Report on Indigenous Architecture and Building Practices in Himachal Pradesh, India

Design Innovation and Craft Resource Centre (DICRC) CEPT University Kasturbhai Lalbhai Campus, University Road Ahmedabad-380009, Gujarat, India Phone: +91-79-26302740 Ext: 316, 317, 319 dicrc@cept.ac.in, www.cept.ac.in The University of Melbourne Faculty of Architecture, Building & Planning Grattan Street Parkville VIC 3010, Australia Phone +61-3-83447259 b.dave@unimelb.edu.au

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Associate Prof. Bharat Dave Faculty of Architecture, Building & Planning, University of Melbourne, Australia A/Prof. Bharat Dave completed doctoral studies at the Swiss Federal Institute of Technology (ETH Zurich), master’s program at the Carnegie Mellon University, Pittsburgh (USA), and undergraduate studies in architecture at the School of Architecture, Ahmedabad (India). Funded by nationally competitive grants, his research revolves around innovative spatial design practices and futures supported by digital technologies. He has held research and teaching positions in the USA, Switzerland, India, and Australia. During 2005-08, he served as president of the Computer Aided Architectural Design Research in Asia (CAADRIA) association.

Email: b.dave@unimelb.edu.au

Assistant Prof. Jay Thakkar Design Innovation and Craft Resource Centre (DICRC), Faculty of Design, CEPT University, India Jay Thakkar is an Assistant Professor at Faculty of Design, and Research Head of Design Innovation and Craft Resource Centre (DICRC) at CEPT University, Ahmedabad, India.

He is a professional consultant in Visual Communication and Traditional Building Practices and Crafts and the Hon. Secretary of IIID (Institute of Indian Interior Designer) Ahmedabad Regional Chapter. He has a Masters in Visual Communication from the Birmingham Institute of Art and Design (BIAD), United Kingdom and a Diploma in Interior Design from the School of Interior Design, CEPT University.

He received gold medals from the School of Interior Design, CEPT University and the Gujarat Institute for Civil Engineers and Architects (GICEA) for his research work. Jay Thakkar is an author and designer of two books 1. “Matra: Ways of Measuring Vernacular Built Forms of Himachal Pradesh” (2008) and 2. “Naqsh: The Art of Wood Carving of Traditional Houses of Gujarat – Focus on Ornamentation” (2004).

Matra won a Critic’s Choice Award – Best Written Work on Architecture 2009.

Email: jayrajeshthakkar@gmail.com

Mansi Shah, Research Assistant, Design Innovation and Craft Resource Centre (DICRC), CEPT University, India Mansi Shah is a Research Assistant, at DICRC, CEPT University, Ahmedabad, India. She completed Master’s degree in 2010 in Urban design at the Domus Academy, (Milan, Italy), and undergraduate degree in architecture from South Gujarat University, Surat, Gujarat. Her Project “Beyond Green” a guerilla idea to promote green movement was displayed during ‘Salone del mobile’, a design festival in Milan, 2010. And her work “Beyond the city of science” in Luxembourg has been published in the magazine “Architecture and Bartiment”.

Email: mansi.arch@gmail.com

Aim To document and rejuvenate knowledge of locally rooted sustainable building practices, this project will undertake a series of activities that combine research, teaching and exploration of alternative design projects and materials that build upon and extend indigenous building traditions.

Objectives of the project The indigenous traditions of vernacular building in the Himachal Pradesh, India, reflect excellent sustainable building practices using local materials and human resources. Unfortunately, these traditions face erosion due to increasing loss of local building skills and knowledge, and displacement of local natural building materials with growing influx of non-indigenous materials that although cheaper in initial cost are far more expensive in the long run.

The objective of this project is to research and disseminate knowledge about one specific locally rooted sustainable building practice called the Kath-khuni construction system of the Sutlej Valley in Himachal Pradesh (India). This traditional building craft system is under pressure due to increasing lack of natural resources like wood.

The challenge is to preserve and sustain this building system and local skills by introduction and adoption of alternate sustainable building materials and techniques.

This project aims to address the above challenges by undertaking complimentary activities that combine research, teaching and collaboration with interested groups to understand, document and extend existing building practices with judicious introduction of new materials and techniques. The project builds upon the foundational work already carried out by SID Research Cell at Faculty of Design, CEPT University, India by project partner Prof. Jay Thakkar, with Dr. Skye Morrison and design students which is published as a book ‘Matra: Ways of Measuring Vernacular Built Forms of Himachal Pradesh’ (2008).

Specifically, the project will undertake the following complimentary activities: 1.

Development of a resource centre of indigenous building crafts of Himachal Pradesh.

The centre is intended as a repository of existing knowledge about vernacular architecture typologies in Himachal Pradesh. It will involve site visits to Himachal Pradesh to collect information about the vernacular architecture typologies, existing construction practices, and communities and individuals still involved in this practice.

Information regarding new practices will also be collated to understand their impacts on the traditional practices. The field work will also aid in identification of site(s) where a demonstration project may be planned in future.

2.

Dissemination of research findings and outcomes in peer and public communities.

The research data collection and analysis will be disseminated in the form of (a) peer-reviewed publications, (b) design projects in India and Australia, and (c) a monograph publication and/or a travelling exhibition. In addition, the resource centre proposed in (1) above will act as a continuing hub for future collection and dissemination of related research and findings.

Fieldwork: Annotated Summary The following pages offer a visual journey of sites visited by the project team during the fieldwork undertaken in June-July 2011. The images illustrate the richness of indigenous architectural traditions, complemented with our field notes and quotes from key references.

The research is a collaborative project initiated in 2011 between researchers based in the Faculty of Architecture, Building & Planning, The University of Melbourne, Australia, and in Design Innovation and Craft Resource Centre (DICRC) in the Faculty of Design, CEPT University, Ahmedabad, India.

The project is supported in part by the Australia India Institute based at the University of Melbourne.

Tarang Sagara Thesis Student, Faculty of Design, CEPT University, India Tarang Sagara is a student at School of Interior Design, CEPT university and is working with DICRC, CEPT University, Ahmedabad, India. He was a member of documentation team for “Matra : Ways of Measuring Vernacular Built Forms of Himachal Pradesh” (CEPT, 2008) He is currently working on his thesis on the vernacular construction systems in Himachal Pradesh.

Email: sagara.tarang1788@gmail.com

Further project information and additional media including interactive panoramas are accessible at http://himachal.crida.net/

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Route Map

Sainj to Balag

Rampur to Sangla

Rampur to Sangla

Kamru

Sangla to Chitkul

Sangla to Chitkul

Sangla to Nirmand

100

Jeori

Nichar

Sarahan

Karchham

Kamru (2800 mts)

(1041 mts)

16

Rampur Nirmand 18 (1534 mts)

7

13

19

Ghodna to Sarahan, Deodar covered landscape

2

14

15

Sarmali 13

Sangla

Nirath (945 mts)

5 80

13

Devidhar Narkanda

8

9

Bhatiyara

(1948 mts)

Pujarli 4

(1980 mts)

Janog Theog

Shimla

9 Gawas (2267 mts)

7 Hatkoti (1400 mts)

(2084 mts) 20

11 3 Sainj (1412 mts)

1

Balag (1340 mts)

4

Dhum ghat Bhatvadi Hingvada

11

Jubbal

Kotkhai

20

15

Rohru 20

2

31

20

10

2 (2205 mts)

(3460 mts)

17

Chirgaon

(2103 mts)

80

Balag to Sarahan, Temple at Chopal

Chitkul

12 Summerkot 10

26

(2680 mts)

Pujarli 7 (2100 mts)

Kuddu

9 15 30

Ghodna 5 (1290 mts)

25

Chopal

6

11

Sarahan

110

Tiuni

(2165 mts)

Sarahan to Tiuni

Hatkoti to Devidhar

Devidhar to Gavas

Devidhar to Gavas

Hatkoti to Pujarli 4

Hatkoti to Jubbal

Summerkot

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Pujarli7 to Rampur

Interactions Documentation, meeting, exchange of ideas, learning from locals

Meeting with Rajaji Yogender Chand of Jubbal and Rajkumari Aditya Kumari, at Shimla

Meeting with the Rajaji of Ghodna at Ghodna Palace.

