Sompura Community: The legacy bearers of IKS of Vastushashtra in Western India

Abstract

The Sompura community, master craftsmen known for their exceptional contribution to sculpture and architecture, are from the western region of India, specifically from Prabhas Patan, also known as SomnathPatan. This group of highly skilled builders and craftsmen boasts a lineage that can be traced back to antiquity, with historical ties to the construction of the revered Somnath Temple. Their appellation, ‘Sompura’ is a nod to their origins in SomnathPatan.

The Sompura community’s architectural legacy can be seen in numerous temples and structures across India. They are involved in preserving and revitalizing “living” temples, aiming to rejuvenate these structures. Their work showcases a blend of artistic expression, spiritual symbolism, and engineering prowess. Some of the most famous temples built by the Sompuras include the Akshardham Temple in Gandhinagar, the Swaminarayan Temple in Bhuj, the Somnath Temple in Gujarat; and currently the Ram Mandir in Ayodhya. They have played a foundational role in preserving the tradition and culture inherent in Indian architecture.

Through this paper, I want to highlight how this close-knit community, a flag bearer of the ancient Indian knowledge system of making Nagara temples, preserved their knowledge in the past and passed it from one generation to another. SompuraJaati is a social group of hereditary occupations formed for professional home-based training in skills and preservation of knowledge. The paper will help understand how the Sompuras learned, nurtured, and passed on the knowledge in sthapatya from father to son. How they formalized the education in an informal setting. How this community transmitted their knowledge of building temples and murtis to the next generation by using detailed manuals as a guide and passing it on as a legacy from father to son in the past. How things have changed for the community with the younger generation leaving their traditional business and looking at new horizons. How the community is facing the new challenge and adapting themselves to the new technological advances.

 Indian Knowledge System (IKS)

The Indian Knowledge System (IKS) refers to the rich tapestry of accumulated knowledge, practices, and beliefs that have been developed and refined over millennia in the Indian subcontinent. It is passed on from generation to generation and has become an integral part of Indian civilization and culture.

Rooted deeply in its history, culture, traditions, and philosophy, the IKS encompasses various fields and domains and has contributed significantly to the global pool of knowledge. One of the important knowledge systems is that of Architecture and Engineering called Vastu Shastra. Vastu Shastra is an ancient science or knowledge of art and architecture of designing and constructing temples, buildings, and dwellings.

Hindu temple and Vastu Shastra Treatises

Temples make the invisible visible and provide shelter for the divinity worshipped in a form. Temples in all advanced societies embody their affluence, artistry, fervor, and a divine urge to etch God from their souls onto stone. Similarly, scriptures mirror the intellectual depth of these societies. This suggests that temples and scriptures, though distinct, resonate with the same spiritual essence. Hence, it’s apt to say that temples are books crafted in stone and brick, while books are temples constructed with words. VastuShastra, a continuous and cumulative series of texts continues to be available despite the widespread loss and historically recorded destruction.

Vastu Shastra is the admixture of science, art, astronomy, astrology, and spirituality which built places in harmony with nature. Knowledge of Vastu Shastra is believed to have been passed down orally over thousands of years. This ancient Indian knowledge of architecture is as old as the Vedas, and its first textual evidence for Vastu Shastra is found in the Rig Veda, where the protector of the house (Vastospati) is invoked (Rig Veda, VII. 54.1). Vedic wisdom, including insights from Vastu, was traditionally preserved through oral transmission, and memorization, and eventually documented in written form. Its description is there in epics like Mataysya Purana, Skanda Purana, Agni Purana, Garuda Purana, and Vishnu Purana.

The body of Vastu knowledge is monumental with lakhs of shlokas, which were handed down to succeeding generations by word of mouth and through handwritten. It used to be a purely technical subject and it was only confined to architects (Sthapatis) and handed over to their heirs. As the religious thoughts evolved over 2000 years so did the VastuShastra which tried to match the intangible religious thoughts with the tangible temples. During this time a large number of VastuShastra texts were written of which we know of as many texts from the sixth century BC to the sixth century AD have been lost and only fragmentary portions appear in the later works of Vastu Vidya. Due to invasions from Islamic invaders much of the scriptures are lost.

