A STUDY OF RAJASTHANI CHARPOY - Vernacular Furniture ...

M A C H A A S T U D Y O F R A J A S T H A N I C H A R P O Y

B Y N A M I T A P A R M A R U I 1 3 1 0

F a c u l t y o f D e s i g n C E P T U n i v e r s i t y

M A C H A A S T U D Y O F R A J A S T H A N I C H A R P O Y

B y

N a m i t a P a r m a r U I 1 3 1 0

G u i d e d b y R i s h a v J a i n

F a c u l t y o f D e s i g n C E P T U n i v e r s i t y

D i r e c t R e s e a r c h P r o j e c t ( D R P )

W i t h

D e s i g n I n n o v a t i o n a n d C r a f t R e s o u r c e C e n t e r ( D I C R C )

C E P T U n i v e r s i t y

Dedi ca t ed t o . . .Mamma , Papa and Dad ima

CONTENT

Acknowledgments

Pro jec t b r i e f VFR

P roposa l

In t roduc t ion to Ra jas than

Geography

Peop le & L i f es ty le

03

05

07

Sea t ing and s leep ing Furn i tu re

Macha : Ra jas than i cha rpoy

Bas ic use o f Charpoy

Other use

H is to r y o f Charpoy

Impor tance o f Macha i n Ra jas than

INTRODUCTION CHARPOY MAKING PROCESS

Des ign o f cha rpoy

Frame mak ing

Rope

Webbing

11

13

15

17

19

21

25

29

39

41

Des ign l ea rn ings

Soc io spa t i a l r e l a t ion

Change w i th t ime

Insp i ra t ion

93

96

100

101

INFERENCES

Glossar y

B ib l iography

103

105

I

I I I

V

A C K N O W L E D G M E N T S

First and foremost I am very grateful to have my parents on my side, each and every moment of my life, where they have guided me, loved me, believed in me and always given me encouragement. Thank you so much to Dadima, for loving me so much and over helping me in each and every situation. To my sisters who have always been there for me. I am very grateful to have my one and only younger brother besides me, who has been almost my half in every part of every crazy situations either it is for study or for fun. My very sincere thanks to DICRC team, Prof. Jay Thakkar, who accepted me in the very first DRP team and to let me work with DICRC’s research project. Providing me with necessary data and helping us get through field visits. I am grateful to Rishav Jain for being my guide and helping me out in situations when my work got stuck. I am very thankful for the discussions throughout the journey in entire thesis project.

To DICRC team , Mansi and Samrudh, it was really fantastic working with them, I am thankful for them helping me correct my silly mistakes and show me the correct direction whenever I get stuck in the thesis work.

I am grateful to KP sir, Arthur Duff, Rajesh Sagara for opening up my vision through the big interesting sessions. Thanks to CEPT library, NID library for providing data.

My DRP batch mates, Pankaj Soni. Jay Shah, and Rakshita Modi, it was a brilliant time traveling in Rajasthan for the field visits with them. I am thankful to them for being there to help me experience Rajasthan. My sincere thanks to his majesty Tribhuvan Singh ji Rathod, king of Barmer, who guided us and provided us help for the research project. His friend Mr. Pursottam Ji Khatri, owner of Ghodal restaurant in Barmer, for letting us see his huge collection of vernacular furniture and carry out the necessary documentation. Thanks to Fatehkaran Singh ji for helping us with accommodation and traveling in rural area of Barmer. Thanks to Nampat Singh ji for taking us to distant villages. SURE NGO, Shree Lata ji, for giving us guideline and helping us during our travels in rural areas. We are grateful to Mr, Dhiraj Kumar Sharma who showed us and took us to residences of Barmer city and help us find the data.

I am grateful to be able to meet and talk to these people from distant villages in Barmer, who helped me experience and document their lifestyle.

Pyari Devi Jain, Mohini Devi Jain, Om Prakash ji Sharma, Dinesh ji Salecha, Manju Devi Jain, Khamma Devi Chopra from Barmer, Gyan Singh Rathod, Manohar Singh Ji Sodha, Bhavani Singh, Padam Singh Bhati, Surendra Singh Ji Rathod from Marudi, Ajit Singh Ji Rathod, Fakri Devi Hasulal Jain, Ganpatsingh, Amarsingh Rathod, Haji Resham, Hasam Khan (Murada bai Sameja), Ranaram Ji Prajapat, Kamla Devi Meghwal from Mahabar, Bhawani Singh Ji Rathore from Dighda gadaan, Alias Haji Immam, Vilal Immam from Konra, Narayan Ram ji from Dhanau, Jayrama Ram ji Kukna, Punra Ram ji Kukna, Nararam ji Kukna, from Sodiyar

Sincere thanks to Dhaval Singhvi for showing us his old haveli and providing information, Mehrangarh Fort Museum for providing us access to the museum and letting us document the furniture, Kunal Dave(Pun Haveli) for the incredible amount of information on Rajasthan and Jodhpur, Paal Haveli for providing access to see their antique furniture, Ganesh Handicraft, Shree ram Exports, Ganesh Handicraft, Abhinav bhandary of Navi art for their unconditional support in letting us through their huge collection of furniture.

I am very greatful for the incredible time in Jalore with Padamchand ji of Suraj pol who not only helped us but also filled us with incredible food of Rajasthan, and thank you so much for the night hill climbing experience, which I will never forget. Thanks to Hemandra Chothamalji, Bhawarlalji for allowing us to do documentation of the furniture they had in Jalore.

I would like to thank my seniors who helped me with small or big points while working on thesis Nikhil Dayanand,Tarun Jangid, Amol, Kapil, Kusumlata.

I would like to thank Khalil Zayat, Antonin Lenglen, Aditya Ghiya, Nikita Popat for giving me the best memories in CEPT.

In the end I would like to thank CEPT University which has given me so many experiences and taught me lessons in the field of Design as well as for my life.

MACHA : A STUDY OF RAJASTHANI CHARPOY

I I I I I

D I R E C T R E S E A R C H P R O J E C T Study of vernacular furniture of North West India - Phase 2: Rajasthan

A collaborative project between Design Innovation and Craft Resource Center (DICRC), CEPT University, India and South Asian Decorative Arts and Crafts Collection (SAD-

ACC) Trust, UK.

P R O J E C T B R I E F

Vernacular Furniture of North-West India is an international collaborative research project between Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad, India and South Asian Decorative Arts and Craft Collection (SADACC) Trust, Norwich, UK. Initiated in December 2015, the project aims at identifying, mapping, documenting and studying vernacular furniture that has traditionally been, and continues to be an inherent part of the day to day life in an Indian household. North-West India covers the states of Gujarat, Rajasthan and Punjab. The research will be executed in various stages, with the first phase focusing on Gujarat region. The study of Vernacular Furniture of Gujarat, will act as prototype to develop a framework based on which, subsequent phases will focus on Rajasthan and Punjab.

Vernacular furniture is predominantly domestic furniture used in the day to day life of people of a particular region or community. It is made by the local crafts person using indigenous materials. In a country like India, where the vernacular fabric changes every few hundred kilometers, a region’s architecture, interior architecture and furniture are excellent examples that reflect several social and cultural aspects of that particular region. Collectively these elements provide a unique identity to a community or a region as a whole. It is a recognized fact that whilst there exists a considerable amount of documentation and research in favor of the traditional and vernacular architecture of India, there is not much to match it in terms of native furniture. Academic material regarding the traditional and vernacular furniture of India is scarce, if any, and none that would sheds light on the origin or socio-cultural significance of the furniture pieces. This research project is an attempt to study vernacular furniture of North-West India with respect to its form, function, making, as well as associated stories and myths that signify its relevance in a given context.