Meeting with Tikka Kirti Chand and Kanwar Anshuman Singh, Sainj Palace

Kanwar Anshuman Singh, Sainj Palace

Visit to Jubbal Palace with Chander Singh Gesta

Meeting with B.S Malhans, artist and writer, Shimla

Studio of B. S Malhans, Aria Holme, Shimla

Meeting with L. S. Thakur, Professor of History, Shimla

Meeting with O.C. Handa, scholar and historian, Shimla

Narration of folklore stories of local resident and writer K.C. Kaith, Pujarli7 village

Discussion with Mistri Jay Lal Vishwakarma at Sarahan village

Discussion with Head Mistri Kahanchand and other mistries at the new temple construction site in Devidhar village

Learning from head Mistri Kahanchand at new temple construction site, Devidhar village

Learning and working with local builders, house construction, Devidhar village

Discussion with the locals, Gavas village

Discussion with Mistri Uday Singh, Gavas village

Stone worker, Chitkul village

Mistri working on wooden dowels for the new temple construction at Chitkul village

A traditional wood-carver at work, Devidhar temple

Learning from Mistri Charandar Singh, Devidhar village

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Interactions Documentation, meeting, exchange of ideas, learning from locals

Pujari Nandlal Sharma discussing temple and rituals at Janog village.

Exchange of stories with local resident of Janog

Weaver Manisukhji, resident of Sangla

Temple care-taker, Lekhraj Chauhan, Summerkot temple

Mistries at temple site at Pujarli 7 curiously going through the book ‘Matra’

Exchanging stories with children of Sangla village

Village women enjoy as a little boy entertains everyone with his dancing skills, Chitkul

Temple ritual, Kamru

Being blessed with the scriptures, Kamru

Exchanging stories at Chenu Devi’s house in Balag

Documentation, Gavas

Exploring Chitkul with locals

Hiking our way towards Kamru

Documentation of Tower temple at Balag

Documentation, Pujarli 4

Panoramic documentation of Kamru fort, Kamru

Sketch of details, Devidhar

Climbing up to the house of weaver Manisukhji, resident of Sangla village

Kamru fort

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Janog Overview Altitude: 1980 meters Map

Location and Approach From Simla, a drive of about 30 kilometers leads to the little town called Theog, and lying just two kilometers outside Theog is a small beautiful compact settlement of Janog.

The hidden hamlet is approached by going downhill from the paved road on the way to Rampur. This place can be easily missed by the passer-by on the road. The only possible identification is the temple head that stands out in the clustered landscape of the village.

Squeezed between a cluster of houses is the beautiful temple of Janog

Village as seen from the road

Brief about the village Janog is a perfect example of a compact farming village in which houses, cattle pens, chicken houses, storage areas, threshing floors and small gardens coexist in a limited area that centers upon a village temple and temple storehouse or bhandar. 1 Landmarks It houses two beautiful temples: the younger temple is consecrated to the Devta Chikhadeshwara Maharaj and the older Trigaresvara Mahadev temple which is a short distance away.

References 1 Ronald M Bernier, Himalayan Towers: Temples and Palaces of Himachal Pradesh. S. Chand & Company Ltd., Indus Publishing Company, 1989, P. 24-26.

2 Shimla Gallimaufry, http://olio-gallimaufry. blogspot.com/2010/01/climates-delicate-airmost-sweet-temple.html

The approach opens into the temple complex

Trotting our way down to the village

On the way back from the village

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Janog Temple and Details Chikhadeshwara Maharaj Temple The tower, with projecting top floor on all sides and a steep notched log as ladder of entrance to the highest floor, is called a bhandar. 1 The key to unlock the trap door and entrance to the superstructure/ bhandar is held by the local pujari or priest. 2 The wooden walls that enclose the two upper floors of the bhandar are quite plain except for some rectangular indented panels and some pierced geometric signs that are apparently auspicious symbols. 2 Mounted all along the roof edges are double border boards with space between them for the attachment of free-hanging pendants, actually wooden dowels, that move in the breeze. These attachments form a kind of fringe all around the tower and that are a hallmark of temple and bhandar design in the Western Himalaya. 2 The lower storey of the temple is constructed of wooden courses that alternate with cut stone in usual timber- bonded way. The building is sometimes used today as a school, but its ritual connection to the nearby temple proper continues. A simple human face at the top of the tower’s gable gazes towards the second and most important sacred building, dwelling place of the divine protector of Jenog and its people. 2 A short distance from the bhandar and reached by climbing a fairly steep path that leads beyond the village living area is the local village shrine.

Called Trigaresvara or Trigaresvara Mahadeva, the building is dedicated to Siva. Many red flags or pennants blow in the winds of its hilltop setting. It is smaller than any house in the hamlet, buts its significance is great. In terms of style it is one of the alpine types that is sometimes called ‘Chalet’. Trigaresvara is essentially the major local deity, the devata, who is part of the village family. His shrine is his dwelling, the most important ‘house’ in Jenog and respected by all who live there.2

A typical wood-stone construction in the lower tower structure and timber in the upper bhandar.

Wooden tassles, alternately colored pink, blue, yellow and white, dangle and sway in the light breeze. The steep ladder-stair that reaches the upper level is carved with auspicious figures and motifs in panels.

Temple complex with two storey structures and rooms around

The beam is covered over with silver –grey sheets of thin metal and it is marked at the top by six metal pots, the largest of which is in the center equivalent of a pinnacle on top of a temple. 1

References 1 Ronald M Bernier, Himalayan Architecture, Fairleigh Dickinson Univ Pr, 1997, P. 119-121 2

Ronald M Bernier, Himalayan Towers: Temples and Palaces of Himachal Pradesh. S. Chand & Company Ltd., Indus Publishing Company, 1989, P. 24-26

People and interactions Nandlal Sharma, Janog Priest Attractive embellishments: Beautiful floral, curlicue patterned edging

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Carved and colored sides of the ladder

Janog Houses and Details Janog is a small settlement consisting of about twenty houses, each about two or three storey high. The upper level accommodates the living space and the lower floor is usually a cow shed.

It is a typical farming village with little pathways encircling the clustered village.

Outsiders who arrive here by road have to search for the main path that leads through the settlement. It is easily missed as it winds downhill among the living quarters and yards that belong to curious and friendly people who have no walls higher than those that are necessary to keep domestic animals in place. Greetings are easily exchanged with villagers who belong to many generations as they live together in large two storeyed houses. These substantial shelters have storage areas and room for some animals on the ground floor while overhanging balconies offer pleasant sitting and working areas as they extend out from the upstairs living areas. All of the domestic buildings are covered with large and heavy shingles made of slate.

Most of the buildings around the tower are like nearly all of the houses in the village in being roofed over with large flat slabs of slate, carefully shaped and usually nailed into place over a wooden frame. The tall tower, however, is covered with wood. 1

A typical house of Janog with a cow-shed on the lower level and cantilevered upper floor.

Wood and stone are used to construct the katth kuni (timber-bonded) walls of the double storeyed house and finished with mud plaster.

The upper level is typically finished in wooden panels or with continuous series of operable windows -very typical of this place.

Access to the upper level on a different level

References Ronald M Bernier, Himalayan Towers: Temples and Palaces of Himachal Pradesh. S. Chand & Company Ltd., Indus Publishing Company, 1989, P. 24-26.

