell or enchantment Saral ~- Pinus longifolia tree
Mistri - A m.18ter craftsman among carpenters Sarangi--A fiddle, violin
Mqrli - 'I'he peacock elaborat,ion Sarasdo-Albizzia lebbeck tree
Mugto - A silken garment Worn like dhom Sa,re.sh- ReSin
Muhurta - Auspicious moment Sari,- A garment worn by women
Muktamala - A string of pearls Sarj - Sal; shorea robusta tree
Sat yam - Truth
N Seuan ~- G-melina arborea tree
Shardi - A contre bit; a drill
Nari-kunjar - A composite elephant made up of female Shehnai - A kind of musical instrumen.t; pipe
figures Shi'vam -- Goodness
N atrun - Remarriage of a -widow Shriganda -~ Sandalwood, santaZum album
Nau-khania - A wall cupboard with nine compartments Shriparnika -- Sevan tree
Nim - A..zadirachta indica tTl'e Sidhu --- Uncooked food materials
Sinha -- A lion
o Sinhasan - A throne
Otta - Platform Si8am ~ Blackwood; Dalbergia lati!olia or Dalbergia Si8800
tree
p Sitar·- A guitar with many strings
Stupa -- A Buddhist tumulus enshrining a relic, sometimes
Padmak - Prunus pullum tree built to commemorate somo sacred site
Pa!ang -Name of a wood; sappan wood; caesalpinia Sukh-8haiya - A festal couch or bed
sappan tree Sundaram _- Beautiful
Paghadi - A turban Sursundari -~ A celestial woman
Pakh"aj - A type of drum Sutho.r . ~ A carpenter
Panas - Jack-fruit Svabhav - Nature; temperament
Panch -Headmen of a caste or community Swastik - A cross with arms bent at a right angle; an
Pania - Chisels auspicious sign of Hindus
Paniara - A stand for keeping water pots
Pat - A large wooden seat T
Pathri - A hone
Patla - A low wooden seat Tabla - A trobble
Pauva - Rice parched and beaten flat Takhte taus -- Mayurasan; the peacock throne
Pichha'lJai -~ An ornamented cloth kept as a background Tambur - A musical instrument with four strings
to the idol Tankna - Gouges
Pinjra - LaM,ice work Tavdan - A pane of glass;" glazed door or window;
Pipal - Fic1<8 religiosa tree a seat resembling a palanquin; a writing box
Prad"kshina -GOing round the image of a deity in worship Tim/Jaran - Diospyros tupru tree
Priyak - Bio; pterocarpus marsupium tree Tirthankar - One of 24 incarnations of .Jains
 GLOSSARY 111

T-cotltd. V-contd.

Todla ~ A seotion of the door-frame protruding out of the Vanslo ~ An adze

wall Ve8hya - A prostitute
Toran - A festoon; an arch on the gateway Vihara - Buddhist monastery
Thala - A basin V.Zayat - England
Thapdo ~ A mallet Viman - An aeroplane
Tribhanga - Triple curve Vina - A musical instrument
Tran-khania -- A wall cupboard with three compartments Vindhna - Gouges
T-ulsi- The basil plant; Ocirnurn sanctum

V y

Vad or vat - The Indian fig treo; F'icus indica

Vahana - A vehicle; carrier of a deity Yaksha - A class of demi-gods or minor deitic8
 INDEX
( JI'igure8 indicate page numbers in the terce)
A G