The phase 1 of the project focused on Gujarat and has established that there is a huge lacuna in terms of research in the field of vernacular furniture - within the academic as well as professional domain. Hence, the research in Gujarat has also established the scope of research for Phase 2 of the project which will be based in Rajasthan1.

1 Pro jec t B r i e f (VFR, D ICRC, CEPT)


IV V

I N T R O D U C T I O N

M A C H A : A S T U D Y O F R A J A S T H A N I C H A R P O Y

M E T H O D O L O G Y

The study is done in two parts :

Part 1: Field visits

Field visits were done according to the background research. Basic understanding of furniture was taken through interviews of owners and local people. Local crafts people were visited to see the process of making. Documentation of the furniture was done through photography and sketches.

Part 2 :

Second part deals with documenting the process of making charpoy through design analysis, photographs and series of sketches.

S C O P E A N D L I M I T A T I O N

The study is limited only to regions which were visited by the DRP students of DICRC, CEPT; examples of charpoy from other regions were taken from DICRC data bank. The comparative study is only done with the available furniture pieces found during the site visits.

The study may help students/readers with initial idea of what charpoy is. It can give reference for further investigation on charpoy of other region. It may inspire designers in their design process of making furniture.

Aim of the study is to understand prominence of charpoy in rural Rajasthan and its role in everyday life.

Objectives :

Understand the environment of places visited in Rajasthan. Study the vastness of use of charpoy in rural areas. Understand the design of charpoy. Understand the modern design of charpoy.

A I M A N D O B J E C T I V E S

The need to find comfort led humans to create house hold artifacts, furniture being one of them. Since ages humans have experimented, refined and developed furniture according to their different needs. The requirement of seating furniture has had various typologies. From small stools to big bedsteads, seating elements differ according to the activities and space. Lots of experiments and changes can be seen in the process of todays evolved seating designs. Now because of the globalization and evolving technologies, types of seating furniture has reached to the level where there are no material or category limits.

In all these, charpoy, the Indian bedstead, has been an ideal example of resting furniture for centuries.

The study is about this ancient furniture charpoy from Rajasthan. The fifth biggest state of India, Here more than half the area of the land is the desert of Thar. Their culture evolved when mass of uprooted people took shelter to save themselves from the foreign onslaughts. Overtime it started growing and became a major trade center. Some nomadic people still live in the desert of Thar. Here charpoy is an essential element for comfort to them. Most of the daily activities involves the use of charpoy. Hence this study is an attempt to understand all fundamental information on charpoy and its prominence in rural life of Rajasthan.

Figure 1 : Children sitting on charpoy in Konra, Barmer, Rajasthan.


VI V I I

BikanerBikaner old city, udairamsar

Jodhpur Jodhpur city

Pali Falna, Ghanerao

SirohiSirohi, Gol village

JaloreJalore

Jaisalmer Jaisalmer, roopsi

BarmerBarmer city, chohtan, Marudi, Konra, Dighda gadaan, Mahabar, Dhanau,

Figure 2 : Map showing districts visited during field visit

A R E A O F S T U D Y

As a designers, the point of visiting the districts of Rajasthan was to understand people’s lifestyle, observe their way of living and notice the furnitures which they have been using since generations. After visiting all the selected regions as shown in figure 2 , we noticed that a furniture piece called “charpoy” is used most commonly in almost every house in the rural areas.

The only daybed which is used both for seating and sleeping in rural areas is made using a wooden frame with decorative legs, Rope is weaved in interesting detailed patterns to provide for the seating surface for the furniture piece. The thesis documents the making of the charpoy, which includes materials and techniques. It also talks about the social and spatial characteristics of the charpoy.

The project looks at every possible styles and variation found in the charpoy found in Rajasthan.

R A J A S T H A N C H A P T E R 1


2 3

Location : 27° 23’ 28.5972’’ N, 73° 25’ 57.4212’’ E

Total area : 342,239 sq km

Figure.4 : Traditional regions of Rajasthan

Chapter : 1 Rajasthan

1 .1 INTRODUCTION TO RAJASTHAN

The first proto-historic civilization grew during Jurassic formation at Ahar and Kalibagan. People first settled down on the banks of rivers. For a time being they remained on hunting and food gathering stage. The next important stage of the civilization was the production of food by agriculture and domestication of animals. Some evidences of pottery gives an idea about connections between different culture and triable movements.

After that most of the area turned into broad waste because of the sand dunes blowing from the west. This was the reason behind constantly flourishing culture through some ages. The simplicity of living and richness of traditions can be seen in the culture of Rajasthan. Besides the princely cities of rajasthan, people of rural area still live according to the culture of previous generation. Their lifestyle involves, agriculture, livestock keeping, traditional crafts making etc. People of distant villages live in mud hamlets or dhunnies.

1.1.1 Regions of Rajasthan

Aravalli divided the state into two unequal parts. About three fifths of the area lies to the west of these mountains and the remaining two fifths to the east. The two areas differ markedly from each other in their topography, climate, drainage, vegetation, economy and population density. Western Rajasthan is essentially a flat alluvial plain covered with numerous sand sheets and dunes. Its eastern part, largely coinciding with the former princely state of Jodhpur, is known as Marwar, and the western part is as Thar. While much of Marwar is semi arid, having an annual rainfall more than 250mm, the Thar, with an annual rainfall of less than 200mm, is arid and true desert. Close to the border with Pakistan in Jaisalmer district, as near the village of Dhanana, the land is totally packed with endless dunes. The majority the dunes are stable or fixed and have a good cover of grass, shrubs and small trees. The figure 4 represents the Marwar and Shekhawati regions. The focus of the study is on these regions. Due to its position on ancient migration trail followed by nomadic and pastoral communities from Afghanistan, Pakistan and central Asia, western Rajasthan shares a cultural legacy and craft vocabulary with the Sindh(Pakistan) region of Thar desert and Ran of Kutch.

Figure 3 : Map of Rajasthan, India.


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Figure 5 : Map of Rajasthan showing arid and semi arid area.

Figure 6 : Map of Rajasthan showing rainfall.

1 .2 GEOGRAPHY

Rajasthan is Located in north-west area of India. It is surround-ed by Pakistan in west, Punjab and Haryana in the North, Uttar Pradesh and Madhya Pradesh in the East, Gujarat and Madhya Pradesh in the South.

The Aravallis are one of the oldest mountains in the world. Ar-avalli Mountain ranges run in a northeast-southwest direction from Delhi- Gujarat for a length of 700 km. Within Rajasthan the range has a length of nearly 550 km from Khetry to Khed brahma in the south west. The Aravalli separates Rajasthan into two un-even parts, more than half of the area lies in the western part. The eastern part of Aravalli is called Mewar, and the West is Marwar.

1 .2 .1 Ra jas than ’s c l ima te can be d iv ided in to th ree pa r t s :

A. Summer or hot season (early March to mid-June):

Increasingly high temperatures, sand-laden hot wind, dryness of the atmosphere, clear sky, and sandy nature of the soil are the characteristics of summer in Rajasthan. There is rapid radiation of heat from the earth soon after sunset. That lowers the tem-perature at night. The diurnal variation of temperature is 14° to 17°.