1

Typical covered cow-shed on the lower level

Cow-shed and mud plastered walls on lower level

Undressed slate shingles used in roof, Janog

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Sainj Overview Altitude: 1412 meters Map

Panoramic view of the valley, Adani store, and scattered houses along the road, Sainj

Location and Approach Twenty kilometers from Theog is the town of Sainj. It is located off the National Highway 22 which connects Kinnaur to other parts of the country. The Highway itself snakes around the village along which a few scattered settlements have grown.

Brief about the village The otherwise unremarkable village has nothing much to offer except the beautiful palace of Theog, an imposing fort-like structure built between the village and the river, perched on the hill surrounded by valley on all three sides.

The village has a few low lying clusters of houses and the main occupation here seems to be that of farming. The village is surrounded by farms and apple orchards.

Landmarks Sainj Palace

View from the front gallery in Sainj palace, overlooking the valley

References 1 Mark Brentnall, The Princely and Noble Families of the Former Indian Empire Vol. 1: Himachal Pradesh, Indus Publishing Company, 2004.

2 Takeo Kamiya, http://www.indoarch.org/place. php?placelink=R%3D1%2BS%3D3%2BP%3D 37%2BM%3D640

Sainj Palace

Sainj Palace, stands at the end of the cliff with valley on all three sides.

Front view - entrance to the palace and the ornate wooden gallery supported by the brackets resting on the wall.

Settlement scattered along the road

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Sainj

Palace and Details The present ruler is Thakur Krishan Chand, who succeeded to the throne on 10th August 1962 and was installed in January 1963.

About the palace Rajputs, warriors from west India, extended their kingdom up to the Gangetic plains. They established small kingdoms in every region in Himachal Pradesh between 8th-9th century.

King Chandra Gupta, who built the temple in Khajuraho, was also a Rajput. This branch advanced into the Himalayas and established the Deyok kingdom. Sainj palace, 30 kilometers on the road from Shimla is still occupied by Chandra Gupta’s descendants.

The palace, a natural fortress is surrounded by a valley on three sides and, as added protection, has very strong front walls. The 3-tiered hall in the centre of the palace with an atrium is surrounded by wooden rooms. The square hall of the prayer room is skillfully designed to receive light from the atrium. Previously, this was not a palace, but a building used during festivals. 2

Elevated entrance to the palace, animal horns at the entrance

The structure is imposing and fort-like, and is built in the traditional wood-stone (katth-kuni) architecture typical of the region. The top part of the structure juts out and rests on the brackets supported by wall.

View of the palace

Upper level gallery along the front

The central atrium with light filtering from the sides

References 1 Mark Brentnall, The Princely and Noble Families of the Former Indian Empire Vol. 1: Himachal Pradesh, Indus Publishing Company, 2004.

2 Takeo Kamiya, http://www.indoarch.org/place. php?placelink=R%3D1%2BS%3D3%2BP%3D 37%2BM%3D640

People and interactions Kanwar Anshuman Singh Tikka Kirti Chand Interior of the palace shows extensive use of wood

Thick wooden frame of the inner entrance door

Entrance door made from a single deodar tree with a lion head brass handle

Carved wooden ceiling

View from the gallery

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Balag Overview Altitude: 1340 meters Map

Standing tall amid the landscape of village farms the tower temple of Balag

Location and Approach From Sainj, on the mountain road, a drive of about 9 kilometers leads to Balag, on the State highway 6 on the way towards Chopal.

Brief about the village Balag is a small village with two very beautiful temples. It also has a school and well built infrastructure that cater to the nearby villages.

The main occupation of inhabitants of Balag is farming.

Temple complex - Shiva

Landmarks Two beautiful temples 1. Tower Temple This is constructed architecture.

in

typical

Katth-kuni

2. Shiva Temple complex It has a rare temple with a sedge-hat shaped tower, made of stone and a mandapa of wood.

Traces of Himalayan and Aryan culture can be seen in the sculptures of tribal deities on the walls of the temple. There is a small shrine in the precinct, with a stone shikhara. 1

Shiv Tempe Court

Tower Temple

Old peepal tree outside the temple complex at Balag

References 1

Takeo Kamiya, http://www.indoarch.org/place. php?placelink=R%3D1%2BS%3D3%2BP%3D 38%2BM%3D641

People and interactions Resident of Balag village, Chenu Devi School in Balag

Map of Balag village

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Balag Temple and Details Shiva temple, Tower temple There are three temples in Balag, a small village in the sub-division of Theog. Two are of the rock-cut variety and one built in the old “devra” style. 1 Shiva Temple ... As with many temples in Himachal, this temple too has legends connected with the famous Hindu epic, the Mahabharata. What is more interesting is that in Balag, mythology surrounding the Hindu deity Shiva has got inextricably linked to the allegories related to Mahabharata. ... The most important temple is dedicated to the divine destroyer, Shiva. The temple displays all the motifs and symbols connected to his apologue. Nandi, the divine bull, guards the entrance to the temple.

The shikhara, the rising tower which covers the sanctum sanctorum, is bedizened with his emblems, weird animals and grinning ganas, his attendants or ghostly hosts, on account of their nature. These are supposed to be of ghostly origin and generally benign except when someone transgresses against their Lord. [... One] temple is dedicated to Nakul, one of the five Pandava brothers and twin brother of Sahdeva. It is embellished most attractively on the face of its little “shikhara” (temple dome) with the face of a figure not unlike that of Pashupatinath (“Lord of Animal-like Beings”). Surrounding this are gorgeous floral and lacy patterns, wrought delicately in stone. 1

Temple with wooden mandapa

Tower temple and a steep ladder to reach the upper level

Back view of the Tower temple

Cantilevered entrance structure to the bhandar

Wooden dowels

Bhandar and roof of the temple with kurud covered in sheet metal

Cantilevered entrance to the bhandar

Tower temple This is the oldest devra of Balag, which, while not de-consecrated, no longer sees regular worship. As can be seen, it looks to be of an entirely different age and design than the other two temples. 1

References 1

Shimla Gallimaufry, http://olio-gallimaufry. blogspot.com/2010/03/some-lovely-templetenantless.htmll

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Ghodna Overview, Mataji temple, Palace Altitude: 1290 meters Map

Panoramic view from the courtyard of the palace

Location and Approach Fifteen kilometers from Sainj on the mountain road towards Chopal is Ghodna. The village hides itself, is almost unknown and has one of the most beautiful palaces in the Indo- European style.

Landmarks Ghodna Palace History of the palace The former state of Balsan is located some forty -eight kilometers east of Shimla on the east bank of the Giri river. In state’s time, it was bounded by Kumharsain, the British enclave of Kotkhai, Sirmur, Jubbal, Keonthal, Ratesh, and Ghund. The total area of the state when last surveyed was 132 square kilometers.

The state relied heavily upon agriculture and forestry exploitation. Twenty five percent of the country was covered with mixed forests and have been substantially reduced over the past fifty years.

However despite overexploiting the countryside it still affords the visitor a view of a wealth of flora and fauna.

Entrance forecourt to the palace

Overall view of the palace from the road.

Mataji Temple

Temple complex

One of the richly carved doors of Palace

The capital of Balsan was Ghodna, which is best approached by road from Sainj. In former times this road continued into Jubbal, but now it is no longer traversable. The old palace is of timber construction, and is still home to the princely family.

The early rulers of Balsan claim descent from Ealk Singh who [...] was a scion of the Panwar familiy of Malwa, and migrated to the hills in the sixteenth century. 1

References 1 Mark Brentnall, The Princely and Noble Families of the Former Indian Empire Vol. 1: Himachal Pradesh, Indus Publishing Company, 2004, P. 135.

People and interactions Rajaji of Ghodna Temple complex as seen from the road

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Detail of the caving on the door

Sarahan-Chopal Overview Altitude: 2165 meters Map

Location and Approach Sarahan is one of the most beautiful villages in Chopal. It is situated at an altitude of 2165 above sea level on the Chopal-Sarahan road.