Some of the important VastuShastra treatises are KashyapaShilpa Shastra, Brihat Samhita, ViswakarmaVastu Shastra, SamaranganaSutradhara, VishnudharmottaraPurana, PrasadaManjari, Mayamata, Aparajitapccha, SilparatnaVastu Shastra, etc. Some of the great sages, originators, teachers, and preachers of VastuShastra are Brahma, Narada, Brihaspati, Bhrigu, Vasistha, Vishwakarma, Maya, Kumara, Anirudha, Bhoja, Sukra, and others.

(Figure 1: Hindu Temple Architectural styles)

Temples are generally categorized into three primary styles: the Northern (Nagara), the Southern (Dravida), and the Mixed (Vesara) styles. In India, the sthapatis or the Architects dedicate their origin to Vishwakarma and Maya the divine architects. The Nagar architects consider themselves to be the descendants of Vishwakarma and the Dravidian architects consider themselves to be the descendants of  Maya.

Quality of Education of Architects

The design and style of architecture in a particular region during a specific period directly reflect the expertise of the architects of that time. As architecture progressed, it did so hand in hand with its architects, indicating a mutual dependence. The proficiency of these architects was often determined by the caliber of education they had, which, in turn, was evident in the historical buildings and landmarks of that area. Scarce information is available on ancient Hindu temples and their builders and whatever information is primarily documented on stone slabs, metal plates, and manuscripts written on palm leaves. The surviving records indicate that temple construction, particularly in stone and brick, largely occurred through the support of royalty.

Sompura community

In this paper, focus is on the period from the 19th century till date on the Sompura community which has adeptly navigated the shifts and changes introduced by the late colonial era, post-independence, and the modern era in Gujarat and Rajasthan.

Temple architecture in India transcends mere construction—it’s a divine blend of spirituality and science. For the Sompura community, building a temple is a deeply spiritual affair, anchored in the ancient principles of Vastu Shastra. This age-old architectural wisdom ensures that sacred structures resonate harmoniously with the universe and natural surroundings. Marrying this age-old knowledge with modern innovations, Sompura architects craft magnificent temples that are not only awe-inspiring but also enduring. Their meticulous craftsmanship and unwavering commitment to upholding the temple’s sanctity make them the esteemed custodians of these holy sanctuaries.

Sompura community, a proponent of Nagara architecture and specializing in Maru-Gurjara style-consider themselves are descendants of Vishwakarma.  Sompuras, the temple designers, call themselves SompuraJati, a Brahmin community. Some use Sompra as their surname and others use surnames based on specific gotras. Trivedi (from the Vacchasgotra), Acharya (from the Kashyapgotra), Upadhyaya (from the Galva or Galmikgotra), Dave (from the Shandilyagotra), Pathak (from the Bharadwajgotra), Vyas (from the Angirasgotra), and Dwivedi (from the Gautamgotra).

The origin of the Sompura Brahmin shilpis is mentioned in the Prabhaskhand of the SkandaPurana (700 AD -1150 AD). A large part of the Sompura community is involved in the temple building profession whereas members of another branch of this Sompura community devote themselves to performing the rituals related to worship in the Somnath temple.

They are also called SompuraSalat. The term salat comes from shilavat, or one who works with stone, shila. In Gujarat, the Sompura community primarily resides in the Saurashtra region, notably in places like Wadhwan, Palitana, Halwad, and Dhrangadhra. Dhrangadhra has the largest Sompura population, given its closeness to the Dhrangadhra stone quarries. Additionally, the Sompuras have a presence in Vadnagar and Vishnagar in northern Gujarat and the Marwar and Mewar regions of Rajasthan. Some families from these areas have moved to bigger cities such as Mumbai and Ahmedabad, establishing thriving businesses.

The Sompura community primarily focuses on the preservation and revitalization of temples considered to be “living heritage.” Their responsibilities encompass various activities falling under the Sanskrit term “jırnoddhara,” which can span from routine maintenance to extensive restoration and replacement efforts. They were not only building Hindu temples but also bridges, palaces, forts, dharamsalas, hostels, residences, and rest houses all within their scope. Additionally, they constructed religious edifices for Jain, Hindu, Sikh, and Muslim communities.

The most iconic and beautiful temples built by the Sompura community are Somnath temple, Modhera Sun temple, Swaminarayan temple- Delhi and Gandhinagar, Ram Mandir in Ayodhya to name a few.