B. Rainy season (mid-June- September):

90% of rainfall happens during July –September. Rain is crucial in Rajasthan. When there is no rainfall, large number of people from Thar forced to move towards eastern or neighboring land with their cattle in search for water and food. C. Cold season (October- February) :

December and January are very cold; frost fall takes places in many areas of both the sides of Aravallis.

The dwellings and lifestyles has developed such way that it helps the nomadic people and the villagers to survive in extreme cli-mates like this.



6 7

Figure 7 : The typical small hut called dhunni. Barmer

Figure 8 : Woman cooking on chulha in rasoi. Barmer

Figure 9 : Women going back to village after chopping wood from surrounding area.

Figure 10 : Women getting water in matka from a desert well.

Figure 11 : Camel fair, Puskar.

Figure 12 : Farmer woman collecting crops. Barmer

1 .3 PEOPLE AND L IFESTYLE

Rajasthan became a shelter for the unsettled people who had to migrate because of foreign onslaughts. People who migrated to Rajasthan include- Guhilots from Gujarat. Chauhans from foot of himalayas, Rathods from Varanasi and Kanauj. Kachchhwas from Gwalior area. Bhatties were pushed out from Afghanistan, and they came through Punjab. Solankis from Gujarat and Parmars from Malwa.

All these fugitive races from different areas settled down here with their rich cultural heritage which they brought with them. Eighty percent of the region’s population who still live in rural areas, engaged in agriculture and livestock herding, frequent religious festivals and cattle fairs.

People here live very simple lives, keeping livestock and performing agricultural activities. The dwellings they live in are meant to be harmonized with the climate of the region as the climate becomes unbearably harsh. In such situations the huts are created with the locally available materials. The villagers of Thar lives in huts made out of mud and bushes which grow in the area. In arid zones of western Rajasthan, the villages are small and dispersed. A village here generally consists of a number of small hamlets or dhannis. These are usually named after the persons who established them. In the villages the houses are substantial, being made out of mud or stone. In the dhannis they usually consist of circular huts made of plant materials. The distance between the nearest villages and dhannis in western Rajasthan can be several kilometers(Misra, V. N).


C H A R P O Y C H A P T E R 2

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Figure 14 : Human postures sitting on legs or seating with the support of legs .

Figure 15 : Human postures sitting postures on raised surface.

Furniture like chairs and thrones are seen only amongst the rich people living in haveli or mansions. In rural areas charpoy and paata fulfill the same purpose. Other seating elements like patlo, bajot , basni and machi, shown on facing page, are used according to its particular activity.

Thus, the domestic furniture found in Rajasthan are very low in height. Mostly made of locally available wood and following the traditional methods and forms of making. From the simplest designs to highly decorated ones, they are made according to the user’s lifestyle.

The basic human posture for resting is sitting. The body weight is supported primarily by the buttocks in contact with the seating surface. In rural areas, most of the activities like milking cows, grinding grains in the hand mill grinder, making buttermilk or washing dishes etc. Require postures like the ones shown in the image below. These are body postures that apply a lot of pressure on the legs and knees. For this reason, low hight seating elements are required.

Figure 13 : Human postures sitting on ground postures

2 .1 SLEEPING AND SEATING FURNITURE

Chapter : 2 Charpoy


12 13

Chapter : 2 Charpoy

2 .2 MACHA: RAJASTHANI CHARPOY

The name charpoy literally means four legs. Charpoy is simple framed structure made mostly of wood. Typical charpoy has four beams and four legs that are joined together with the help of tenon and mortise joints. Seating surface is achieved using the rope webbing method. The making of the charpoy allows for a huge number in the variation of the shapes of legs and the webbing.

In Rajasthan charpoy usually is mentioned as Macha, if the charpoy is small it is Machli, other names are Khat, Khatli, Mausa, Dholiya.

For typical charpoy the makers follow the same techniques which has been followed through generations. Each component of the charpoy has a particular name. The typical charpoy leg propor-tion follows the ancient naming system and according to that the shape is given.

PaagaThe legs of charpoy are called paaga. The shape is derived from the legs of animal.

UpalaIt is a side member which gives width to the frame. It is kept higher than the longer side member (iss).

BadaanBadaan is a foot long extension given at the end of the frame after webbing, which is done with a rope to keep the webbing in tension.

MunjThe surface achieved through webbing is called munj. This is done with one, two or more than two ropes.

IssIss is the longer side member which gives length to the maccha. It is proportionately twice of upala.

Local name of the five main components of charpoy in Rajasthan.

Upa la

Paaga

Baadan Munj Iss

Nomadic woman in resting position on Charpoy.


14 15

Man in sleeping position on charpoy.

Man in sleeping position on charpoy.

Men sharing charpoy for sitting.

Men sharing charpoy for sitting.

2 .3 TYPICAL CHARPOY IN USE

Charpoy’s primary use is sleeping and seating, as shown in the sketches which are done observing people and how they use it during day.

Most commonly, men and woman do not share a charpoy. Woman socialize and carry out their day to day work while using the charpoy. The same charpoy is also shared by other men during socializing. For the purpose of sleeping charpoy is mostly used by one person.

“ Chhodo iss, betho biss”

This is a typical saying in Rajasthan about the charpoy which means: avoid the side members (iss) for seating but, use the seating surface for twenty.

Chapter : 2 Charpoy

Women doing home chores sitting on charpoy.

Women resting and chatting sitting on charpoy.


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Figure 16 : Gadiya lohara taking rest on their way.

Figure 17 : Kumhar man using charpoy as shade.

Figure 18 : A tent made of charpoy. .

Figure 19 : Charpoy in use to sundry food on terrace.

Chapter : 2 Charpoy

2 .4 OTHER USES

In the individual houses of rural Rajasthan, charpoy is a resting furniture during the day and a sleeping furniture during the night. During the night , gadda, or durry is kept on it for more comfort.

If the family is poor and can not afford to have separate charpoy for kids, they share one charpoy . they also use the Iss and make a cradle for small babies by tying a piece of cloth across.

During the day-time, women of the houses use the charpoy as a seating for many purposes like preparing food items, helping each other and talking. When not doing any activity, they sleep on it during the day time.

During the summer, they sun dry food like papad, chakry and wadi by keeping them on a surface that they create by placing two or three charpoys in a line and spreading a long piece of cloth across the length.

The charpoy is as blessing as a design for the nomads of Rajas-than; specially Gadhiya lohara, Banjara and Rabaries, who travel with their house hold stuff and live stock from one place to another. Gadhiya lohara travel from village to village with their belongings. Each village they visit, they spend a certain amount of time staying there. The charpoy, during these times, is used as a shading element as well as making partitions and of course for resting.

To get rid of the harsh environment in summer, poor people cre-ate a temporary shaded structure using two charpoy and cover it with a piece of cloth for shade.

During natural calamities, the charpoy becomes handy as a goods carrying surface by turning it upside down.


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Figure 20 : Various bedsteads from ancient times in Indian subcontinents.

Figure 22 : bedstead in nagarjunakonda

Chapter : 2 Charpoy

2 .5 H ISTORY OF CHARPOY

In ancient India, seating furniture is described as “Asana” and sleeping furniture as “Sayanasana”. Some furniture which were similar to the modern sofa was called “Asandi”.

