Architecture (Chettinad Palatial Buildings)
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Architecture (Chettinad palatial buildings) Most of the Chettinad mansions are treasure troves that mirror the passion for art and craft in this ‘Nagathar’ – the mercantile community that had the reputation of establishing and running their business ventures from East India - especially Calcutta to South east countries during 19th and 20th century.. From birth to burial, the Nagarathars observed numerous ceremonies. All such functions were held and being held within their own premises as many of their palatial Chettinad buildings have Marriage Halls (‘Kalyana Kottagai’) and Banquet Hall (‘Bhojan Hall’). Like Personal Computers (PC) theirs is the only community which own personal ‘Kalyana mandap’ and Personal ‘Panthi kattu’. The most important aspect of any discussion on Nagarathars Chettinad Architecture must appreciate that their vernacular architecture is an amalgam of Indigenoust and European style evolved over years and refined in a phased manner. The source of inspiration derived from out of ‘Nagarathars’ connection with Trade, Travel, Temples, Tradition and Taste. (All these aspects will find a place in subsequent discussions). Such buildings, as presumed to be constructed only with bricks, mortar and wood, is in fact accomplished with sweat, frugality and piousness. The buildings constructed by them in a phased manner with the earnings made in ‘FarEast’ countries on conclusion of one assignment - ‘Kanakku’ (say for a period of three or five years as per the contract in writing between the owner ‘Mothalali’ and his Agent-‘kootali’). Buildings are divided into portions -‘Kattu’ . Most of the buildings have not less than two to three portions eg: first ‘kattu’ second ‘kattu’ and third ‘kattu. The walls of Chettinad nagarathars’ buildings are embellished with ‘Chettinad plaster’ whose other names are – 1) White –‘Vellai poochchu’, 2) Egg plastering and 3)Muthu Poochchu’. Such walls were coated with several layers comprising mixture of lime base, ground white seashells, liquid egg white, etc. The most important characteristic features of Chettinad Buildings are – *1) Cluster Houses, *2) Mostly East West orientation, *3) High – rise compound wall (front side), *4) Entrance Arch with stone steps, *5) Elevated plinth, *6) Tiled Portico, *7) Facade with stucco sculptures, *8) Verandah ‘Thinnai’(two Platforms), *9) Wooden Pillars on it, *10) High door frame with ornate wood work, *11) Double main door, *12) ‘pattalai’ or pattasalai (smaller version of the thinnai- platforms), *13) Open Courtyard (‘Mutram – Valavu’), *14) Second /third courtyard/s, *15) Passage on all the four sides around the Mutram, is called ‘Suththupathi’, *16) Edges of the passages are lined with cut stone slabs known as ‘vellaikkallu’, *17) Stand on them are the stone pillars meant for supporting the roof, *18) Slanting clay - tiled roofs, *19) Square – flat tiles floor of the ‘mutram’ will have rectangle stone slabs on all the four corners to bear the brunt of the falling rain water, *20) Small single / double rooms on one side or either side of the passage (‘suththukkattu’) length – wise, *21) Kitchen on the last ‘kattu’, *22) Staircase on one or two or all the four corners, *23) Banquet Hall Bhojan Hall ‘Panthi kattu’ on the side of the first kattu, *24) Floors laid with i) Italian marble Black and White, ii) Granite in some places, iii) Athangudi hand – made tiles - ‘Pookkallu’, *25) Japanese and Spanish tiles were both used for side walls and floor in such of those places where not treaded frequently, *26) Beams, pillars, brackets, capitals, frames all made of Burma teak, *27) All the mediums used in making columns viz, wood, stone, brick, and iron, *28) First floor facade is invariably adorned by colonnade made of stone, wood, and bricks, *29) Window niches and arches above are decorated with stucco work or paintings. *30) Designed for collecting / harvesting rain water (especially in courtyard (Mutram)). An introduction to little known and unknown Chettinad ‘artefacts of every day use’ produced / used in Chettinad areas, and a glimpses of palatial buildings and aspects concerning Chettinad heritage in promoting tourism for employment and economic development. Shri. S.kannappan my uncle, who has been collecting handicrafts (mostly folk and tribal crafts) and involved in documenting a few of them ( pamphlets on Cherial Dolls, Clay Crafts of Molela, Bastar iron Crafts and one more on Chettinad artefacts) is presently involved in undertaking an informal research work on Chettinad Architecture during his leisure time. During his previous three year tenure in the district, he had worked with the locl craftsmen and other agencies involved in promoting crafts and tourism both, in his official as