Sarahan is located 26 kilometers from Chopal and 136 kilometers from Shimla.

Brief about the village It is a picturesque village set “... against the backdrop of magnificent deodar trees and [...] conical shaped Chur peak [which is] one of the noblest second-rate mountains in the world”. 1

Green landscape, Sarahan

Rugged mountainous landscape of Sarahan

The village has many beautiful wooden houses constructed in traditional stone-and-wood katth -kuni architecture typical of the region with roofs mostly covered in metal sheets or slate stones.

Bijjat Devta Temple

Landmarks Bijjat Maharaj Temple Bijjat Devta is a chief deity of Hambhal Valley in Chaupal , Sirmour and Chakrata in Uttarakhand.

Bijjat Devta is a little brother of Shirgul Maharaj.

Twin Temple of Bijjat Maharaj is a most famous Temple in Himachal. Bijjat Devta is known as “God Of Lightning”. Bijjat Maharaj has 2100 small and big temples. Bijjat Maharaj is the richest Devta of Himachal Pradesh [...] approximately property is 355 crore. 2

References 1 Mian Goverdhan Singh, Wooden Temples of Himachal Pradesh. M.L Gidwani, Indus Publishing Company, 1999, P. 131-133 2

http://en.wikipedia.org/wiki/User:BIJJAT_ MAHARAJ_TEMPLE

Row of wooden houses in the valley

Map showing morphology and settlement pattern of Sarahan spread over a vast landscape and surrounded by mountains

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Sarahan Temple and Details Bijjat Devta Temple, Sarahan (Chopal) (Shimla) The temple complex has two parallel buildings, built around a large square courtyard which is open to the sky. In order to ensure strength and stability to the structure, the plinth portion has been made of solid stone with massive deodar beams laid horizontally at wide intervals. The upper part consists of alternating layers of stones and timber. The roofing is in usual composite gable-pent type, the lower part of the roof being in pent style and the upper one in the gable type.

The eaves of the roof are covered with planks.

To give an effective decoration 20 centimeter long, beautifully carved wooden fringes have been hung along the lower border of the plank, called jhalar and also beneath the verandahs of the temple by means of hooks and eaves. They swing and rattle in the wind.

A wide verandah runs along three sides behind which rooms are provided. The fourth side, which forms the faรงade, is dominated by two towering structures separated by a low lying structure, in which the main gate for the complex is provided.

The entire complex is double-storeyed except the tall towers, which rise almost four times higher.

The Bijjat Devta complex has apparently undergone repeated and considerable restorations and modifications since its foundation, yet the original square layout is fully intact. Strangely enough, the main shrine of Bijat Devta now exists on the right tower beside the main gate.

Sanctum tower at left, Bijjat Maharaj Temple at Sarahan

Upper level verandah runs all around the two storey complex

The temple displays plenty of fine as well as massive works. The temple has beautiful wooden verandah with balconies and galleries, worked in traditional style of nail less framework, which is characteristic of Himachal architecture.

Doors and niche-frames have profuse wood carvings with local motifs. 1

Carved floral details on the panelling

References 1 Mian Goverdhan Singh, Wooden Temples of Himachal Pradesh. M.L Gidwani, Indus Publishing Company, 1999, P. 131-133

People and interactions Jay Lal Vishwakarma (Sarahan) Wooden carving detail of the old main door

Carved door of the sanctum tower

Notched wooden ladder

Newly carved door panel, Bijjat Devta temple at Sarahan

Carved floral fringe detail

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Sarahan House and Details The dense forest in this part may have been the underlined reason for extensive use of Deodar Cedar (Cedrus deodara) tree in construction.

The tree with its qualities for being highly structural and resistant to climate is one of the reasons of its high use and therefore woodbased architecture has extensively developed in this part.

Some of the houses here are very old and are built with the ageless deodar wood and have sustained through time.

The houses here are two or three storey high. The lower level is constructed in traditional katth-kuni architecture. Stone and wood are juxtaposed alternately and covered in mud plaster. The top floor of the house protrudes out, supported by wooden members resting on the wall. The lower space is covered by the cantilevered part where usually animals are tied outside. The walls on the upper floor are covered in wooden panels.

A double storey-house in Sarahan

The granaries in all these houses are attached externally or to the houses but are generally marked as a separate entity.

The upper level is the main living area and has a separate entry. It opens into a semi covered transition space like a balcony.

A wooden house in Sarahan

The strong stone base, a rather lighter superstructure that is finished and panelled in ochre wood of deodar, and topped with slate shingles.1

Typical house in Sarahan: dressed wood shingles of deodar used on the roof, granaries attached to the house and the exterior spaces used for household activities like cleaning, laundering, cooking and so on.

A long house in Sarahan with a cow shed on the lower level

References 1 Mian Goverdhan Singh, Wooden Temples of Himachal Pradesh. M.L Gidwani, Indus Publishing Company, 1999, P. 131-133

An old traditional house in Sarahan

House finished in mud plaster with metal sheet roofing

A typical house in Sarahan

Entrance door

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Granary attached to the house

Devidhar Overview, Temple and Details Altitude: 2000 meters Map

Location and Approach Twenty kilometers from Rohru is the settlement of Devidhar located on the way to Chirgaon.

Brief about the village This village is inhabited by Blacksmiths, Kolis, Rajputh and Turis. The chief means of livelihood of the various sections of the population is agriculture. Villagers earn their living by working as laborers. The chief means of communication are footpaths. The nearest bus terminus is at Hatkoti at a distance of seventeen or eighteen miles.

View of Devidhar village around the temple complex

Village of Devidhar and square tower type Temple

Devi Dhar fair is held in honor of Devta Khantu in a ground of two acres of land belonging to Devta. The fair is held continuously for three days from the 20th to the 22nd or from the 21st to the 23rd in the month of Vaisakha every year.

The fair is held in this ground during every year, during daytime. Arrangements for holding the fair at night are made in Devi Dhar. There is no special reason for holding this fair but it is held only for recreational purposes. Some rent is collected from the shopkeepers, who open their shops in the fair ground by the Gram Panchyat and Kardar-Trustees of Devta as the land on which shops are opened belongs to the Devta and the Panchayat. 1 Kurud and the temple roof

Temple roof

Cheols carved in different floral or geometric patterns

Landmarks Sahav Khantu Devta Temple A temple located in Devidhar town, it is dedicated to Sahav Khantu Devta, a highly revered local God.

References 1

http://www.rajasaheb.com/people.html

Detail of the carved cheols

Facade detail

Bracket detail

Profusely carved window

Corner detail

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Devidhar Temple and Details New Temple Construction To construct temples in the traditional manner, generally no external labour is engaged.

The entire work is usually carried out by the community participation and local craftsmen and masons.

The wood based architecture especially of the western Himalayan region, deserves particular attention. We were lucky to see on-going construction of this temple.

The artisans possess the ingenuity and skill of building multi -storey structures entirely of wood, jointed perfectly without using metallic nail or screw, but the technique of construction is timber-bonded masonary wall, popularly known as katth-kuni.

Construction of the temple: panoramic view of the interior space

The term katth-kuni is a combination of two local terms: katth and kuni. The word kuni is a dialectal variation of the Sanskrit word kona, that is an angle or a corner. Obviously, the Katthkuni wall implies that it should have only wood on its corners or angles. Truly so, the katth-kuni wall is made by laying two wooden wall beams of square and rectangular sections parallel to each other along the length of wall, sufficiently apart to define its width. To ensure proper bond between the two parallel wall-beams, cross joists of length equal to the wall width are suitably dovetailed or lap-joined. To make the joints firm, customarily wooden pegs are driven through the thickness of the joint.