As mentioned in Ayurveda, some benches or beds had four legs. They had cording base and were made out of wood. Such bed-steads were made of wooden frame of four beams and four legs at each corners. Two of the beams are short than the other two to achieve a rectangular shape. These legs are made using the turning technique which was the common technique at that time. This kind of furniture in the Buddhist time period is mentioned as “Manca”. In Amarkosha this type of furniture is categorised as a bedstead. And it was used as a couch, a bed, a sofa, a chair , a throne etc (K Krishna Murthy).

“Mancas” are of four types in the ancient time. Masaranka (the longer version), Bundikabaddh (the version with slots), Kulira-padaka (the version with curved legs) and Achacca Padaka (the version with removable legs). The description of “Manca” is very similar to today’s charpoy (K Krishna Murthy).

In 2nd century BC to 6th -7th century BC, Bedsteads are depicted in the sculptures revealing the life scenes of the Buddha and the jataka stories invariably, they occur in the scene depicting “Maya devi’s Dream” or the “Mahapari-niravana”. In nagarjunakonda the depiction of the bedstead is varied and interesting. In one of the sculptures, the fringe of the cot frame is decorated with beaded pattern (K Krishna Murthy). The oldest description of charpoy can be seen in India in 2nd century BC to 6th -7th century BC , however in the European countries, charpoy is mentioned in relief sculpture of The Andrews Diptych of “the miracle stories of synoptic gospels”. In 13th century AD, Illustrations from ancient Indian furniture describe different types of bedsteads.

Figure 21 : The Andrews Diptych of “the miracle stories of synoptic gospels”. In 13th century AD

Figure 23 : Maya devi’s Dream” or the “Mahapari-niravana”


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Figure 25 : Meeting of villagers in dhanni.

Figure 26 : man and women using different charpoy.

Chapter : 2 Charpoy

2 .6 IMPORTANCE OF MACHA IN RAJASTHAN

In extreme climatic conditions charpoy are most comfortable resting furniture in the desert area. In the summer, outdoor resting furniture should be such which provide comfort and ventilation while using. Charpoy is the best with its design to be used in such conditions.

In villages, when guests arrive, they usually prefer to sit near the entrance space, or in the courtyard, a known guest would be invited to sit inside. Two or three charpoy are always there in the case of visitors. Usually in village houses, when the man of the house is present, the woman sits on the ground, while the man sits on his charpoy. Woman who is newly married never sit on charpoy in front of men. However daughters and sisters have the right to sit on the charpoy. When guest from the village come for a visit, the man is offered a seat besides the host at the head side of the charpoy. The host always sits on the tail side of the charpoy. If the visitor is under working position of the host he don’t share the charpoy with the host, he is given a different, lower and simpler charpoy to sit. If the visitor is from lower cast he sits on ground or on a durry. Seating on the ground is a way of showing respect to the elder or the superior person.

When the village guru or an elder is present, he is given the charpoy to sit as a sign of respect. The host sits on the ground on his own durry. Other visitors also sit on a separate durry or on the ground. Usually women stay indoors. In villages, one residence will have two to five dhaani, all for separate purposes for the kitchen, storage, sleeping, for guests and for animals. The guests hut is always kept at the entrance, and is big enough to be filled with extra macha that come in handy when guests arrive. Even for different functions like marriage or festivals when guests come in huge number these macha can be used to provide comfort to the guests.

When you use the orientation of two charpoys in such a way as to form a temporary tent, as shown (figure 25), it provides with the necessary shade that is needed during the hot summer time. It is, sometimes, covered with a big piece of cloth to get rid of heat waves. Charpoy for nomadic people is a crucial element. They bind them on their live stock and put their everyday belongings on it. While traveling they use the charpoy as a tent. They also use it inside the tents to make partition for women, to dry clothes.

Figure 24 : Meeting of villagers outdoor.

Figure 27 : woman seating on ground in presence of men.

M A K I N G O F M A C H AC H A P T E R 3

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3 .1 DESIGN OF CHARPOY

The charpoy is rectangular having four beams giving it its shape. These four beams are joined together using the tenon and mortise joint. The webbing for the seating element is done using thin rope of various materials which depend upon factors like the user’s choice and the availability in the market.

Charpoy is sized according to the user. It tends to be approxi-mately 6ft by 3ft. It can differ according to the available wood. It should be noted that it varies in height and overall size. The thickness of side members and legs stay proportionate to the overall form.

Being mobile and lightweight, it can be carried to wherever nec-essary. In each house, there are always more charpoy than the house members based on the possibility of convenience for the guests. Extra charpoy are kept in a separate storage room called ghodal. Ghodal is used as a guest room as well as a storage room for charpoy.

In the villages of Rajasthan there is always at least one macha maker. Usually the frame is made by a suthar.

The turning wood technique on a lathe machine is something that has been followed since ancient times. At that time the lathe was manual. It still can be found as an alternate option in distance village of rajasthan where electricity is not regular.

To make macha, the popular wood is Rohida. This wood has all the qualities that are required for a macha. Strength, durability, termite resistance, and good texture. Other than this, aam, neem and sagwan wood is used.

The making of the frame is a one time process. Once the frame is made by the maker it is ready to be sold. The user gets the web-bing done separately or the seller gets it done according to the user’s demand.

Chapter :3 Making Process


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Figure 28 : The charpoy are from Shekhavati region. the hight is dramatically low compared to typical size charpoy behind it.

Figure 29-30 : the proportion of charpoy stays same for the charpoy of kids which is called Machali. The size of machli is according to the child of 1-3 year old. smaller macha is quite bigger for

3 .1 .1 S IZES AND PROPORTION

A typical size of a macha is kept according to an adult human height. That is nearly around 6’ x 3’. But it is not necessari-ly that all macha are made using this dimension. It varies from place to place according to its maker and user’s demand. Size of macha are chosen based on the requirements of its user; if the user is aged, factors like the knee height will be considered for matters such as ingressing and egressing, if the person is short, the height requirement suggests a low height version. The di-mensions of macha are also based according to the place where it is going to be used. In a desert, for example, the macha will acquire a height so as to protect the user from desert animals. In a haveli, however, the height would be based more on preference as those dangers need not be considered. The sizes are basically of three types: small, medium and large.

The legs of a charpoy has a typical corrugated shape mostly giv-en by a lathe or some carving technique. This corrugation allows for a longer span of durability to the legs so that the legs don’t split over a period of time. However, the shape of the legs typi-cally taper from the top going all the way down, but in places like Barmer or Jaisalmer which are desert lands, the flooring of the legs are designed such that it sits on the surface of the sand and doesn’t dig in. In dholia, since they don’t require it to be mobile, the charpoy are made to be heavy.

Typical charpoy

Variation in pagga

Chapter :3 Making Process


28 29

Figure 31 : Wooden ready frame members of a typical charpoy

Figure 32 : Images of Tenon and Mortise joint in typical charpoy

3 .2 FRAME

The frame of the charpoy is usually made from the wood that is available. However in Rajasthan charpoy are made using the wood from the Rohida tree. This wood is termite resistant, has good texture, and lasts very long. The oldest charpoy we came across during the field visit is almost 150 years old. From an-cient times charpoy has been described, and is still described as that which is made of wood. The only material which allows for a thinner frame and strength during the olden days was wood as metal would have been very heavy and hard to work with. This must have meant that wood was the main material for making charpoy.

The charpoy frame is made with four frame making members and four legs at each junction, the longer side members called iss and shorter members called upala are joined together with the legs using tenon and mortise joint.

Iss is always twice the size of upala. Typically, the size of charpoy is decided according to general height of a person, which is of 3’ x 6’. Once the frame is done it is either sold or given further for decoration. The decoration is mainly lacquer work.