Anoient treatises. 13, '8 Ghar tkrasar, 44

Architecture, 38 Gold and silver plat ing, 49
-Ancient treatises, 38 H
_Distinction between house and temple, 40
-Ghar deraaar, 44 Household a.rtioies, 45, 63
-House, 40, 41 I
Door, 41
Iconography, 54
Jharukha, 42
Madal, 39, 42 1
Pillars, 42
Windows, 41 Jali or pierced lattice work, 43, 44
-Household articles, 45 Jain Mandap in Baroda Museum. 1>1
-Iconography, 54 James, Sir Henry, E. M., 10. 14,61, 62
-Jali work, 43, 44 L
-Modern trends, 45
-Pigeon hous".. , 44, 45 Lacquer work, 49
-Temples, 42
Arch, 43
Dome, 43 Marquetry, 49
Rang mamlap, 4:l Mulchund Hathising, 61
( See Temples)
-Use of stone, 39
o
-Use of wood. 39, 41 Ornamentation, 54
Art, 52 -Flora. S5
-Architectural style, 52 Danian tree, 55
-Designs, 4, 39,43 -Fauna, 55
-Hindu 52, 53 Elephant, 56
-Influence of religion, 52, 58 Lion, 56
- I n temples, 54 Mixed animal forms, {)7
Pa~rot, 56
~Tain, 52, 53
-Ornamentation 54, Peacock,55
( See Ornamentation) SWOLn,56
-Periods, 52 p
-Saracenic or Muslim influence, 52 Painting, 48
-Symbolistn, 57 Parabadi or pegion bouse, 44, 45
Artisan, 28 Pipal, 1
-Biography, 33
B
-Castes, 28, 33
-Customs, 33 Regional characteristics, 6
-Education, 35 -Burma and Nepal, 7, 8
-Skilled artisan, 33, 62 -Eastern India, 7
-Training, 29, 35 -Madhya. Pradesh, and Uttar
--Wages, 32, 36 Pradesh, 6
-Working conditions, 32, 36 -Northern India, 6
B -South India, 7
-Western India, 7
Block engraVing, 49
Bombay firms of oabinet makers, 61 s
D
De Forest, Lockwood. 61 Samad.i, 1
Designs Shipbuilding, 50
-Lattice, 43 Somnath and Chaku Bhuuer, 62
-Terracota, 4 Style, 52
-Wood carvin~, 39 -Hindu, 52, 53
Dev-ni-mori, 4, -Jain, 52, 53
_Mu"li01,52
F
Finish,32 SyDlbolism. 57
118
(nk) Y-3-15
114 IN D E X