The gaps between the wall-beams are handpacked with stones laid flat. Over the cheol, a course of stone is meticulously packed without using mortar. 1

Temple perched on the top spot of the village

Wall construction

Balcony space

Construction work in progress

References 1 O.C. Handa, Panorama of Himalayan Architecture, Volume 2, Buddhist Monasteries, Castles and Forts, and Traditional Houses, Indus Publishing Company , 2008. Pg 144

People and Interactions Mistri Kahanchand Wooden carving

Wooden panel carving with floral theme

Profusely carved window

Carving in progress

Wall construction

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Gavas Overview Altitude: 2267 meters Map

Temple complex - Gudaru Devta Temple

Location and Approach Gavas is one of the villages in Chauhara Mandal in Shimla District. It is 130 kilometer far from Shimla and twenty-five kilometers Rohru.

It is a beautiful wooden village and also the last one on the route. Being in a location that is almost disconnected, it shows strong adherence to authentic building traditions which remain rooted unlike many other smaller hamlets where urbanization has crept in.

Landmark Gudaru Devta Temple Gudaru Devta Temple is noted for its unique architecture which dates back to the Gupta Period. The Gupta Dynasty ruled Northern India from the 6th Century AD to the 9th Century AD. The architecture and design of Gavas temple was originally in the classical Shikhara or tower style. The Shikhara Style represents ancient structures that are conical or narrow at the top and have a wide base at the bottom.

Gudaru Devta temple consists of four entrance gates which are made from wood and are engraved. These gates represent the four directions and open for four religions. Gudaru Devta temple is actually not a temple in isolation.

It is an aggregation of a number of temples situated on both sides of Gudaru Devta temple.

The Temple complex consists of a main temple dedicated to Devta (God) Gudaru and a temple dedicated To Devta Pawassi. 1

Part of temple undergoing reconstruction.

References 1 http://www.orkut.com/ Community?cmm=100220376&hl=en

Overall view of the village, beautiful wooden houses and construction.

Resident of Gawas Village

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Gavas Temple and Details Gudaru Devta Temple

This obscure village in Chirgaon tehsil hides one of the most beautifully and profusely carved wooden structures. The detail, execution and engraving found here is rare and beautiful.

Carving Deer and antelopes have been commonly found in the architectural wood carving independently and in numerous compositions, but I found one rare and very interesting carving at village Gawas in which a leopard is shown holding a deer in his jaw. This device is carved on the exposed surface of one of the cheols of Katthkuni wall.

The newly constructed adjoining single storey structure

A good use of geometrical devices is also seen in the temples. 1

The main sanctum building

Carving on the paneling of the balcony

The old adjoining two-storied structure

Krishna engraved on the panel

Geometrical as well as religious symbols carved on balcony panels

Geometrical as well as religious symbols carved on balcony panels

One of the entrances to the temple complex

References 1 O.C. Handa, Woodcarving in Himalayan Region. Indus Publishing Company, 2006, P. 136

People and Interactions Uday Singh Geometrical carvings

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Detail of the carving

Gavas House, Granary and Details Gavas has some beautiful houses, constructed in typical katth-kuni architecture. Some houses are very old and have arched facades that are profusely carved.

The houses are mostly two storey structures.

The lower level is usually used as a cow shed and upper level is used as the living space. The upper level with a separate entry is cantilevered about a meter from the wall and forms the semicovered gallery encircling the inner enclosed living space. This transition space is important and is paneled in wood.

Carved facade of a house at Gavas

References 1 O.C. Handa, Woodcarving in Himalayan Region. Indus Publishing Company, 2006, P. 136 2 http://www.orkut.com/ Community?cmm=100220376&hl=en

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Pujarli 4 Overview, Rudra Devta Temple Altitude: 1948 meters Map

Location and Approach From Rohru, a drive of about 20 kilometers leads to the little village called Pujarli 4. It is known for the Rudra devta temple Landmark Rudra Devta Temple As a seat of one of the most powerful gods in the region, people flock to this temple to seek blessings and to ask the Devta for solution to their problems. The Devta communicates through a goor (priest).

The deity is always accompanied by his goors (disciples) with long hair on their heads and one of them is invariably a malegha (head) goor. He is devta’s spokesman. At pertinent moment or special occasions he gets into trance and in his religious frenzy shakes himself vehemently. He is, then, considered and addressed as deota.

In that position, whatever he speaks is taken to be the voice of the deity concerned. He gives answers to all sorts of queries.

This rath is [...] carried on the shoulders of two persons by way of two long and thin poles crossed in between and known as zamanis or aglis [...]. In this position the deity shows his anger or ecstasy, his approval or disapproval, his assertion or negation. When angry it jerks violently up and down, oscillates sharply this side or that side and runs through the crowd without any control of the person who are carrying him.

When accepting or approving, it tilts towards the object or the man who is so saying, the tilting other side means his disapproval. 1

Temple complex in typical (katth-kuni) architecture

Traditions and rituals at Rudra Devta Temple, Pujarli 4

Single storey wooden structure adjoining the temple

References 1 M. R Thakur, Myths, Rituals and Beliefs in Himachal Pradesh, Indus Publishing Company, New Delhi, 1998. P. 65-66 Brass entrance door of the temple tower

Detail of the entrance door to the sanctum tower

Carved wooden capital

Carved interiors of the adjoining temple structure.

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Jubbal Overview Altitude: 2084 meters Map

Location and Approach Jubbal is located at an average elevation of 2084 metres. A small beautiful hill town, it is famous for its apple orchards and the Jubbal Palace.

The place is associated with history of the royal family of the Rana Karam Chand (1835-1877) who was the first Raja of Jubbal.

Jubbal “ ... nestles at the end of the Bishkalti valley, and is dominated by the Raja’s palace, which stands high on fortified walls above the river Bishkalti. The palace itself is largely a timber construction, built around a central courtyard, painted blue and cream, topped by a red roof.” 1 Brief about the Palace Jubbal Palace was the regal dwelling of the erstwhile Jubbal rulers of this hill station.

An amazing citadel, which reminds of a fairy tale palace, Jubbal Palace is placed very prettily in the midst of hills. The Rana’s abode is built in partially Chinese style, the lower portion consisting of sandstone, whereas the greater half is banded round with impressive colonnades capped by suspended attics. The palace is noteworthy for the vast stacks of deodar timber used in its structure.

Designed by a French architect, the modern wing of the palace displays a curious blend of Indo and European styles. Its convoluted wooden ceilings are simply superb. Another imposing allure is the stunning display of ancient artilleries used by the royal families of Jubbal. 2

Jubbal Palace

References 1 Mark Brentnall, The Princely and Noble Families of the Former Indian Empire Vol. 1: Himachal Pradesh, Indus Publishing Company, 2004, P. 171.

2

http://www.mustseeindia.com/Jubbal-JubbalPalace/attraction/12099 Jubbal Village

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Jubbal Palace and Details Palace of Jubbal The road to the palace passes through the small town, past the older colonial buildings that are gradually giving way to more modern concrete structures. Today, the area around the capital is fairly wealthy due to intensive fruit cultivation. Through the bazaar, the entrance to the lower part of the palace is across a bridge.

There the carriage entrance is found with guest accommodation for the dignitaries of the Raj, and recently converted by Tikka Anirudh Chand for tourist use. The large Durbar Hall contains many pictures of the Jubbal family, their relatives and a large number of trophies from the many hunts that were once so much a feature of Indian princely life.

Above the main entrance stands the main palace, constructed upon a raised platform of stone about eight meters high; this gives the whole place a distinctively fortified feel. The older of the palace faces back up the valley and has suffered from numerous catastrophes, the most recent being a fire which swept through the building a few years ago. The Rani has had most of the old wing restored and hopes to use part of it to house a library for Persian and Sanskrit manuscripts. The older part also contains the great west door, the ceremonial entrance to the palace, and the throne room.