(Figure 2: Some of the most beautiful temples built by the Sompura community)

Architecture Education of Ancient Period (before the 8^th C AD)

The early temples, before the 8^th C AD, are either lost or are in a ruined state. The ancient temples were built of wood which decayed over some time and vanished. The brick and stone temples are in shambles. In the ancient times, the time of Vedas, the knowledge was transferred from one generation to another orally. The teaching method used was learning by rote, reasoning, and questioning. In the first millennium, the systems of transmission of learning to newer generations got institutionalized and gave birth to famous universities such as Takshshila, Nalanda, and the famous temple universities where architecture was among the other subjects taught.

Architecture Education of Medieval Period (8th to 18th C AD)

The medieval temples are from the 8th to 18th C AD. The harmonization of temple architecture of the whole country was governed by the principles of vastushastra treatises which dictated the art and architecture of all the buildings. The most pivotal role in temple construction was held by the chief architect. Different regions of the country had their specific titles for these chief architects and their associations: ‘Sompuras’ in the west, ‘Mahapataras’ in the east, and ‘Sthapatis’ in the south. Northern India also had its unique designation, but it no longer remains in use today.

The Sthapati or Sutradhar was selected to lead the temple construction and he in turn chose his team. The architect’s work was a teamwork which was also bounded by the rituals performed before, during, and after the construction. The construction team consisted of four classes, sthapati, sutragrahin, takshaka, and vardhakin. Several workmen worked under these four heads in the erection of the temple (Dagens, 1985). The Brahmins were the art theory experts and conducted the consecration rituals of the superstructure and the sanctum.

The sthapati would choose people from his family and relations as trust played a very important role. Since temple building was a tedious process that sometimes took decades, sthapatis’ family and the families of the workers moved and stayed at the site of temple construction.

The boys from the Sompura families after their regular schooling would visit the father and learnt the ropes of the art. The training to the young generation and students, was not imparted in a separate school but right on the field where the projects were being executed under the supervision of experienced heads. Based on ancient manuals the trainees were educated in various subjects both theoretically and practically, including designing, building materials, painting, sculpting, and the religious philosophy behind it. Trainees were educated based on ancient manuals, encompassing topics like geometry, history, measurements, drawings, dance, music, and yoga. Trainees underwent a nearly 10- year learning period. Once they had grasped the necessary skills, they were delegated to more significant or esteemed projects. The trainee specialized in one particular area but was also well versed with other areas of temple building as well.

Following pedagogical methods were used:

Oral Tradition: Much of the Sthapatis’ knowledge was transmitted orally from master to apprentice through discussions, and explanations of the techniques, principles, and traditions involved in their craft.

Hands-On Apprenticeship: The primary method of learning for aspiring Sthapatis was through direct apprenticeship where young individuals would work closely with experienced Sthapatis, observing, assisting, and gradually taking on more responsibilities as they gained skills and experience.

Observational Learning: Apprentices would closely watch their mentors at work, paying attention to the intricate details and techniques involved in temple construction, sculpture, and other architectural elements. This form of learning through observation was crucial in understanding the nuances of the craft.

Repetition and Practice: Sthapatis would often practice their craft repeatedly, honing their skills over time. Apprentices would imitate their mentors and practice various aspects of temple construction to perfect their abilities.

Preservation of Sacred Texts: Sthapatis had access to ancient texts and treatises that detailed architectural and sculptural techniques. These texts served as important references and were sometimes used to complement the oral teachings.

We find the historical records of practical architectural knowledge were transmitted and with the art of plans and drawings whether made on paper, palm leaves, stones, cloth. Their knowledge and expertise were traditionally handed down orally and through hands-on training from one generation to the next and within the families, households, and community or jati. Sons of skilled artisans would often follow in their fathers footsteps and inherit their knowledge

Architectural traditions didn’t evolve linearly but through the sharing of knowledge, and ideas, and the migration of people. It’s also understood that many of these craftsmen were versatile, working across different materials rather than specializing in just one. Knowledge transmission in the medieval period was a result of artisans moving from one place to another for different projects and also due to the conquering of land or kingdom by a King who after the victory in the battle took the artisans, craftsmen, etc. with them to their kingdom.The exchange and rivalry between artisans from two distinct regions fostered creativity, as modifications introduced a mutual learning and teaching experience for both groups.

