The tradition of stone carving in India
For thousands of years, sculptors and architects in India have used stone because of its durability. Until 2500 some years ago, craftsmen used softer materials such as wood and ivory until stone artisans matured, learning to replicate designs from the former mediums in rock.
In Gujarat, two stone carving traditions emerged, one based on the Shilpa Shastras (the sacred guidelines for art and architecture) and the other on village traditions. Noble patrons commissioned formal buildings, but regional folklore influenced stone carvings of local shrines. Designs such as Chattaris (memorial canopies), hero stones (commemorating individuals who suffered an honorable or sudden death), and Sati stones (to honor those women who burned themselves on the funeral pyre of a deceased husband as a mark of respect) had were rooted in regional traditions.
Gujarat in stone
Gujarat abounds in a variety of stones that are ideal for carving and construction. Stone artisans from the Sompura community trace their origins to Aparajita, the son of heaven’s architect, Vishwakarma. Most Sompuras are settled in Palitana, Halvad, Dhrangadhra, Wadhwan, Vadnagar, and Visnagar. Their choice of stone includes the sandstone of Dhrangadhra, the limestone of Porbandar, and the marble of Himmatnagar and neighboring Rajasthan.
Stone carvers are venerated because the act of carving a deity’s likeness is considered sacred. In Gujarat, stone carving is still a vibrant profession because temple building has never ceased. The Jain community continuously entrusts Sompuras with the repair and maintenance of their temples.
Solanki and Sultanate influence
The tradition of stonework in Gujarat evolved dramatically during two major periods: under Solanki rule (942-1304) and during the Sultanate reign (1403-1573). The Solanki bolstered Gujarat’s golden era and defined an epoch when temple architecture climaxed. The inverted beehive-shaped Shikhara grew more elaborate and refined. Carvings of abstract, floral, and animal motifs profusely adorned the walls, columns, and ceilings. Figures of gods, goddesses, and other celestial beings decorated every niche. During the Solanki rule, Hindu and Jain temples were architecturally similar. It was under royal patronage that the latter started acquiring a discernible personality. The significant difference is the heavy use of marble in Jain temples, in contrast to the limestone and sandstone prevalent in Hindu temples.
Sultanate architecture followed Islamic principles
The provincial architectural style of Gujarat mosques emerged after 1411, when Sultan Ahmed Shah assumed the throne of the Gujarat Sultanate. The rules commissioned mosques and tombs according to traditional Islamic principles. However, they engaged the local stone craftsmen, longtime masters of Hindu and Jain temple architecture, for the embellishments. Many motifs used in Gujarat, especially those representing nature, are in deep contrast to the traditional abstract geometric patterns of Islamic art. The new motifs, however, were not only accepted but also actively encouraged. Of all the Indo-Islamic styles that developed on the subcontinent, the Gujarat style demonstrated the most panache. This revolutionary achievement influenced Mughal architecture in North India from the reigns of Akbar (1343–1605) onward.
The Citadel of Champaner
One of the most remarkable monuments that exist from the Sultanate era, is the citadel of Champaner, the former capital of the dynasty, and home to well over 100 structures, with several in pristine condition.
Another Sultanate masterpiece is the Siddi Sayyid Mosque in Ahmedabad, known for its semi-circular windows that flaunt lattice work of extraordinary precision, depicting geometric patterns, the tree of life, floral imagery, and stone filigree work that is become symbolic of the city.
An Architectural Jewel
Located 25 km from Mahesana, the Surya (Sun) Temple at Modhera, completed in 1027, is one important edifice from the Solanki period that closely mirrors its original condition, though it is not entirely intact. The Solankis, who claim to be descendants of the Sun God, built the temple in his honor.
The temple consists of three parts: the Suryakund, the Sabha Mandap (assembly hall), and the Garbha Grah (sanctum). Traditionally, pilgrims would bathe in the kund, which was graced with 108 shrines, before entering the temple. Steps ascending to the Sabha Mandap lead to two beautifully carved pillars, which belong to a toran that once stood there.
The hall is adorned with columns that depict stories from the Ramayana, the Mahabharata, and the life of Krishna in stone carvings. The walls on the way to the sanctum show twelve different aspects of the sun. It is interesting to note that the sun idol is portrayed wearing boots, an otherwise uncommon feature in the Hindu pantheon. The main temple, which stands past the assembly hall, was once crowned by a dome. The first rays of the sun would penetrate the sanctum. In view of this, the temple was built facing east.
There is no longer an idol in the sanctum; possibly the sun had gone out of fashion by the time the deity went missing and was hence not considered worth replacing. The temple’s exterior is clad in carvings of the sun and fire gods, in addition to several images that highlight the social customs of the time. As with most structures built during the Solanki period, the stone blocks were fitted without mortar.
The geometric marvel of stepwells
Gujarat and Rajasthan hatched ingenious methods for storing water in response to the semi-arid climate, seasonal fluctuations, and cultural practices. Vavs (stepwells) are subterranean structures that stored drinking water, provided a resting space for travelers, and prevailed as a place for socializing. Although Vavs were secular, the sanctity of water drove the benefactors to incorporate religious icons into the structures. They also added form to function, spawning some of the region’s most extraordinary heritage sites.
Adalaj stepwell, located 13 km outside of Ahmedabad, is considered one of the finest examples of both a Gujarat stepwell and of the regional style of Indo-Islamic architecture. Queen Ruda, the wife of Vaghela Chief Vikramsinh, commissioned the stepwell in 1498 as a place for pilgrims and traders to take respite.
Rani ki Vav, which means Queen’s Stepwell, was commissioned in 1063 by Rani Udayamati, wife of King Bhimdev I of the Solanki Dynasty. Probably the finest stepwell in India, it is a subterranean treasure of more than 800 elaborately carved sculpted sandstone images, including a majestic center panel at water level of Vishnu sleeping on the coils of Sheshnag, the Serpent God.
At some point in history, it was flooded by the neighboring Sarasvati River and buried in mud. The Archaeological Survey of India (ASI) started excavations in 1958, revealing carved images in pristine condition. The carvings are different from other stepwells in that each image conveys an interesting tale of its own but collectively forms a narrative. The ten incarnations of Vishnu shape the central theme, enhanced with depictions of sadhus, brahmins, apsaras, and more.
As a tribute to the thriving textile culture of the period, several blocks along the left side depict embroidered, appliquéd, and mirrored textiles, including a design of Patan’s famous Patola.