Internal courtyard of the Jubbal Palace

View of the palace

The courtyard around the palace and the temple

The rest of the palace was largely rebuilt in the early twentieth century, with the latest English plumbing being transported by mule from Shimla.

The palace is not a museum, but a family home and is therefore not open to the public. The Rani spends the largest part of the year here although they also have residences in Shimla and Dehra Dun. 1 Furniture inside the palace

Storage

Entrance door from single deodar tree

References 1 Mark Brentnall, The Princely and Noble Families of the Former Indian Empire Vol. 1: Himachal Pradesh, Indus Publishing Company, 2004, P. 171-172.

People and interactions Raja Rana Yogender Chand (Prince Yogi) Rajkumari Aditya Kumari Anirudh Chand (Tikka Anirudh Chand) Profusely carved storage

Lobby on the ground floor

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Summerkot Overview, Tower Temple Altitude: 2103 meters Map

Location and Approach A few kilometers towards Sungri from Bachhoonch village is the road-side village of Summerkot.

Landmark Tower temple There stands a tall structure – the Samarkot.

The Kot, that is, the castle, is very old, possibly the oldest in the area, of the age when this interior region was divided into the khoonds.

With the end of that institution, its citadels also lost their importance and were forgotten. Most of them were destroyed in the natural manner, lying in the obscurity and uncared. The castle of Samarkot is one of the few surviving relics of that sanguinary past in this terrain, which has somehow been able to survive despite the human neglect and natural vagaries of the centuries.

Strategically located on a local hillock, it has commanding location, befitting a castle. The temple location gives an excellent view from all four sides The kot would have disappeared long ago, had it not been the adobe of Jogini. People of this area fear her and would not miss to visit her to propitiate at the time of distress. It is under such compelling condition that the tower attracts occasional attention of the people. Thus, the aged and weathered kot has so far continued to linger on. 1

References 1 O.C Handa, Temple Architecture of Western Himalaya- wooden temples, Indus Publishing Company, 2001, P. 215 People and interactions Mandir care taker- Lekhraj Chauhan A richly carved entrance door

Ornate gable at the temple entrance

Detail of the carving

Carved door of the sanctum tower

Cheols carved in floral themes

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Pujarli 7 Overview, Tower Temple Altitude: 2100 meters Map

Location and Approach A few kilometers towards Sungri and 5 kilometers from Summerkot is the small village known as Pujarli 7.

Restoration of the current structure

People and interactions K.C Kaith

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Rampur Overview Altitude: 1041 meters Map

Location and Approach Rampur, located 76 kilometers from Narkanda in Simla district, presents a very a different picture from small towns like Nirath and Duttnagar, and it is much more lively than Nirmand. It is, after all, a busy highway town and it could not seem isolated or forbidding even if it tried. 1 Brief history about the town Historically, Rampur was a center for trade among Kashmir, Ladhakh, Bhutan, Kashgar, Yarkand, and Tibet, with celebration of Lavi trade fair every November. A paved road runs right through the center of Rampur, between the steep hills on one side and Sutlej River on the other almost on the very thresholds of some of the earliest temples. 1 Landmarks Padam Palace The town itself is punctuated by red roofs and towers of Rampur palace, part of which is made of wood in traditional Himachal style. With many other parts made in imported materials, this compound is of the type that is beloved of admirers of the long-gone British Raj as well as readers of the Far Pavillions and The Jewel in the Crown. And it shows the creative crossfertilization of eastern and western values that marks the best of late 19th century/early 20th century architecture in much of Asia. 1

Rampur Palace

Ornate Durbar Pavilion and Padam Palace of Rampur

References 1 Ronald M Bernier, Himalayan Towers: Temples and Palaces of Himachal Pradesh. S. Chand & Company Ltd., Indus Publishing Company, 1989, P. 59-62

Buddhist temple near the Padam Palace

Map showing the palace and river

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Rampur Padam Palace The newer and the larger palace building of Rampur is dated 1919 on its cornerstone that was laid by Maharaja Padam Singh (1919 -27). In this structure, stained glass windows and Victorian-inspired bric-a brac combine with deodar beams, carved door frames, and fringed roof of Himachal type along with Mughal and Rajput features. It reveals a more successful blend of eastern and western elements than is found in more “British” structures like the bungalow-style palaces of Sarahan, a wooden addition to the palace in Mandi that is now used as hotel with the ruler’s Rolce Royce in its garage, the palace of the Raja of Chamba that is located in Dalhousie, or even the formal royal residence in Gangtok, Sikkim. Inside the palace the rulers are depicted western-fashion in large oil painting rather than in the kind of opaque watercolor miniatures that are native to the hills.

Indeed, the composite towers of this palace are signs of the dawning industrial age, and they are no less valid in standing for a changing society than are the more indigenous towers that came before them.

Newer building complex with the pavilion

View from the patio

The old building in the same complex

Earlier times of the hill cultures are well represented by a timber-bonded pagoda tower that can be seen in the hamlet in Kashiol across the river from Rampur, while the palace in the main town has its octagonal pavilion.

A smaller building near the machandi pavilion is the Raj Gaddi, with its lacy screen and small proportions. It was built to serve only as a coronation hall when the control of Bashahr was passed from generation to generation. It is set beneath the spreading branches of a very large peepul tree, a traditional place for gathering and rest. Just beyond this is a two- storeyed throne platform that projects out from the older building in essentially Mughal style. Here the raja could give audience or enjoy performances in the way of Shah Jahan.

Throne platform, old building

Part of the new palace

Interior

Interior living space with stained glass windows

The old palace building that is not currently inhabited is called Nau Nab or ‘Nine Buildings’ and it also combines Mughal and Rajput elements with hill-style building conventions. It is largely made of wood and great care is being taken to duplicate its original patterns during its current restoration. 1

References 1 Ronald M Bernier, Himalayan Towers: Temples and Palaces of Himachal Pradesh. S. Chand & Company Ltd., Indus Publishing Company, 1989, P. 59-62 People and interactions Palace care taker Ceiling detail of the entrance porch

Ceiling detail of the patio

Curlicue carving on the door of the old building

Ceiling detail of the pavilion

Pavilion detail

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Patio - part of the new palace

Hatkoti Overview, Hateshwari Temple Altitude: 1400 meters Map

General view of Hatkoti temple complex

Location and Approach Hatkoti is located 110 kilometers from Shimla in Jubbal Tehsil. Hatkoti is a scenic village on the banks of the Pabbar River. Sanctified with a number of temples, it derived its name from Goddess Hateshwari whose temple seat stands out as the focal point of this town.

Landmark Hateshwari Temple Hatkoti temple is actually not a temple in isolation; it is a an aggregation of a number of small temples on the banks of the Pabbar river. The temple complex in essence consists of a main temple dedicated to Goddess Durga, flanked by a small temple for Lord Shiva. It is interesting to note that the entrance of the Shiva temple is smaller than the Shivlinga (the material representation of Lord Shiva) housed inside the temple- pointing to the fact that the temple was constructed later than the installation of the Lingam. The architecture and design of Hatkoti Temple was originally in the classical Shikhara or tower style. The Shikhara style represents ancient structures that are conical or narrow at the top and have a wide base at the bottom. 1

Entrance to the temple.

Five small Sikhara shrines stand beside the Shiva that contains a large stone linga and is attributed to the 7th or 8th century.

Hateshwari temple constructed in stone, granite, and slate, sheet metal appears to be later addition

References http://blogofhimachal.blogspot.com/2011/01/ hatkoti-temple.html

1

Octagonal pavilion in the complex

Carved wood ceiling panel in pavilion.

Bronze lion guards temple entrance

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Sangla Overview Altitude: 2680 meters Map

Location and Approach Sangla is a town in the Baspa Valley, also referred to as the Sangla valley. It is located about 100 kilometers from Rampur and 17 kilometers from Karcham in the Kinnaur District of Himachal Pradesh, India.