T T-contd.
Technique, 30, 63 Tree worship, 1
Temples with wood wOl'k, 5, 4;\ 40 -Pipal,l
-Ahmedabad, 45,46,47, 48 -Samudi, I
Ajitnath, 47 - TullIi tJivah, 1
Chintamani. Sahasrafaua and Jagvallabh - Vat Savitri 1'1.100,»,
Parasnatb, 42, 46, 47
Parshwanath, 47 u
Shantinatb, 46, 46 Uda Mehta. 4
Suparshwanath, 48
Vasupujya and Shitalnath, 47 v
-Baroda
Mandap in Museum, 46, 51 Vat Savitri Pujan, 1
-Crunbay, 48 w
-Palitana, 4, 48
-Patan, 46. 48 Wimbridge, 61
Rusbabhdev, 4.8 Wood, 1,9
Wa<li Parasnat,h, 46 -As mediwn, 1, 9
-Radhanpur, 48 -As raw material, 9
-Surat,47 -Convenience of use, 5, 53
Chintamani Parasnath, 47 -Preference fOl' use, 39
Timbers, 9, 15 -Selection, 9. ]3
_Auspicious. 13 -Trees, 9, 13, 15
-Classification according to uses, 15 -Uses, I
-Important timbel's ( See Timbers)
Babul, II, Hi Wood work
Rio, 20 -Antiquity of, 3, 40
Blackwood or sisam, 10,17 -Appreciation by foreigncl"", no
Haldarvo, 11, 16 -Future, 59
Kegar, 16 -In international exhibitions, (j 0
Makuda, 19 -In temples, 5
Mango, 11, 19 -Other branches, 48
Nim, 12, 1'1 Block engraving, 49
Rayan 20, Gold and silver plating. 49
Sajad,23 Lacquer work, 49
Sandalwood, 11, 21 Marquetry, 49
Sevan,9.12 Painting, 48
Ta.nal'ind. 21 Shipbuilding, 50
Teak. 10, 22 ( See Architecture)
-Ritual befol'8 felling, 13 -Preservation and protection. 63
-Seasoning. 14 -Revival, 62
-Selection, 9,12 -Set back, 59
Tools, 28 -Technique, 30, 63
 LIST OF AGENTS FOR THE SALE OF GOVERNMENT OF INDIA PUBLICATIONS
AS ON 17-2-1964
AGARTALA- S. S. Book Emporium, 118, Mount Joy Road
The Bangalore Press, Lake View, Mysore Road,
Laxmi Bhandar Books & Scientific Sales (Rl P. O. Box 507
AGRA- The Standard Book Depot, Avenue Road
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Banwari Lal Jain, Puhlishers, Moti Katra (R) International Book House Private Ltd., 4-F, Mahatma
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V. T. Jorukar, Prop., Rama General Stores, Navi BAREILLY-
Path (R) Agarwal Brot,hers, Bara Bazar
AHMEDABAD- BARODA-
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Chandra Kant Chiman Lal Vora, Gandhi Road Good Companions Booksellers, Publishels & Sub-
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Sastu Kitab Ghar, Near Relief Ta.lkies,PaUhar Kuva, BEAWAR-
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Dr. Dadabhai Naoroji Road KaiIash Law Publishers, Sector 22-B (R)
Thacker & Co., Rampart Row
~. M. Tripathi Private Ltd., Princess Street CHHINDWARA-
The Kothari Book Depot, King Edward Road The Verma Book Depot (Rl
P. H. Rama Krishna & Sons, 147, Rajaram Bhuvan,
Shivaji Park Road No. 5 (R) COCHIN-
C ..Jamnadas & Co., Booksellers, 146-0, Princess St. Saraswat Corporation Ltd., Palliarakav Road
Indo Nath & Co., A_6, Daulat Nagar, Borivali
Minerva Book Shop, Sho,", No. 1/80,]S. S'lbhas Road CUTTACK-
Academic Book Co., Associat·ion Building, GirgaUlll Press Officer, Orissa Sectt.
Road (R) Cuttack Law Times
Dominion PubJishorB, 23. BoJJ Building, Bir P. M. Prabhat K. Mahapacra. Manss1abBg, P. B. 35
Road (R) D. P. Sur & Sons, Mangalabag (R)
Bombay National History Socit'ty, 91. Walkeshwar Utkal Stores, Balu Bazar (R)
Road (R) DEHRADUN-
D()warn3.d(~o & Co., 16, Naziria Building, Ballard
Jugal Kishore & Co., Rajpur Road
Estate (R)
National News Agency, Paltan Bazar
Asian Trading 00., 310, the Miraball, P. B. 1505 (R) Bishan Singh and Mahendra Pal Singh, 318,
OALOUTTA- Chukhuwala
Ohatterj"l6 & Co., 311, Bacharam Chatterjee Lane Utam Pustak Bbandar, Paltan Bazar (R)
Dass Gupta & 00., Ltd., 54/3, College Street DELHI-
Hindu Library, 69 A, Bolaram De Street J. M. Jaina & Brothers, Mori Gate -
S. K. Lahiri & Co., Prh'ate Ltd., Oollege Street Atma Ram &. Soos, Kashmere Gate
M. C. Sarkar & Son!;! Private Ltd., 14, Bankim Federal Law Book Depo" Kashmere Gate
Chatterjee Street Bahri Bros., 188, Lajpat Rai :Market
W. Newman & Co., Ltd., 3, Old Court House Street Bawa Harkishan Dass Bedi (Vijaya General Agencies)
Oxford Book and Si;atiouery Co., 17, Park Street P.B. 2027, Ahata Kedara, Chamalian Road
R. Chambray & Co., Ltd., Kent House, P. 33, Mission Book·Well, 4, Bant Narankari Colony, P. B. 1566
Road Extension Imperial PUblishing Co., 3, Faiz Bazar, Daryaganj
S. C. Sarkar & Sons Private Ltd., I.C. College Square Metropolitan Book Co., I, Faiz Bazar,
Thacker Spink & Co., (1933) Private Ltd., 3, Esplanade Publication Centre, Subzimandi
East Youngman & Co., Nai Sarak
Firma K. L. Mukhoparlhaya, 6/1A. Banchha Ram Idian Army Book Depot, 3, Daryagallj
Akrar Lane All India Educational Supply Co., Shri Ram Buildings
K. K. Roy. P. Box No. 10210, Caloutta-19 (R) Jawahar Nagar (R)
Sm. P. D. Upadhyay, 77, Muktaram Babu Street (R) Dhanwant Medical &. Law Boc.k House, 1522,
Universal Book Dist., 8/2, Hastings Street (R) Lajpat Rai Market (R)
Modern Book Depot, Chowringhee Centre (R) University Book Honse, 15, U. B. Bangalore Road,
Soor & Co., 125, Canning Street Jawahar Nagar (R)
S. Bhattacharjee, 49, Dharamtala Street (R) Law Literature House, 2646, Balimaran IR)
Mukherjee Library, 10, Sarba Khan Road Summer Brothers, P. O. Birla Lines (R)
Current Literarure Co., 208, Mahatma Gandhi Road Universal Book & Stationery Co., 16. Netaji
The Book Depository, 4/1, Madan Street (1st Floor) (R) Subhash Marg
Soientifio Book Agenoy, Netaji Subhash Road IR) B. Hath & Bros., 380R, Charkhawalan (Chowri
Reliance Trading Co., 17/1, Banku Bihari Ghose Lane, Bazar) (R)
Distriot Howrah (R) Rajkamal Prakashan Private Ltd., 8, Faiz Bazar
Indian Book Di:<t. Co., 6512, Mahatma Gandhi Road (R) Premier Book Co., Printer&, Publisher!! & Booksellers,
Nai Barak (R)
CALlCUT- Universal Book Traders, 80, Gokhle Market
Touring Book Stall (R) Tech. & Commercial Book Coy., 75, Gokhle
Market (R)
CHANDIGARH- Saini Law Publishing Co., ]4l6, Chabiganj,
SUperintendent, Government Printing & StationcrY, Kashmere Gate (Rl
P.tnjab G. M. Ahuja, Booksellers & Stationers, 3('9. Nehru
.fain Law Agenoy, Flat No.8, Sector No. 22 Bazar (R)
Ramo, News Agenoy, Booksellers, Sector No. 22 Sat Narain & Sons, 3141 Moho. Ali Bazar,
Universal Book Store, Rooth 25, Sector 22·D Mori Gate
it
 List of Agents·contd.