Pedagogy tools used to dispense Architectural knowledge

(Figure 3: The pedagogy tools used by the Sompuras)

Drawings play a pivotal role in the transfer of architectural knowledge. At the heart of architectural education is design, conveyed through methods like written guidelines, oral directives, illustrations (etched on stones or palm leaves to elucidate design), and hands-on demonstrations, such as drafting plans. Drawings hold a unique position in architectural education, serving as the primary medium of communication between the architect and the client, patron, or ruler. These drawings can be categorized based on their specific functions.

Medieval temple architecture education and modern architectural training both utilize pedagogical strategies like hands-on experience, reflective observation, abstract thinking, and on-site experimentation. Initially, students mimic the master’s techniques, then refine their skills, eventually establishing their unique style and philosophy.

Architecture Knowledge in Modern Times (19^th C AD onwards)

In Modern times, colleges offer specialized courses on Temple architecture where students learn the ancient temple building techniques with the modern approach in terms of designing on computers and other allied methods to make work simpler, easier, and more standardized.

Sompuras and the Jati system

The caste system in India, both in its original form and as it evolved, played a pivotal role in economic specialization for the Sompuras. The foundational caste system emphasized the division of labor, with individuals dedicated to specific roles within their castes. This focused approach allowed people to concentrate on and excel in their assigned tasks, resulting in skill specialization. As the caste system became more rigid, individuals were confined to their caste-assigned professions. This rigidity limited professional choices but inadvertently led to mastery in specific trades or crafts through generational practice and knowledge transfer. Families that practiced the same trade for generations found confidence and efficiency in their chosen domain. This repeated, concentrated practice solidified their expertise. The Sompura as a community or caste or jati worked together in the temple building profession since ancient times and benefited due to its inherent quality. The Sompura caste promoted economic specialization and expertise and ultimately contributed to mastery in Temple building.

The Key events for Sompura Community

In this paper, focus on the period between the late 19th to the early 21st – century to show with two examples how members of particular families within the Sompura community, at various points in time and in multiple ways, through the scriptures conserved, and preserved, and transmitted knowledge to their peers and the new generation. The books they wrote or edited and hands-on training provided powerful tools to transmit the knowledge.

The great boost to Sompuras’ work came in the form of following which allowed them to exercise their craft and also use this opportunity to pass and transmit the knowledge to the young generation with hands-on experience.

1. The rebuilding of the iconic Somnath Temple at Veraval, the first large temple built in India post-independence in 1951.
2. The extensive reconstruction and renovation of medieval temples at locations like Ranakpur (from the 15th century), Dilwara (from the 12th and 13th centuries), Kumbhariya (from the 11th-12th century), and Taranga (from the 12th century), all under the patronage of the AnandjiKalyanji Trust during the 20th century. Each restoration provided Sompura artisans with experience in renovation techniques and the meticulous replication of medieval temple details.
3. Shilparatnakar written in Gujarati by NarmadashankarSompura
4. 1960 and 1970 P.O. Sompura published various texts on VastuShastras.

Vastushastra treatises and their problems

Over the past 150 years, during which the foundations of architectural history, art history, and the architectural profession were solidified in India. In the 19th century AD, a major challenge with the texts was their rarity. Additionally, the sthapatis or shilpis who had these texts were guarded about them, hesitant to share their contents. Compounding the issue, many of these keepers were often unable to fully grasp the information within these documents. The priests, considered interpreters of the sacred texts, also struggled to comprehend them. These texts, laden with mnemonic structures, included technical terminology. This meant that while some terms might have seemed familiar, they often had technical meanings distinct from their common usage, leading to further confusion.

The extraordinary contribution in preserving and transferring the knowledge of VastuShastras came in the form of editing and translating the old Sanskrit scriptures to Gujarati and Hindi language by two prominent personalities from the Sompura community.

Sompura embarked on a monumental endeavor, which involved gathering deteriorated manuscripts, piecing together complete texts from the fragments stored in private libraries, and then translating and interpreting them and elucidating them in diagrams and drawings. These translated texts acted as a strong pedagogical tools in conserving, preserving and transmission of knowledge to the peers and the new generation.