Nag Devta temple

This town is situated amidst the fruit orchards known for apple plantations and densely forested hills wrapped with oak, pine and deodar trees. It is considered the most charming valley in the whole of Asia.

Brief history of the town The valley is surrounded by forested slopes and offers views of the high mountains. Its location in the greater Himalayan range gives it a milder climate than the plains. Until 1989 outsiders could not enter the valley without a special permit from the Government of India, due to its strategic position on the Indo-Tibet/China border.

Settlement of Sangla, new construction extensively in concrete.

The Sangla area has pine nut orchards, Royal red apples, cherry trees, and glacial streams with trout. Neighbouring villages include Chitkul, Karchham, and Batseri. The nearby Baspa hydel-project is nearing completion. 1

Durga Temple

Temple complex

References 1 http://en.wikipedia.org/wiki/Sangla,_India

Sangla town and the Baspa river

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Sangla Temple and Details Nag Devta Temple On account of the peculiar topographical conditions, the clear water of Baspa collects from the virgin snow-fed streams down the valley. Surrounded by houses, and placed in the center of the village of Sangla, a temple is dedicated to the Naga god. This is a beautiful temple with fine wood carvings, and having pent roof covered by slates. The temple is built over a raised platform of dressed stones, having decorated windows and balconies. 1 The temple is an attractive wood and stone structure that houses the principal image of the deity. The origins of the deity are regarded to be a lake that lies high along the hillside. The temple houses well over a dozen different images and masks of the Nag, serpent deity and a host of minor deities.

Panoramic view of the temple complex

Peripheral structures are stores for musical instruments and rooms.

One of the major festivals held at Sangla is the festival of Phulaich / Flaich or Ookhayang.2

References 1 Shantilal Nagar, The temples of Himachal Pradesh, South Asia Books, 1990, Pg. 151 2

http://www.himachaltouristguide.com/districtsof-himachal/kinnaur/sangla-valley/places-ininterest

Wood carving on panels

Wooden pillars of the pavilion

Profusely carved capital

Ceiling detail

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Sangla House, Granary and Details The local story is that if while crossing the rather imposing surrounding mountains, you suddenly come across this valley ablaze with sunshine and bursting with the scenes of natural beauty, you would naturally go into ecstasies.

Sangla is the town where wooden houses nestle together protected by a number of small and big temples that mainly reflect the typical Himachal Pradesh wooden temple style.

The houses are two-storeyed structures. The cantilevered upper level gallery is an important transition and working space for the residents.

Many locals here are involved with the art of weaving and often this space is utilized for the work. The interior spaces enclosed on the upper floor are small and humble.

The smaller granaries as seen here are perched on the roof or are placed near the house. They are usually wooden structures raised on a platform.

References Shantilal Nagar, The Temples of Himachal Pradesh, South Asia Books, 1990, Pg. 151

1

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Kamru Overview Altitude: 2800 meters Map

Location and Approach Along a walking path up the hill from the heart of Sangla, roughly 1 kilometer in distance, lies Kamru. It is a dense cluster of houses and is surrounded by fields and orchards. Incidentally, some of the finest apples of Himachal Pradesh come from here.

The entrance to Kamru village is marked by a new gate where a steep climb of hundreds of steps tests the endurance.

Kamru town

Landmarks Badri Vishalji Temple Kamru Fort It also houses the Temple of Kamakshi - a manifestation of Parvati.

Roof of a house in Kamru

Surrounding landscape Kamru fort

Kamru Temple

References 1 Mian Goverdhan Singh, Wooden Temples of Himachal Pradesh. M.L Gidwani, Indus Publishing Company, 1999, P. 137-139 View from the Kamru fort.

Typical house of Kamru

Main gate of Kamru with an image of the Buddha whose blessings must be sought before entering the village confines.

Map of Kamru

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Kamru Fort architecture and Details Placed over a packing of dressed stone that acts like a pedestal for an exalted piece of art, the tower-like temple of Kamru rises five storey high. Here is an exemplary piece belonging to an architectural genre unique to this part of the world. A series of thick sleepers of deodar wood are horizontally placed, one atop the other. The mesh, thus, created has an infill of finely-dressed stone neatly slotted in without the use of mortar.

The presence of forests of deodar, has played a major part in the evolution of this building style. The wood, like teak, is termite-proof and weather resistant, and although untreated, has withstood the vagaries of weather through the centuries. Kamru temple-cum-castle is a glorious example of how local craftsmen, using local materials, created a highly evolved style of traditional architecture.

The fort of Kamru with a temple dedicated to Kamakshi Devi

Serving to heighten the character of the visage, an elegant wooden balcony provides ingress to the tower. As if that were not enough, like a crown adorning a noble face, the upper two floors of the tower expand laterally and comprise elaborate wood work.

The castle-like temple has an image of Kamakhya (Kamakshi) Devi. This is said to have been brought here centuries ago from Assam.

The castle at Kamru belongs to the thakurai period, when the residences for the thakurs and the protective goddess were provided in the same high-rising tower. The tower measuring 11 meters square on the ground, was designed as a defensive citadel and adequately garrisoned against attack. It was with that consideration that the five-storeyed tower had been planned as a multifunctional structure on a one storey high plinth. To reach the ground floor, a portable ladder must have been provided. It could be lifted up conveniently into the building when required. Such provision may also be found at Chaini tower temple in the Outer Saraj of Kullu.

Panoramic view of the fort and temple complex

The Kamru temple-cum-castle, as it stands today, is an elaborate structure of wood-n-stone four walls. This structure might have undergone extensive modifications and additions after it was held by the early rulers of the Bushahr kingdom.

The balcony-like canopy in front of the main door on the plinth and the enclosed projections on the two top floors are such additions. 1

References Mian Goverdhan Singh, Wooden Temples of Himachal Pradesh. M.L Gidwani, Indus Publishing Company, 1999, P. 137-139

1

Fort base rises off a high pedestal

Carving on the entrance door of Kamru fort

Detail of the carving

Carving detail of the gable above the Geometrical carving on the gable entrance door

Embossed metal of the temple doors.

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Kamru Temple and Details Badri Vishalji Temple In the center of the village stands a single storey temple of fifteenth century dedicated to Badri Vishalji. Once every three years , amidst great fanfare, his image is carried to Gangotri.

The yellow Gompa with new wood and stone decorations is in the Chinese style. Four great dragons and two demons guard the temple, Temple of the goddess has many symbolic figures of animals, ibex heads with real horns and tiger.

The double-storied temple is dedicated to Badri Nath, an envoy of the mother goddess Mathi to protect the Gaddi shepherds. 1

Panoramic view of the temple complex

During the major ritual on special occasions the scriptures might be brought out into the courtyard of the temple with a priest officiating the ceremony. The people are blessed by gently touching their heads with holy scriptures.

A ritual with devotees lining up with scriptures

Pavilion in the center

Wooden carving on the pavilion

References 1 Mian Goverdhan Singh, Wooden Temples of Himachal Pradesh. M.L Gidwani, Indus Publishing Company, 1999, P. 137-139

Entrance to the temple complex

Intricate wood carving

Wood carving on the main door

Fringe detail on the pavilion

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Chitkul Overview Altitude: 3460 meters Map

Chitkul, the last village on the road to the Indo-Chinese border

Location and Approach Chitkul is in Sangla tehsil about 26 kilometers from Sangla. Nestling almost at the end of the valley lies this pastoral village with an unmatched ambiance of tranquility. It is also the last village and highest village in the enchanting Baspa valley, situated in the upper extremity and on the right bank of the river of that name. It has a population of a little over 600 only.

The view from Chitkul is one of the snow capped mountains with the river Baspa flowing along the valley.

Landmark Tower temple The name of the local goddess at Chitkul is Mathi, the main one is said to have been constructed 500 years ago by a resident of Garhwal.