DELHI·coned. JABALPUR-
Kitab Mahal (Who,lelilSle Div.) Private Ltd., 28, Modern Book House, 286, Jawaharganj
Faiz Bazar ~ational Book House, 133 Jai Prakash Nal'ain Marg (R
Hindu Sahitya Sanaa.. , Nai Sarak (R) JAIPUR-
Munshi Ram Manohar Lal, Oriental Book~ellors &
Governru"ut Printing ~and Stationery Department,
Publishers, P. B. 1165, Nai Sarak (R)
Rajasthan
K. L. Seth, SUpplier:! of Law, Commercial 'reall.
Bharat Law House, Booksellers & Publishers,
Books, Shanti Nagar, Ganeshpura (R)
Opp., Prem Prakash Cinema
Adarsh Publishing Service, 5A/IO. Ansari Road (R)
Garg BO'.Jk Co., Tripolia Bazar
DHANBAD- Vani Mandir, Sawai Mansingh Highway
hm .. 1Z Co.operative Stares Ltd., P. O. Indian School Kalyan ~1a.l & Sons, Tripolia Bazar (E)
of Mines Popular Book Depot, Chaura &3sta
NIlw Sketch Press, Post Box 26 (R) Krishna BOQk Depot, Chaum Rasta (R)
DHARWAR- Dominion Law Depot., Shah Building, P.B. No. 23 (H)
Tho Agricultural College Consumers Co·op. Society (R) JAMNAGAR-
Rame3hraya Book Depot, Subhas Road (R) Swedeshi Vastu Bhandar
Karnati¥aya Sahit.ya Mandira of Publishers and
Booksellers JAHSHEDPUR-
Amar Kitab Ghar, Diagonal Road, P. B. 78
ERNAKULAM-
GUpta Stores, Dhatkidih
Plio; & Ca •• Cloth Bazar Road (R)
Sanyal Bros.• Booksellers & News Agents, Bistapur
South India Traders C}o Constitutional Journal
Market (R)
IfEROZEPUR-
JAWALAPUR-
English Book Depot, 78, Jhoke Road
Sahyog BOQk Depot (R)
GAUHATI-
JHUNJHUNU-
Mokshada Pustakalaya
Shashi Kumar Sarat Chand (R)
GAYA-
Kapram Prakailhan Prasaran, 1/90 Namdha Niwas, Azad
Sahitya Sadan, Gautam Budha Marg Marg (R)
GHAZIABAD-
JODHPUR-
Jayana Book Agency (R)
Dwarka Das Rathi, Wholesale BOQks and NewB Agentl!!
GORAKHPUR- Kit-ab·Ghar, Sojati Gate
Vishwa Vidyalaya Prakashan. Nakhes Road Choppra Brothers, Tripolia Bazar
GUDUR-
JULLUNDUR-
The General Manager, The N.D.C. Publishing & Ptg.
Hazooria Bros., Mai Hiran Gate (R)
Society Ltd. (R)
Jain General House. Bazar Ban!!anwala
GUNTUR- University Publishers, Railway Road (R)
Book Lovers Private Ltd., Kadriguda, ChOWTasta
KANPUR-
GWALIOR-
Advani & Co., P. Box 100, The Mall
Superintendent, Printing & Stationery, M. B.
Sahitya Niketan, Shradhanand Park
Loyal Book Depot, Patankar Bazar, I_aahkar
The Universal Book Stall. The Mall
M. C. Daftari, Prop. M. B. Jain & Bros.,
Raj Corporation, Raj House, P. B. 200. Chowk (R)
Booksellers, Sarafa, Lashkar (R)
KARUR-
HUBLI-
Shri V. Nagaraja Rao, 26, Sriniva88pura.m (E)
Pervaje's Book House, Koppikar Road
KODARMA-
HYDERABAD-
The Bhagwati Press, P,O. Jhumri Tilaiya, Dt
Director, Government Presl!!
Hazaribagh
The Swa..aj Book Depot. Lakdikapul
Book Lovers Private Ltd. (R) KOLHAPUR-
Labour L"w Publications, 873, Sultan Bazar (R) Maharashtra Qranth Bhandar, Mahndwar Road (R)
IMPHAL- KOTA-
Tikendra & Sons, Booksellers (R) Kota Book Depot (R)
INDORE- KUMTA-
Wadhwa & Co., 56, :!\f. G. Road S. V. Kamat, Booksellers & Stationers (N. Kanam)
Swarup Brother's, Khajuri Bazar (R)
Madhya Pradesh Book Centre, 41, Ahilya PUra (R) LUCKNOW-
Modern Book House, Shiv Vilas Palace (R) Soochna Sahitya Depot ( State Book Depot)
Navyug Sahitya Sadan, Publishers & Booksellers, Balkrishna Book Co .. Ltd., Hazratgan
lQ, Khajuri Bazar (R) British Book Depot, 84, Hazratganj