well as personal capacity. He worked for the promotion of Traditional Crafts , Crafts Cluster, and wellfare of the craft community more specifically the craftspersons of Ariyakudi, Athankudi, Karaikudi, Sembanur, Kallal, Thirupathur and other villages outside Chettinad. We present below his writings on introduction to the handicrafts of Chettinad and glimpses of Chettinad architecture HISTORY: The most important aspect of any discussion on Chettinad handicrafts must appreciate that the need for procurement, and use of assortment of artifacts is intertwined with Nagarathars’ connection with Trade, Travel, Temples, Tradition and Taste. ‘Chettinad’ perched on southern part of Tamilnad, has been known as a land of culture. Some of the traditional art and craft; silverwares, gold jewellery; and cotton ‘saree’, are known to a select few. Even though temples and heritage buildings occupy an important place in the itinerary of the tourists, what is little known and equally important are the bewildering array of art and craft forms which are seen / used even today in temples, mansions and in the houses of common men among Nagarathars– the mercantile community that had the reputation of establishing and running their business ventures from Calcutta in India to Saigon in Vietnam during 19th and 20th century. Chettinad areas – initially comprised clusters of 96 villages in unified Ramnad - Sivaganga district and Pudukottai Samasthanam – have gradually shrunk to 75 villages, spreading across two districts, viz. Sivaganga district and partly in Pudukottai district,due to emigration of Nagarathars to other places within and outside India. The existence of many craft pockets and the thriving craft tradition within the Chettinad area in Sivaganga District stands testimony to the patronage extended by the Nagarthars to art and crafts in the past. Some of the craft clusters that continue to churn out artistic as also utilities, in Chettinad villages, are Ariyakudi (brass , bronze and white metal), Athangudi (hand - made floor tiles), Karaikudi (wood), Senjai (Chettinad cotton) and other mediums used are - stone (many villages) silver and gold (Karaikudi, Kandanur, Devakottai and many other villages). The credit for the burgeoning settlement of sculptors and stone workers in Eluvankottai near Devakottai, a couple of centuries ago, also goes to Nagarathars. CATEGORY The Chettinad, artefact for ‘every day use’ can be broadly categorized on the basis of mediums like wood, metal, clay (terracotta), paintings, textiles are classified according to their usage / place of usage, as presented below - 1.KITCHEN - Aruvalmanai’(vegetable cutter), thengai thirugi ( coconut grater) ‘agappai koodu’ (spoon / ladle holder), appalakattai (papad maker), uppu jadi (salt container), anjarai petty(spice box), brass vessels, etc. 2.THAMBOOLAM - ‘vetrilaipetti’ betel nut leaf Box, -lime holder, ‘Echilpanikkam’- Spittoon, and serving plate and box. 3.SHRINGARAM - Eeruli – hair dryer, Combs, Kungum holder and ‘Mai Koodu’ 4.PUJA Items - Lamps, metal stool with birds or animal figure substituting the legs, ‘Kavadi kattai’, ‘Vibuthy’box, to mention a few. 5.WRITING Aids - Ink pot / Pen stand, Book holder, etc., 6.PLAY Dolls / Toys - Push cart, Marapachi doll, ‘Choppu’(miniature kitchen vessels) and ‘Pallankuli’ 7.FURNITURE - ‘Kanakapillai mesai’ – accountant’s table, ‘Mukkali’ three legged Stools, ‘galla petty’ – cash box , ‘marappetti’(chest) 8.UTILITIES - ‘Kottans’ palm leaf baskets, Kai Visiri’(fan-hand held). 9.VIVAHAM (marriage) - Jewelleries, Brass and bronze vessels, Maravai, Mangu, ‘thadukku’, slate lamps, 10.CONSTRUCTION- Urns, decorative tiles 11.OTHERS - Jewellaries, ‘Paarvai chillu’, cotton saris, paintings (Tanjore and Ravivarma), wooden‘Vahanas’,etc. Brass Brass vessel, lamps and ritual items are made in many places within the chettinad in sivaganga district and its neighbouring districts. In addition to Pudukottai and local production centers within Chettinad, brass and bronze vessels were also brought from Kumbakonam, Tanjavur, Madurai and Trunelveli. Some special and heavy vessel were procured from far and wide. Value additions to mundane items used in our day- to- day life is imparted by incorporating popular motifs and embellishments in the form of flora and fauna; geometrical and abstract designs. The bird and animal figures drawn or embossed on artifacts are presented both as symbol and ornamentation. The figures of flowers, foliage, birds and animals are lavishly engraved by the craftsmen of Chettinad as a process of surface embellishment and as a design input for facilitating easy handling. Frequently used and familiar motifs employed by the craftsmen are parrot, peacock, ‘hamsa’(swan), etc., in the order. Among animal motifs yali, mahara, deer and elephant are the most popular subjects