Prabhashankarbhai Oghadbhai Sompura

One of the most active and influential families in Sompuras is that of  Prabhashankarbhai Oghadbhai Sompura, born in Palitana. Their historical connection spans eight generations of this family.

He was chosen as a Chief Architect (Sthapati)  in 1950 by the Shree Somnath Trust to rebuild the famous Somnath Temple. The temple stood as a symbol of defiance against the Islamic forces and also its reconstruction was held as the resurgence of Hindu pride. This first-of-its-kind grand temple was built in Independent India.

Prabhashankar, an authority on Vastu texts, has reinterpreted and published 20 books on classical Indian architecture. His works include hundreds of projects all over India in a career spanning six decades.

P.O. Sompura aimed his works at the common shilpi, those without access to traditional works or understanding of Sanskrit, during the 1920s. In contrast, nationalist art historians analyzed texts with living practitioners’ insights but catered to the international academic community.

(Figure 4: Published works of Prabhashankarbhai Oghadbhai Sompura)

The Diparnava (1960)

The first of many publications by Sompura was the translation of the Diparnava (1960). The Diparnava is aimed at Gujarati speakers and practitioners, for the translation is in Gujarati, and the main body of the text consists of injunctions on architectural creation. Here, he talks about the fourteen different classifications of the temple, historical accounts of temples and non-historical accounts of the origin of Sompuras.

The Kshirarnava (1967)

In 1967, seven years after his previous work, Sompura translated the 15th-century Sanskrit text, Kshirarnava, into Gujarati and Hindi. The Kshirarnava stands out for its unique introduction, featuring drawings with English labels. These illustrations, covering both Nagara and Dravida temple architecture traditions, aimed to cater to diverse audiences, as indicated by the Hindi translations accompanying each drawing.

Two notable publications, the “Pratima Kala Nidhi: Album of Indian Iconography” (1976) and the “Vastu Kala Nidhi: Album of Indian Architectural Designs” (1977), highlight the use of illustrations for knowledge dissemination. These works focus on specific themes, namely ‘iconography’ and ‘architectural designs’. The works are purely pictorial and illustrative.

P.O. Sompura’s desire to present his works to an international art history audience rather than just the Gujarati Sompura community led to the article “The Vastuvidya of Vishvakarma” in the compilation “Studies of Indian temple architecture” edited by Pramod Chandra. This early 12th-century text, Vastuvidya, focuses on the ‘MaruGurjara’ style, and in the chapter, Sompura methodically outlines its content.

His legacy is continued by his four sons and grandsons. The most illustrious amongst them is Chandrakantbhai Sompura, the grandson of Prabhashankarbhai. He assisted Prabhashankarbhai during the construction of Somnath Temple. A few of the masterpieces executed by him are Swaminarayan Temple (Gandhinagar), Swaminarayan Temple in Neasden, London, temples in the USA, and Singapore. His most prestigious recent project is the construction of the Sree Ram Mandir at Ayodhya. His sons Ashishbhai and Nikhilbhai, are renowned and trained architects and are continuing the family tradition and involved in the construction of many temples and are actively involved in the construction of Ram Mandir.

Narmadashankar Muljibhai Sompura (1883–1956) Narmadashankar, a self-taught master builder from Dhrangadhara, was a key figure among the Sompuras. His talent in interpreting classical texts impressed the notable Baroda ruler, Sir Sayajirao Gaekwad, who in 1926 invited him to Baroda. Due to the growing influence of European architects on Indian buildings a heightened desire to keep alive the skills needed for building temples in the style of ‘ancient’ architecture prompts Sayaji Rao to encourage N.M. Sompura to compile the Shilparatnakar. Gaekwad encouraged him to translate classical building texts into Gujarati for wider understanding. As a result, Narmadashankar reimagined the classical text “ShilpaRatnakar” which was published in 1939. This 800-page text, priced at Rs. 10 and published in Baroda, translated older Sanskrit manuscripts into Gujarati, making it more accessible. The accompanying clear illustrations made the content engaging even for novices.

Prior to Shilparatnakar, the Sanskrit Vastusashtra treaties were a rarity and were in the form of handwritten manuscripts in the private collection of prominent Sompura families. These Sanskrit texts were without any elaborate illustrations. The Shilparatnakar, on the other hand, translated Sanskrit texts from the 11th century AD to the 19th century AD into a comprehensive collection of conceptual drawings, leaving a lasting legacy that continues to be practiced.