iii
 List of ~ents-contd.

LUCKNOW -colltd. Geeta Book House, Booksellers & Publishers Krishna.

murthipuram (R)
Ram Advani, Hazratgani, P. B. 154
Universal Publishers {PI Ltd., Hazrutgan.i News Paper House, J.ansdowne Building (R)
Indian Mercantile Corporation, Toy Palace
Eastern Book Co., Lalbagh Road
Ramvilas (R)
Civil &; Military Educational Stores, 106/B Sadar
Bazar (R) N!\'DIAD-
Acquarium Supply Co.,. 213, Faizabad Road (R) B. S. Desay, Station Boad (R)
Law Book Mart, Amin.Ud-Daula Park (R) NAGPUR-
Superintendent, Government Press & Book Depot
LUDHIANA-
Western Book Depot, Besidenoy Road
Lyall Book Depot, Chaura Bazar
The Asstt.. Secretary, Mineral It,dustry Association,
Mohindra Brothers, Katcheri Road (R) Mineral House (R)
Nanda Stationery Bhandar, Pustak Bazar (R)
NAINITAL-
The Pilarm .. cy New", Pindi Street (R)
Coural Book Depot, Bars. Bazar (R)
MADRAS-
NANDED-
Superintendent, Government Press, Mount Road Book Centre, College Law General Books, Station
Account Test Institute, P. O. 760 Emgore Boad (B)
C. Subbiah Chetty &; Co., Triplicane Hindllstan General Stores, Paper &; Stationery
K. Krishnamurty, Post Box 384 Merchants, P. B. No. 51 (R)
Presidency Book Supplies, 8, Pycrofts Road, Triplicane Sanjoy Book Agency, Vazirabad (R)
P. Vardhachary &; Co., 8, Linghi Chetty Street
NEW DELHI-
Palani Parchuram, 3, Pycrofts Road, Triplicane
Amrit Book Co., Connaught Circus
NOBH Pl'ivate Ltd., 119 Mount Road (B)
Bhawani &; SOIlS, 8-F, Connaught Place
V. Sadanand, The personal Bookshop, 10, Congress
Building", Ill, Mount Road (R) Central News Agency. 23/90. Connaught Circus
Empire Book Depot, 278 Aliganj
MADURAI- English Book Store, 7-L, Connangbt Circus P.O. B. 328
Oriental Book House, 258, West. Masi Street. Faqir Chand &; Sons, 15-A. Khan Market
Vivekananda Preas, 48, West Masi Street Jain Book Agency, 0-9, Prem House, Oonnaught Place
MANDYA SUGAR TOWN- Oxford Book &; Stationery Co., Scindia House
K. N. Narimhe Gowda &; Sons (E) Bam Krishna & Sons (of Lahore) 16/B, Connaught Place
Sikh Publishing House, 7-0, Connaugbt Place
MANGALORE- Suneja Book Centre, 24/90, Connaught Circus
U. ·R. Shenoye Sons, Car Street, P. Box 128 United Book Agency, 31, MUnicipal Market,
MANJESHWAR-- Connau~ht Circus