Figure 33 : Image of frame of a Dholiya charpoy

Chapter :3 Making Process : Frame


30 31

Figure 34 : Image of wooden blocks ready to make charpoy legs

Figure 35-36 : Typically Rohida wood is used in Rajasthan to make charpoy

3 .2 .1 PAAGA (LEGS) MAKING

The shape of the pagga still follows the ancient method of making. And even today, every pagga made for charpoy may differ in look but most of them always have these segments. However, variations in pagga can be seen. In northern Rajasthan, pagga are more slender, and pointed at the base. While in western rajasthan they get wider and the base is square in shape. Pagga of Dholia are very heavy at the bottom and very different from the typical shape.

In Barmer wood is considered very precious with respect to having very less trees in the area. To give the material more value and to give it a richer expression, extensive wooden carving details are added to the legs.

The charpoy making process has three main steps. The first step involves the making of the legs. The mortise for the legs are then marked and provided for. Then comes the making of the upala and iss, which are the side members of the frame. The ends are made by continuously checking the size of the hole done in the pagga.

The size of the iss and upla are proportionate with one another. The upla is half the length of iss whereas the pagga size varies according to the requirement.

As Rajasthan is known for its rich heritage and art and crafts, people of rajasthan tend to involve this art and craft and rich decorations into their lifestyle by opting to have highly decorated everyday elements. This is why the charpoy is also found in various decorations. The legs are specially decorated more, as they are the focus points.

The legs have a rich layer of lacquer work, some charpoy legs have metal emboss work, with hooks given for the purposes of hanging. The richer the family, the more decorated and varied in form and shape are the legs. In palaces the charpoy were seen to be embossed in silver. For more utility proposes the charpoy’s legs are given pole holders for cases like adding a mosquito net where metal poles are fixed on all four sides.

The legs are either turned with a lathe machine or hand carved. Sometimes turning is first done and carving is done additionally to enhance the look. Different wood turning shapes with different gouge tools Turned wooden legs are given Lacquer finish with the lathe machine. Once the legs are ready, the side members: Iss and Upala are made, the ends are kept according to the mortises that are given to the legs.

Chapter :3 Making Process : Legs


32 33

Bead/sphere hollowv cut & curve

filletswell flat edge

The legs are either turned with lathe machine or hand carved. Sometimes turning is first done and afterwards carving is done additionally to enhance the look.


Turned wooden legs are given Lacquer finish with lathe machine.

Once the legs are ready side members Iss and Upala are made, the ends are kept according to the holes given to the legs.


34 35

Carved square foot Cylinder footWider foot

Flat round footSphere shape Pointed foot

3 .2 .2 shapes and fo rms


Figure 37 :Lacquer work

Figure 38 : Metal emboss on wood

Figure 39 : Silver emboss on wood

Figure 40 : Detailed carving on wood

Figure 41 : Metal em-bossed leg

Figure 42 : Wooden turned leg with additional de-tail on top

As shown on the facing page, the sketches shows how the leg foots differs. the variation in size of the foot base can be seen,

it is more or less because of the place where it is to be used. in the out door areas the foot are usally squre to be stable on the sandy land, while if it is for indoor the legs are designed thinner.

The dholias are usually heavy with the idea of not making it more often movable furniture.


36 37

B A S I C S I M P L E F O R M

This is the simplest form of charpoy leg. The wood has not been treated in any way and a simple tapering has been imple-mented on it.

T Y P I C A L F O R M

The typically seen charpoy legs follows the traditional method of wood turning, it follows the head to root forms as men-tioned.

T H I N L E G S

This kind of shapes are usually seen in Havellis or in mansions, as it looks delicate and has a thin base, it is meant to be used indoors and not to be used outdoors as the legs may dig in the ground.

H E A V Y L E G S

Charpoy with such legs are usually called Dholia. The base of the legs have more surface area than a normal charpoy. It is kept heavy with idea of a less mobile piece of furniture.

C A R V E D

The carved legs are mostly seen in Barm-er district. The legs have finely detailed layers of carving.

O T H E R

Here the legs are metal embossed, they have some additional details like mosqui-to net pole holders. Some of the legs are made by the craftsman who would create motifs like peacock etc.



38 39

The aank plant is first removed from the ground and kept in sunlight till it gets dry complete-ly. Each branch is then taken and made a bunch by twisting them together. During this the outer hard surface gets broken and gives a bit elasticity.

This bunch then beaten by wooden hammer during this process the outer remaining hard surface turns into powder and gets away , after this only the inner soft fibers stays which is required. By twisting and untwisting the dust is removed. The bunch of fiber is soaked in water and kept grounded till the water gets absorbed by the soil.

Then again kept in sun to get dry and again beaten by wooden hammer to completely remover the hard surface from the inner fiber. Now the fiber is ready to be rope. A wooden and metal crossed element called dhero is used for the rope making. It works same as the spinning wheel. But this one is used to give the thread thickness.

T R A D I T I O N A L R O P E M A K I N G P R O C E S S

3 .3 ROPE

Chapter :3 Making Process : Rope

A A N K R O P E

Aank rope was commonly used earlier. Now the making process of aank rope being time consuming, with time its use is reduc-ing. The aank rope webbing was popular because of its smooth texture and long durability and strength.

K H I N P R O P E

Khinp rope is also similarly made as the aank rope. The bushes of khinp are spread all over the semi arid area of Rajasthan. It is cheaper than aank and has a rough texture. It is a strong rope.

J U T E R O P E

Jute is imported into rajasthan. It has similar qualities as khinp, but is very rough in texture.

S U T R O P E

Sut rope is cotton rope. This is easily available in different sizes in the market.

C H I T R A R O P E

Chitra is recycled rope made out of waste cloth. In rural houses, old women make such ropes by themselves. This rope, however, is not as strong as the others as it loses its strength quickly. However it is a cheap option for the user and is convenient

N E W A R W E B B I N G

Newar are cotton strips. This is more modern invention. This is very easy for webbing. The users can easily get this material from the market and can do the webbing by themselves. It is strong enough, but not as strong as the rope as it gets loose easily. It therefore, requires frequent tightening.

Figure 43 :

Figure 44 :

Figure 45 :

Figure 46 :

Figure 47 :

Figure 48 :

Figure 49 :

Figure 50 :

Figure 51 :


40 41

1M E J K A T

2S I N G H A D U

3N E W A R

S I M P L E B A W A D I S T R E I G H T

T Y P I C A L C R I S S C R O S S

C H O T I B A W A D I C R I S S C R O S S

G A R U D A K A N G A S I Y A

C H O P A T

D I F F E R E N T S H A P E S

3 .4 WEBBING

Chapter :3 Making Process : webbing

Men working on mejkat webbing.

Mejkat Macha Mejkat webbing is a typical charpoy seen in most of the places all over Rajasthan and also the rest of India. This type of charpoy is simple and the webbing is done by hand with one rope. Being a simple webbing, anyone can easily tighten the webbing.

Singhadu Macha Singhadu webbing is found basically in Rajasthan, Punjab, Hary-ana and Pakistan. This webbing is woven like durry, it is woven with Deer horns, which are called Singhada. This gives the Ma-cha its name “ Singhadu macha”.

Newar. Newar means strips. This is easy to weave. Mostly dholias have newar as their webbing base.