(Figure 5: ‘ShilpaRatnakar’ by Narmadashankar Muljibhai Sompura published in 1939)

This publication shifted knowledge from being exclusive to becoming publicly accessible. Sompura’s codified drawings remain relevant to current practitioners. Contemporary architects even in 21^st C AD continue to innovate within these parameters as they meet the new challenges nationally and internationally. Sompuras effort in the preservation and transmission of Vastushastra knowledge through this book has reached its zenith now with the book freely available online and can be accessed on the cell for the Sompura community whenever and wherever they want.

New Age Sompuras

The older generation safeguarded comprehensive temple drawings, stored in cabinets, plan chests, sketchbooks, or wrapped in old saris. While some families referred to these occasionally, for others, these became essential learning repositories. Historically, Sompuras carved stones themselves, but now it’s primarily done by karigars from other communities. This shift reflects the decline of traditional master-apprentice relationships, replaced by modern workplace norms focusing on wages and formal procedures.

Since the late 20th century, Sompura temple architects have shifted away from hands-on interaction with the materials used in temple construction. Unlike their predecessors, who were skilled in stonework and understood cement concrete technology, modern architects often delegated these tasks. Due to time and budget constraints, carving is largely outsourced to specialized workshops, overseen by specific contractors and supervisors. The primary workforce now includes the Bhil and Gharasiya tribes from Gujarat and Rajasthan. Consequently, selecting the right contractor, known for delivering desired quality, has become crucial in the design process.

While past Sompura temple designs involved time-intensive hand drawings, the evolution of technology has merged tradition with innovation. Previously, temple segments required large paper sketches, but now, with the advent of computers and software, designs merge manual, machine-driven, and digital methods. These tools have become integral, aligning with evolving traditional texts like ‘Shastra’. This blend of old and new involves digital interactions and sounds alongside traditional methods.

Where chisels and hammers were once primary tools, now, pneumatic drills, diamond cutters, CNC machines, and water jets have joined the mix. Previously, a master craftsman would commit to one long-term project, receiving comprehensive training in all facets of temple construction. Now, specializations have emerged where, for instance, a designer mainly focuses on design without exposure to other processes. Technological advancements have expedited construction; for instance, the expansive AkshardhamMandir in New Delhi was constructed in just five years.

They have ventured into transnational assignments of building temples in the USA, UK, Australia, New Zealand, and the Middle East. They pre-fabricate all the parts of the temple here in their karkhanas in India, ship them through sea cargo, and then assemble at onsite.

CONCLUSION

India, with its rich cultural tapestry, boasts numerous architectural wonders. Amongst its many artisans, the Sompura community stands out for its expertise in temple construction. Their centuries-old legacy has enriched India’s architectural heritage, producing iconic temples that resonate with cultural and spiritual significance.

In recent times, rapid urbanization and modern construction methods have posed challenges to the traditional practices of the Sompura community. The demand for quicker and cost-effective construction has led to a decline in the number of traditional temple projects. Additionally, the influx of modern architectural styles has threatened the continuity of ancient techniques. Some young Sompuras due to the freedom and availability of various options have decided to take up other professions. This in a way has created a vacuum that is now filled by people from other communities. Sompuras have also modernized and have kept the key elements of the business with them and the rest they have outsourced. They have made their business in tune with the emerging construction trends to make it more profitable.

The Sompura community is evolving in response to the evolving landscape while staying true to the core of their craft. Alongside their role as guardians of temple construction, numerous Sompura craftsmen have expanded into various architectural ventures, including constructing schools, residences, and civic buildings. Moreover, technology has played a crucial role in their endeavors related to documentation, conservation, and sharing of knowledge. Digital platforms and associations have offered them the means to exhibit their artistry to a worldwide audience, reigniting enthusiasm for traditional temple architecture. With the rise in devotional feelings across Hindus, Jains, and Sikhs, more and more contemporary and traditional places of worship have been made both nationally and internationally. Sompuras with their long history of experience are geared up for these projects.

Sompuras in the past have left a trail of magnificent edifices across the landscape of India and they continue to do so across the globe. They, with their unique contribution to the scriptures and making temples as per the scriptures are truly the legacy bearers of IKS of Vastushastra in Western India.

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