Mukenda Krishna Nayak (R) Jayana Book Depot, Chhaparwala Kuan, Karol Bagh
Navayug Traders, DeshBandhu GUpta Road, DevNagar
MATHURA-
Sara-swati Book Depot, 15, Lady Harding Road
Bath &; Co., Tilohi BUilding, Bengali Ghat (R) The Secret,ary, Indian Met. Societ~', Lodi Road
MEEBUT- New Book Depot. Latest Books, Periodicals, Sty. &
Prakash Educational Stores, SUbhas Bazar Novelles, P. B. 96. Connaught Place
Hind Chitra Press, West Kutchery Boad Mehra. Brothers, 50-G, Kalkaji
Loyal Book Depot, Chhipi Tank Luxmi Book Stores, 42 Janpath {R}
Bharat Eduoational Stores, Chhippi Tank (B) Hindi Book House, 82, Janpath (R)
Univeraal Book Depot, Booksellers &; News Agents (R) People Publishing House (P) Ltd .• Rani Jhansi Road
R. K. Publishers, 23, Beadon, PUra, Karol Bagh CR)
MONGHYR-
Sharma Bros., 17, New Market, Moti Nagar
Anusandhan. Minerva Press Buildings (R)
Aapki Dukan, 5/5777, Dev Nagar (R)
MUSSOORIE- Sarvodaya Service, 66A-l, Rohtak Road, P. B. 2521(R)
Cambridge Book Depot, The Mall (R) H. Chandson, P. B. No. 3034 (B)
Hind Traders (R) The Secretary. Federation of Association of Small
MUZAFFARNAGAR- Industry of India, 23-B/2, Rohtak Road (R)
Mittal &; Co., 85·C, New Mandi (R) Standard Booksellers &; Stationers, Palam Enclave (Rl
B. S. Jain & Co., 71, Abupura (B) Lakshmi Book Depot, 57, Regarpurs (R)
Sant Ram Booksellers, 16, New Municipal Market
MUZAFFABPUR-
Lody Colony (R)
Scientific &; Educational Supply Syndicate
PANJIM-
Legal Corner, Tikmanio House, Amgola Road (R) Singhals Book House P.O.B. 70 Near the Church (R
Tirhut Book Depot (B) Sagoon Gaydev Dhoud, Booksellers, 5.7 RUa. 3 Ido
MYSORE- Jameria (R)
H. Venkataramiah &; Sons, New Statne Cirde PATHANKOT-
Peaples Book House, Opp., Jagan Mohan Palace The Krishna Book lJel'Ot. Main Bazar (R)

Iv
 List of A,geuts-eQntd.