42 43

S I M P L E M E J K A T W E B B I N G

T Y P I C A L M E J K A T W E B B I N G

G A R U D A M E J K A T W E B B I N G


3 .4 .1 MEJKAT WEBBING

Mejkat webbing is the webbing done by hand and only by one rope . It is very common all over India. It can be seen in three types, the simplest criss cross, detailed criss cross, and detailed garuda

The Garuda is a criss cross type of webbing. But visually it makes four parts, which is compared to lord Vishnu’s vehicle, Garuda. These macha are only used for guests or important people in the village.

This webbing starts from the tail. The distance of tail and head is divided and the rope is used as a partition. Then the webbing starts from one end of the partition and woven in cross direction. The base webbing contains 3, 6 or 9 lines of rope going all over the sides.


44 45

T Y P I C A L S I M P L E C H A R P O Y W I T H M E J K A T W E B B I N G

E L E V A T I O N

P L A N 0 100 200 400 800

I S O M E T R I C V I E W



46 47

Thick rope is tied making division for head and tail webbing.

With the division line rope the tail is tied

The mejkat webbing is done with one single rope, starting from corner to corner, by hands.


Corner criss cross detail

Corner detail

Final outcome


48 49

1 . M A C H A L I

Owner : Hemendra Chodamalji

Place :Jalore, Rajasthan

Material : Wood, rope, Techniques : turned wood, rope webbing

Specifications : used for children.

2 . M A C H A L I

Owner : Hemendra Chodamalji’s neighbor



Specifications : used for children.



50 51

3 . M A U S A

Owner : Phukrajbhai Kumar’s House

Place :Gol village, Jalore, Rajasthan


Specifications : ---

4 . M A U S A

Owner : Devaram Satraj Kumar






52 53

5 . M A U S A

Owner : Devaram Satraj Kumar




6 . M A U S A

Owner : Chatar Bhuj Sankarlal Dhave






54 55

7 . M A U S A

Owner : Tilaramji Pratapji’s House



Specifications : ––

8 . M A U S A

Owner : Mukesh DavePlace :Gol village, Jalore, Rajasthan


Specifications : metal hooks are given for hanging the charpoy and converting it to swing.



56 57

9 . M A U S A

Owner : Durgaram Devasi

Place :Falna village, Pali, Rajasthan



1 0 . M A C H A

Owner : Haji Resham

Place :Konra, Barmer, Rajasthan





58 59

1 1 . M A C H A

Owner : Gyansingh Rathod

Place :Marudi, Barmer, Rajasthan



1 2 . M A C H A

Owner : Ranaram Ji Prajapat

Place :Mahabar, Barmer, Rajasthan

Material : Wood, rope,Techniques : turned wood, rope webbing




60 61

Variation in newar webbing

3 .4 .2 NEWAR WEBBING


Newar is not an old invention as the rope for the charpoy. It is made of cotton or nylon. The newar strips are kept rolled.

The webbing is done by unwrapping the rolled.Newar roll can be found in various sizes as required. Newar is woven on looms and given length accordingly. Normally newar has stitches running throughout the length. This helps regarding its strength and prevents tearing.

.Figure 52 : Newar stripes roll

Charpoy with nylon newar webbing.

Figure 53 : Newar stripe Figure 54 : detail of Newar stripe

Sketch illustrating process of newar webbing.


62 63

1935 1100

467

N E W A R W E B B I N G I S T Y P I C A L LY S E E N I N D H O L I A S . H E R E I S A N E X A M P L E O F T Y P I C A L N E W A R W E B B I N G O N D H O L I A

S I D E E L E V A T I O N

P L A N

0 100 200 400 800



0 100 200 400 800

1935 1100

467

1935 1100

467

F R O N T E L E V A T I O N


64 65

1 . M A C H A

Owner : -Place :Jhunjunu, RajasthanMaterial :Wood, newar for webbingTechniques : turned wood

Specifications : Wood turning technique is used in making of legs while metal hollow pipe is fixed on the tip of the leg on which wooden stick is dropped forming a grid for mosquito net above.

2 . M A C H A

Owner : -Place :Jhunjunu, RajasthanMaterial :Wood, newar for webbingTechniques : turned wood




66 67

3 . M A C H A

Owner : Patwa Gumanmal Bafna

Place :Patwa ki haveli, Jaisalmer Rajasthan

Material :Wood+Metal (wrought iron), newar for webbing

Techniques : turned wood


4 . M A C H A

Owner : Tulsiramji

Place :udaramsar, Bikaner, Rajasthan

Material :Wood, newar for webbing

Techniques : turned wood




68 69

5 . K H A T L I

Owner : -Place : Sikar, Rajasthan

Material : Wood, rope, Techniques : turned wood, newar webbing

Specifications : Macha for kids for sleeping, it is also used as seating element for adult.

6 . K H A T L I

Owner : : Bhawani singh ji Rathore Place :Dighda gadaan, Barmer , Rajasthan


Specifications : macha with carved legs. the webbing is of Chopat



70 71

The horns of desert deer is used for the knitting of Singhadu webbing.

Figure 56 : The Desert deer of Thar.

Images showing the process of Singhadu webbing.

3 .4 .3 S INGHADU WEBBING


Mejkat webbing is the webbing done by hand. It is very common all over India.

This webbing starts from the tail. The distance of tail and head is first divided and the rope is fixed as a partition. The webbing starts from one end of the partition and woven in cross direction as shown in the figure below.

The base webbing contains 3, 6 or 9 lines of rope going all over the sides.

The webbing is more like weaving. Fixed on a charpoy frame. First the vertical (wrap) ropes are tied, the horizontal (weft) ropes are then inserted. To tighten the webbing, at the edge of the char-poy, the ropes are knitted.

Image showing the process of Singhadu webbing.


72 73

Process sketches of Singhadu webbing

Detail of Knitting done with deer horn on the sides, during web-bing.

Knitting done with deer horn on the sides, during webbing.

Singhadu mach ain process of webbing.



74 75

N A M E S O F D I F F E R E N T S I N G H A D U W E B B I N G

Figure 55 : Garuda : the design creates shapes of flying garuda( mythical bird depicted in mahabhart as Lord Vishnu’s ride) this type of patterned macha are only used for guests.

Figure 56 : Bawadi : the form of the pattern is very similar to the step wells.

Figure 57 : Choti Bawadi : this is small detailed square patters which looks the step well shown in the side image.

Figure 58 : Chopat : chopat name is lit-erally taken from the game chopat(ancient ludo game).

Figure 59 : Kangasiya : Kangasiya means comb. The patterns which has comb like forms are called kangasiya.



76 77

V A R I A T I O N I N S I N G H A D U W E B B I N G

Singhadu macha has more possibility of creating new patterns as it follows similar technique of durry weaving, the garuda, bawadi, chopat, and kangasiya are popular webbing patterns been observed through out the field visit.

D E T A I L I N S I N G H A D U W E B B I N G

Detail of Baadan (tail) in Singhadu Macha has also variation. Baadan is usually made of thick rope. Than the Munj (head web-bing). in a case of thinner rope the baddan is divided into two parts with idea of equal tension and load distribution.