Temple construction in the village

References Shantilal Nagar, The Temples of Himachal Pradesh, South Asia Books, 1990, Pg. 149

Village landscape and settlement

Chitkul

1

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Chitkul Temple and Details Chitkul has its own temple complex with intricate woodwork which houses the local deity and also the Lord Pashupati.

The name of the local goddess at Chitkul is Mathi having three temples, the main one is said to have been constructed 500 years ago, by a resident of Garhwal.

Panorama of Chitkul showing the two temples, the new temple construction in left foreground

The square Ark of the goddess is made of walnut wood and is covered with clothes surmounted by a tuft of yak tail. 1 Her legend goes that, she started her journey from Vrindavan and passing through Mathura and Badrinath reached Tibet. Then, she came to Garwhal and via Sirmour reached Sarahan in Bushair and finally reached the Barua khad.

She found the territory divided into 7 parts.

She, after assuming the overall responsibility of safeguarding the seven divisions of Shaung village, Kamru fort, Sangla , Rupin Ghati, Batseri village, Rakchham, finally settled at Chitkul.

After her arrival, the people had plenty of food, animals had sufficient grass and the village began to prosper. They had pujaris (priests) to worship the goddess by burning incense, while the musical instruments were played by Domangs. 2

References 1 Shantilal Nagar, The Temples of Himachal Pradesh, South Asia Books, 1990, Pg. 149 2 Website: http://snnehh.com/2011/02/templesof-kinnaur/

Old temple stands on the high stone pedestal

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Chitkul Temple and Details New temple construction

New temple under construction in Chitkul

References 1 Shantilal Nagar, The Temples of Himachal Pradesh, South Asia Books, 1990, Pg. 149 2 Website: http://snnehh.com/2011/02/templesof-kinnaur/

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Chitkul Houses, Granary and Details Houses are constructed mostly using wood.

The newer houses now feature a tin roof while the older ones had elegant roofs shaped out of stone slabs or wood.

Unlike other Kinnaur villages, the people of Chitkul do not migrate during winter due to the long distance from other places. They store their corn and other dried stuff to face winter along with their herds of cows and sheep. This explains why many houses in Chitkul include a number of - up to seven- granaries.

Granaries constructed of wood in Chitkul

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Nirmand Overview Altitude: 1534 meters Map

Location and Approach Perched high on the mountain slope, on the left bank of the Khurpan Khad, a tributary of the Satluj, Nirmand is not only the oldest inhabited village, but also one of the largest villages in the entire Himalayan region. 1

Towards Ambika Mata Temple

Brief history about the town Its uniqueness is not only restricted at that: though now a sleepy village, dominated by the Brahmans, this village can proudly boast of the largest concentration of classical temples in one place. 1 The village is known for its age-old, practice of human sacrifice (now this practice has been changed) on the traditional duodecimal Bhunda celebration and Buddhi Dyali, celebrated a month later after the Diwali festival. The Nirmanda ri Brahmani has been a popular metaphor for the beautiful damsel in the folksongs of the area. 1 Landmarks There are a number of standing and ruined temples in and around the village.

References 1 O.C. Handa, Panorama of Himalayan Architecture Volume 1, Temples. Indus Publishing Company, 2008, P. 59-60

Nirmand has been called “the most notable large village�

2

Ronald M. Bernier, Himalayan Towers: Temples and Palaces of Himachal Pradesh. S. Chand & Company Ltd., Indus Publishing Company, 1989, P. 55-59

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Nirmand Temple and Details Ambika Devi temple The considerable age of Nirmand was assumed

by A.H Francke in 1913 because he found all the temples in the town to be made of indigenous timber bonding, including the famous monument of all. And the oldest temple is probably the temple of Ambika Devi, a sanctuary that is reached by a long and wide stairway of stone that descends from the town to a setting close to the fields. Impressed by the approach, A.H Francke counted the steps and gave their number as 184.

The temple of Ambika Devi is much simpler and much smaller than the imposing complex of Parasuram on the hill above it, but this rectangular structure without verandah has a special beauty, a wild kind of presence that seems both alluring and dangerous. The temple is surrounded by high walls. And it is near open fields and no dwellings. When the priest locks the doors and leaves it, the monument is absolutely quiet. Yet it does not sleep. The double –gabled gateway that stands at the side of the monument is plastered and white washed and its bolteddoor is sheltered by projecting volutes of two fierce tigers. The animals are fully round as well as ferocious, and one holds a recumbent deer in its claws. Another figure of a deer, this one made out of metal, stands on top of the metal covered ridge beam of the temple as it projects from over the gable. There is also a pair of lions shown in the “backward stance position” in front of the temple. There is no added tower and the temple is low and simple, its style domestic rather than compound. Chetwode describes its entrance façade as marked by fighting stone beasts, large stone heads, and panels that show Siva and Parvati. She compares them to images on the bhandar at Nithar Chebari and to some temples of the 17th/18th century in Mandi town.

But such points are minor compared to the ritual significance of this place as the home of one of the most beloved and feared deities in the hills of Himachal. An early 20th century account of the main image inside describes the goddess as standing erect, about 2 feet tall, with a black face, clothing covered with gold sheets. Mian Goverdhan Singh describes the icon as made of brass and standing 77 cm high. 1

Ambika Mata Temple: General view, Nirmand

Bhadra-mukha figure atop the main entrance

Refrences 1 Ronald M. Bernier, Himalayan Towers: Temples and Palaces of Himachal Pradesh. S. Chand & Company Ltd., Indus Publishing Company, 1989, P. 55-59

Ambika Devi temple with pent roof

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Entrance bell with an inscription in Sharada script

Nirmand Houses and Details The antiquity of this village is not only borne out by the ancient standing temples and bowaries (step-wells), but also by the carved stones and other structural relics of ancient buildings. Those may be seen peeping out of debris scattered between the standing residential houses, lined along the winding stone paved narrow lanes.

In many of those houses, carved stones and structural elements may be seen fitted into the walls.1

References 1 O.C Handa, Panorama of Himalayan Architecture Volume 1, Temples. Indus Publishing Company, 2008, P. 59, 60

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Nirath Overview Altitude: 945 meters Map

Location and Approach Nirtha is situated on the left bank of the Satluj river on the Hindustan-Tibet road, a few kilometers short of Rampur town.

About the temple The Surya Narayan temple (popularly known as the Sun temple) at Nirth may be one of the two living temples in the Himalayan region, the other being at Katarmal in Uttarakhand. This small temple, though located inconspicuously behind the roadside shops and trees is not visible from the road above it, but it is an imposing structure, in which several outstanding stone images are ensconced in the external niches and kept inside the temple. 1

Nirath village sits on the edge of National Highway 22

Nirth is credited for having one of the rare temples of the sun, which is generally believed to be of the twelfth century A.D. This is a shikhara temple built over the remains of the earlier temple, the antiquarian remains of which are still available at the site. The present temple does not appear to be older than 16th century or 17th century A.D. It is evident that while raising the present structure considerable material of the older temple has been reused.

Some of the stone sculptures which possibly belonged to the earlier structure have been embedded in the masonry wall to the west of the temple. One of the remarkable sculptures, though in dilapidated condition, is of Vishnu with his consort Lakshmi seated on Garuda, which is nearly 60 cm in height. A sand stone Ganapati has also been enshrined in a niche in western wall of the temple. The main object of worship in the sanctum of the temple is a bust made of a gold sheet. 2

References O.C. Handa, Panorama of Himalayan Architecture Volume 1, Temples. Indus Publishing Company, 2008, P. 150-152

1

2

Shantilal Nagar, The Temples of Himachal Pradesh, South Asia Books, 1990, Pg. 150 Vishnu and Lakshmi on Garud, Nirath

Indigenous Architecture and Building Practices in Himachal Pradesh, India