PATIALA- SHILLONG-
Superintendent, llhupendra Slate Pless The Officer.in-Charge, Assam Government, B. V.
Jain & Co., 17, Shah Nashin Bazar Chapla Bookstall, P. B. No.1 (R)
PATNA- SONEPAT-
Superintendent, Government Printing (Bil",r) United Book Agency
J. N. P. Agarw,ol & Co., Pndri.Ki.Haveli Haghu.
SRINAGAR-
nath Bhawan
Luxmi Trading Co., Padri·Ki.Haveli The Kashmir Bookshop, Residency Road
Moti Lal Banarsi Dass, Bankipore SURAT-
Bengal Law House, Chowhatta (R)
Shri Gajanan Pustakalaya, Tower Road
PITHORAGARH- TIRUCHIRPALLI-
Maniram Punetha & Sons (R) Kalpana Publishers, Wosiur
PONDICHERRY- S. Krishnaswami & Co., 35, Subhssh Chander Bose
Mlfj. Honesty Book House, I} Rue Duplix (R) Road
Palamiappa Bros. (R)
POONA-
Deccan Book Stall, Deccan Gymkhana TRIV~<\NDRUM-
Imperial Book Depot., 266, M. G. Road International Book Depot, Main Road
International Book Service, Deccan Gymkhana Reddear Press & Book Depot, P. B. No.4 (R)
Raka Book Agency, Opp., Natu's Chawl, Near Appa
TUTICORIN-
Balwant Chowk
Utility Book Depot, 1339, Shivaji Nagar (R) Shri K. Thiagarajan, 10·C. French Chapal Road (R)

PUDUKOTTAI- UDAIPUR-
Shri P. N. Swaminathan Sivam & Co., East Main J'agdish & Co., Inside Surajapole (R)
Road (R) Book Centre lUahaTana, Bhopal C"n8umeIs' Co.o!'
RAJKOT- Society Ltd. (R)
Mohan Lal D08s"bh"i Sh"h, Booksellers and Sub·Agentfi UJJAIN-
RANCHI- Manek Chand Book Depot, Sati Gate (R)
Crown Book Dep(,t. Upper Bazar VARANASI-
Pustak Mah"l, Upper Bazar (R)
Students Friends & Co, Lanka (R)
REWA- Chowkhamba Sanskrit Series Office, Gopal Mandir
Suparinteadent, Government ..State Emporium V. P. Road, P. B. 8
ROURKELA- Glob Book Centre (R)
The Rourkela Review (R) Kohinoor Stores, University Road, Lanka
SAHARANPUR- B.H.U. Book Depot (R)
Chandra Bharata Pustak Rhandar, Court Road (R) VELLORE-
SECUNDERABAD- A. Venkatasubhan, Law Booksellers
Hindustan Diary Publishers, Market Street VIJAYAWADA-
SILCHAR- The Book & Review Centre, Eluru Road, Governpet (R)
Shri Nishitto Sen. Nazirpatti (R) VISAKHAPATNAM-
SIMLA- Gupta Brothers, Vizia Building
Superintendent, Himachal Pradesh Government Book Centre, Il/97, Main Road
Minerva Book Shop, The Mall The Secy. Andhra University, General Co-op. Storell
The New Book Depot, 79, The Mall Ltd. (R)
SINNAR- VIZIANAGRAM-
Shri N. N. Jakhadi, Agent, Times of India, Sinnar Sarda & Co. (R)
(Nasik) (R) WARDHA-
Swarajeya Bhandar, Bhorji Market
Government of India Kitab Mahal'l
Janpath, Opp., India Coffee House,
New Delhi }-For local sales High Commissioner for India in London, Indiu
Government of India Book Depot, I , House, London. E. C. 2
8 Hastings Street. Calcutta J

v
 List of Agents.CQn~ld.