78 79

D R A W I N G S O F S I N G A D U W E B B I N G C H A R P O Y

E L E V A T I O N

P L A N


0 100 200 400 800



80 81

1 . M A C H A

Owner : Hemendra Chodamalji



Specifications : macha with carved legs. The webbing is Bawadi

2 . M A C H A

Owner : Bhavarlalji Munilalji



Specifications : macha with carved legs. The webbing is chopat



82 83

3 . M A C H A

Owner : Dinesh Salecha

Place :Barmer, Rajasthan



4 . M A C H A

Owner : Ganesh Export housePlace :RICCO, Sangaria, Jodhpur, Rajasthan

Material : Wood, rope, Techniques : turned wood, s, rope webbing

Specifications : macha with carved legs. The webbing is choti bawadi



84 85

5 . M A C H A

Owner : Dinesh Salecha

Place :Barmer, Rajasthan



6 . M A C H A

Owner : FakriDevi Hasulal Jain

Place :Chohtan, Barmer, Rajasthan





86 87

7 . M A C H A

Owner : : Vilal Immam

Place :Konra, Barmer, Rajasthan


Specifications : macha with carved legs.

8 . M A C H A

Owner : : Bhawani singh ji Rathore Place :Dighda gadaan, Barmer , Rajasthan


Specifications : macha with carved legs. the webbing is of Chopat



88 89

9 . M A C H A

Owner : Ganesh Export house

Place :RICCO, Sangaria, Jodhpur, Rajasthan

Material : Wood, rope, Techniques : turned wood, lacquer work, rope webbing

Specifications : heavy legged macha with red lacquer work. The rope pattern is bawadi

1 0 . M A C H A

Owner : Ganesh Export house

Place :RICCO, Sangaria, Jodhpur, Rajasthan

Material : Wood, rope, metal

Techniques : turned wood, metal empboss, rope webbing

Specifications : the particular peace is used by nomadic people who travel from one place to another, the hooks on the sides are for tyeing while traveling.


I N F E R E N C E S C H A P T E R 4


92 93

Figure 60 : The men of the house usually owns its own charpoy. Women usually use charpoy for house hold chores.

4 .1 DESIGN LEARNINGS

The observation based thesis starts with looking at overall seating and sleeping elements and then narrows down at the most encounters piece of furniture charpoy. The inferences develop through learning of the geography, people’s lifestyle, and observations of the making processes followed by case studies of different charpoys.

Design learnings:

4.1.1 Response to user’s demands

It was noticed that the Charpoy’s structure allows the change in its proportion to be flexible to its user, from children to women and to men, charpoy has variation in its size and its looks. It being lightweight even children or women can carry and access it easily.

It was also noticed that it responses to the social and economical conditions of user.

Chapter :4 Inferences


94 95

Sketch explaining typical dhunni (hut) of rural areas of Rajasthan.

4 .2 SPATIAL AND SOCIO- CULTURE

“Shelter is of supreme importance of man, it is the prime factor in his constant struggle for survival. In his efforts to shelter him-self against the extremes of weather and climate he has, over the ages, evolved many types of dwellings, one of which is the court house” 1

Climate has a very deterministic role in shaping activity areas by creating indoor, outdoor and in-between spaces. Consequently, for Indian communities, outdoor activity spaces acquire special significance. even today it is normal to extend some day to day function into open areas, be it the evening breeze in the summer months or the morning sun in the winter. This generated a very specific and very functional space like a courtyard. 2

In arid desert regions like Rajasthan, where the climate is always hot and dry and there is a constant need to protect oneself from dust storms and extreme temperatures, an area open to sky and closed on three or more sides, or a courtyard house seemed to be the best suited house type .

A courtyard is not just a space or an architectural style; it is a reflection of the society at the time of its built. They were the elements for safety and security which were surrounded by all the activity area- cooking, sleeping, working, playing, etc. And even place to keep animals. 3

In such environment charpoy becomes an indigenous design which stays flexible with the climate, dwellings and social life of the people.

The following sections shows how charpoy is used in different spaces

1 (N . schoenauer and S .Seeman, the cour t ga rden house , p ;3 ) 2 (Jain: Kulbhushan. thematic space in indian architecture, p.8-11)3 (Non-publish thesis: Ridhima Gupta: impact of culture on house forms: a study of the house in Nawalgarh)



96 97

Over time the house form started adding rooms according to the requirements this rooms were of rectangular shapes with the sense of more space.

More rectangular rooms started becoming part of dhannie and the circular form stated disappearing in larger huts. As the circular form started becoming useless when more space is required. Below is how then the stone houses started taking place. In the beginning it was square form with courtyard, then the form started extending with more courtyards. This form of house is called haweli. That is more secure, bigger.

Most common areas where charpoy is kept is court yard. Different dhanni forms, the yellow part indicates interaction space, where usually interactive spaces.


O U T D O O R

outdoor charpoy seen under shades of tree, or in frongt of the house on otla. This element acts as interactive furniture, seating outside creates more possibility of inviting others also in the interaction. If the charpoy is big enough more than two people can sit on it.

I N D O O R

In rural area of rajasthan charpoy are the bed. They do not yet have wooden sleeping beds involved. durry or mattress are kept on charpoty for more comfort.

Figure 62 : charpoy in haveli

Figure 61 : charpoy placed outdoor


98 99

E N T R A N C E / F R O N T Y A R D

In the entrance or in front yard charpoy are always kept. Sometime the visitors come for very less time or are unknown people who do not enter the house, in such time they sit out side on charpoy.

C O U R T Y A R D

Courtyard is the living area in Rajasthani dwellings people use it to do different activities during day. Charpoy can be seen in this area. Whenever need emerges charpoy is used for seating, resting. And not in use it is kept against wall in vertical position.

T E R R A C E

However terrace is used very less during day of summer but in night terrace is preferred to sleep. Here charpoy are used. Also charpoy is kept as raised surface to sundry food made during winter for yearly stock. Sometimes also to sundry cloths.

C H A R P O Y W H E N N O T I N U S E

In villages of Rajasthan the cluster of dhunni always has a dhunni for guest, this dhunni is called Ghodal. It is also a storing place for extra charpoy.

Usually charpoy are placed vertically or horizontally against wall when not in use.


Figure 63 : charpoy on terrace


100 101

4 . 3 C H A N G E W I T H T I M E

Foldable bed are the contemporization of the old charpoy, such foldable beds has newar webbing, and is made of metal pipes.

Being lightweight, fold able and cheaper, such charpoy are taking place of the old wooden charpoys. It is easily accessible, and saves space when not in use. Some charpoy are framed with met-al pipes, and are not foldable, which is also being popular,

Chapter :4 Observations

DAY BED FOR MOROSOBy designers Nipa Doshi and Jonathan Levien From Doshi Levien design studio

FIRESIDE COLLECTIONBy Peg wood working, NYC

THE STEEL HEART COLLECTIONBy Peg wood working, NYC

4 . 4 D E S I G N I N S P I R A T I O N

Charpoy is been a great inspiration to furniture designers, it been a way to look at how a furniture piece can be used as more than one purpose, it is taken as a concept and new forms of Resting, seating furniture is devloped by designers.

Here are some examples which has been inspired from charpoy. The furniture design extends itself also towards small stools chairs etc.


Figure 64 Figure 65

Figure 66-67


102 103

THE PROMINENCE OF CHARPOY IS VALID IN WESTERN RAJASTHAN BECAUSE

IT IS A MOVABLE FURNITURE WHICH IS HARMONIZED WITH THE ATMOSPHERE OF WESTERN RAJASTHAN.

ITS POSIT ION IN PARTICULAR AREA HAS MORE THAN ONE USE.

BE ING AVAILABLE IN D IFFERENT PROPORTIONS IT IS USER FRIENDLY.

THE RANGE OF VARIAT ION IN DESIGN AND PATTERNS FULL-FEELS DEMAND OF USER.

IT IS A CULTURAL IDENTITY IN RAJASTHAN AS ITS POSIT ION AND LOOK DESCRIBES USER ’S L IFESTYLE.


104 105

B I B L I O G R A P H Y


106 107

B O O K S

Ann Shankar, Jenny Housego. Bridal durries of India. Ahmedabad: Mapin Publishing Pvt. Ltd, 1997.

Brunel, Francis. Rajasthan. Delhi: Roli Books International, 1980.

Carisse, Busquet, Gerard. Impressions of Rajasthan. Paris: Flammarion, 2003.

Ganguli, Kalyankumar. Cultural history of Rajasthan. New Delhi: Sundeep Prakashan , 1983.

Jain, Shikha. Havelis : a liiving tradition of Rajasthan . Harayana: shubhi publication , 2004.

M.P.Ranjan, Aditi Ranjan. Handmade in India. newyork, london: Abbeville press, 2007 .

Misra, V. N. Rajasthan : prehistoric and early historic foundations. New Delhi: Aryan Books International, 2007.

Murthy, K. Krishna. Ancient Indian Furniture. Delhi: sundeep prakashan, 1982.

Nath, Aman, Wacziarg, Francis. Arts and crafts of Rajasthan. Ahmedabad: Mapin Pub. Pvt. Ltd. , 1994.

Pal, Dharma. Rajasthan : the land and people. Delhi: National Book Trust of India , 1968.

Tillotson, Giles Ed. James Tod’s Rajasthan : the historian and his collections. Mumbai: Radhika Sabavala for Marg Publications , 2007.

Tod, James. Annals and antiquities of Rajasthan : the central and western rajput states of India. Vol.1. New Delhi: KMR Pub. , 1971.

U N P U B L I S H E D T H E S I S

Gandhi, Sandip, Jain, Kulbhushan B.(Guide). Study of traditional ele-ments and design language of facade in houses of Jaisalmer, Rajasthan. unpublished thesis. Ahmedabad: CEPT University, 1993.

Gupta Ridhima, guide : Meghal Arya. Impact of Culture on house forms: a study of the houses in Nawalgarh, rajasthan. unpublished thesis. Ahmedabad: CEPT University, 2011.

Kacker, Vipul, Hazra, Ravi (Guide). Traditional houseform in Bikaner, Rajasthan : a study. unpublished thesis. Ahmedabad: CEPT University, 1984.

Ruchira, Palavajjhala, Agrawal, Binod C. (Guide). Houseforms in a cultural context : a study of Fatehpur Shekhawati, Rajasthan. unpublished thesis. ahmedabad: CEPT University, 1987.

Vishal Prerak, guide: Jain, M. K. Reuse : an alternative for built heritage : a case for Shekhavati, Rajasthan. unpublished thesis. ahmedabad: CEPT University, 2004.

O N L I N E R E F R E N C E S

www.pegwoodworking.comwww.doshilevien.com


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L I S T O F F I G U R E S

Figure 3 : Pal, Dharma. Rajasthan : the land and people. Delhi: National Book Trust of India , 1968.

Figure 9 : https://in.pinterest.com/pin/333829391120861957/

Figure 10 : http://sayoriko.tumblr.com/page/115

Figure 11 : www.pintrest.com

Figure 16 : http://www.loupiote.com/photos/3707876531.shtml


Figure 18 : https://www.amazon.co.uk/d/Stationery-Office-Supplies/Jute-Webbing-Wide-Yards-Natural-Line/B00L0LRXGM

Figure 19 : http://barpalidays.blogspot.in/2013/01/kakharu-badi.html

Figure 20 : K. Krishna Murthy, Ancient Indian furniture.

Figure 21 : http://collections.vam.ac.uk/item/O94187/the-an-drews-diptych-diptych-unknown/

Figure 22 : https://www.studyblue.com/notes/note/n/art-histo-ry-asian-studies-278/deck/11156426

Figure 23 : https://commons.wikimedia.org/wiki/File:Dream_o f _ M a y a d e v i _ - _ S c h i s t _ - _ c a _ 2 n d _ C e n t u r y _ C E _ - _ M a r -d a n _ - _ A C C N _ 3 6 9 7 - A 2 3 2 4 8 _ - _ I n d i a n _ M u s e u m _ - _ K o l k -ata_2016-03-06_1470.JPG

Figure 24 : https://en.qantara.de/content/when-freedom-doesnt-last-forever-the-landless-nomads-of-cholistan

Figure 25 : https://gopackup.com/tours/show/half-day-village-safari-tour-with-local-lunch

Figure 26 : https://photosforjudges.wordpress.com/page/3/

Figure 37 : http://collections.vam.ac.uk/item/O451400/charpai/

Figure 47 : https://imagemag.ru/img-ba_twine.html



Figure 51 : https://dir.indiamart.com/impcat/niwar-tapes.html

Figure 52 : https://www.onlinefabricstore.net/red-jute-webbing-.htm

Figure 53 : http://www.design-decoration-ideas.com/design-ideas-kids-rooms-pictures/

Figure 54 : http://www.design-decoration-ideas.com/design-ideas-kids-rooms-pictures/

Figure 55 :https://in.pinterest.com/pin/92253492341713091/

Figure 56 : https://ocula.com/art-galleries/sundaram-tago-re-hong-kong/artworks/edward-burtynsky/stepwell-5-nagar-kund-baor/

Figure 57 :https://www.google.com/url?sa=i&rct=j&q=&es-r c = s & s o u r c e = i m a g e s & c d = & v e d = 0 a h U K E w i N 6 LW 5 2 L 3 V A -hUHN48KHdlqDZ0QjhwIBQ&url=https%3A%2F%2Fwww.pinterest.com%2Fpin%2F510314201497378805%2F&psig=AFQjCNEBqeZl9B-4vWkCklGIqOck7c07Leg&ust=1501939945169151

Figure 58 :https://commons.wikimedia.org/wiki/File:Chopat.jpg

Figure 59 : http://historicenterprises.com/index.php?main_page=in-dex&cPath=102_165

Figure 60 :http://www.alamy.com/stock-photo-an-old-indian-man-sit-ting-on-a-cot-outside-his-house-and-smoking-a-30436875.html

Figure 61 :www.pintrest.com

Figure 62 :www.pintrest.com

Figure 63 : http://barpalidays.blogspot.in/2013/01/kakharu-badi.html

Figure 64 :http://www.hafelegateway.com/2016/03/30/geometr-ik-oruntuler/

Figure 65 :https://in.pinterest.com/pin/62276407321901327/

Figure 66 :https://www.designdaily.com.au/blog/2015/11/daybeds-the-low-down

Figure 67 :https://www.designdaily.com.au/blog/2015/11/daybeds-the-low-down


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G L O S S A R Y

Aank : a plant grows in desert of Thar (Calotropis gigantea)

Baadan : Tail part of charpoy

Dhunni : a typical hut seen in the villages of Rajasthan

Iss : longer side member of charpoy frame

Khat : local name of charpoy

Khatli : local name of small charpoy

Macha : Charpoy of Rajasthan

Mausa : Local name of charpoy

Machali : Small charpoy

Munjj : Webbing of Charpoy

Paaga : Legs of Charpoy

Upala : Shorter side member of Charpoy

A STUDY OF RAJASTHANI CHARPOY - Vernacular Furniture ...

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