Railway Book-stall holders Foreign

SIS. A. H. Wheeler & Co., 10, Elgin Road, Allahabad SIS. Education Enterprise Private Lt,l., Kathumandu
(Nepal)
SIS. Aktie Bologat, C. E. Fritzes Kungl, Hovobokhandel,
Gahlot Bros., K. E. M. Road, Bikaner Fredsgation-2 Box 1656. Sto<.:kholm-16, (Sweden)
Reise-und Verkehrsve.rlag Stuttgart, Post 730, Guten·
bergetra 21, Stuttgart No. 11245, Stuttgart den
Higginbothams & Co., Ltd., Mount Road. Madras (Gormany West)
Shd lswar Suoramanyam 452, Reversite Driv Apt. 6,
New York, 27 N WY
M. Gulab Singh & SOilS, Private Ltd .• Mathura Road, The Proprietor, Bollk Centre, L .. kshmi Mal1~ions, 411,
New Delhi The Mall, Lahore (Pakistan)

(On S & R BaSis)

The Head Clerk, Govt. Book Depot, Ahmedabad The Registrar of Companies, Mahatma Gandhi Road
The AHstt. Direotor, Extension Centre. Kapilesbwar West Cott, Bldg. p. B. 33 •• Kanpur
Road, Belgaum
The Registrar of Companies, Everest 100, Marine Drive
The Employment Officer, Employment Exohange. Dhar Bombay
The Asstt,. Direotor, Footwear Extension Centro. Polo
The RegistIar of Companies, 162, Brigade Road
Ground No.1, Jodhpur
Bangalore
The Officer I/C., Ex..ensioll Centre, Club Road,
MUl:affarpur The Regist.rar of Companies, Cwalior
The Director, Indian Bureau of :\{ines, Govt. of India, Asstt. Director, Extension Centre,llhuli Road, Dhanbad
Ministry of Mines & Fuel, Nagpur Registrar of Companies, Orissa, Cuttack Candhi,
Cuttaok
The Asst". Dir"ctor, Industrial Extension Centre, The Registrar of Companies, Gujarat, State, Gujarat
Nadiad (Gujarst) Samachar BUilding, Ahmedabad
The Head Clerk, Photozlllcographic Press, 5, Finance Publication Division, Sale>; Depot, North Block, New
Delhi
Road, Poona
The Development Commissioner. SmallSoalelnd'WItries,
Government Printing & Stationery. Rajkot New Delhi
The Officer I/C., Extension Centre, Industrial Estate. The Officer ljC., University Employment Bureau.
Kokar, Ranchi Lupknow
Officer I/C .• S. I. S. 1. Extension Centre, Maida
The Director, S. I. S. 1. Industrial Extension Centre,
Offioer I/C., S.1. S. 1. ExtenSIOn Centre, Habrll~
Udhna, Surat
TabalUria, 24 Parganas
The Regi'ltrar of (;ompauies, Narayani Building, 27. Officer I{C., S. 1. S. I. Model Carpentry Workshop, Piyali
Erabourne Road, Calcutta-l Nagar, P. 0_ Burnipur
The Registrar of Companies, Kerala, 50. Feet Road. Officer lIe., s. 1. S. I. Chrontanning Extension Centre
Ernalmlam Tangra 33. North Topsia Road. Calcutta-46

Tho Registrar of Companies, H. No. 3-5-S3, Hydergud".

Officer rIC.. s. 1. S. I. Extension Centre, (Footwear)
Calcutta
Hyderabad
Asstt. Director, Extension Centre, Hyderabad
Rogiatrar- of Companies, Assam. Manipur and Tripura.
A>!stt. Director, Ext.ansion Centre, Krishna Distt. (A.P.)
Shillong
Registrar of Companies, Sunlight Insurance Building. Employment Officer, Employmt'nt Exchange, .Thabua
Ajmeri Gate Extension, New Delhi Dy. Director Incharge, S. I. S. I., Clo Chief Civil
The Registrar of Companies, Punjab and Himachal Admn. Goa, Panjim
Pradesh, Link Road, Jullundur City The Registra!' of Trade Unions, Kanpur

Registrar of Companies, Bihar. Jammal Road, Patna.l The Employment Officpr, Employment Exchange,
Gopal Bhavan Mornia
Registrar of Companies, Raj, & AjmH; Shri Kamta
The Offieer liC., State Information Cf'Iltrf'. Hyderabad
Prasad House, 1st Floor, • C' Scheme, Ashok Marg.
Jaipur The Registrar of Companies, Pondieh€'rr~

The Registrar of Companies. Andhra Bank Building, The Asstt. D;rector of Publicit:.' and Information,
6 Linghi Chatty Street, P. B. 1530. Madras Vidhana Sanbha (P _ B. 271) Banglore

vi