DOKRAS WADA - वाडा-

COURTYARD HOUSES OF MAHARASHTRA (NAGPUR)

“Be it on the garden side or on the courtyard side of life, we have the potential to rise up
against the dictatorship of destiny”
- Erik Pevernagie, Belgian painter and writer

SRISHTI DOKRAS
B.Arch. (Institute for Design Education and Architectural Studies) Nagpur India
Visiting Architect, Australia, Dubai & USA
Consultant - Design and Architecture, Esselworld Gorewada International Zoo
Largest Zoo in Asia

A B S T R A C T
When we were young, living in Nagpur we played in some of the resurrected old houses of the
traditional royal or court families to which I belonged; other children of such old families were our
friends and classmates. The other houses that were old and neglected were ruins in the premises. I was
fascinated with these magnificent structures, not lofty but intricate with a central courtyard
surrounded by a residential structure and other living rooms. I decided to make a study as part of my
architectural repertoire hence this introductive paper ending with pictures and descriptions of the
Dokras Wada in Chandur(Rly) near Nagpur which belonged to my great-great-great grandfather
Ranganath Dokras.

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Introduction: A courtyard or court is a circumscribed area, often surrounded by a building or complex
that is open to the sky. Such spaces in inns and public buildings were often the primary meeting places
for some purposes, leading to the other meanings of court. Both of the words court and yard derive
from the same root, meaning an enclosed space. A courtyard house is a type of house—often a large
house—where the main part of the building is disposed around a central courtyard. Many houses that
have courtyards are not courtyard houses. For example, large houses often have small courtyards
surrounded by service rooms or corridors, but the main rooms are not disposed around a courtyard such
as in England are not traditional Courtyard houses.

The main rooms of a courtyard houses often open onto the courtyard, and the exterior walls may be
windowless and/or semi-fortified and/or surrounded by a moat. Courtyard houses of this type occupy
an intermediate position between a castle or fortress, where defense is the primary design consideration,
and more modern plans in which defense is not a consideration at all. In England the courtyard house
was a popular design for large houses in the sixteenth century, after noblemen had stopped building
themselves castles, but before thoughts of defense were altogether forgotten in the planning of country
houses. Courtyards—private open spaces surrounded by walls or buildings—have been in use in
residential architecture for almost as long as people have lived in constructed dwellings. The courtyard
house makes its first appearance ca. 6400–6000 BC (calibrated), in the Neolithic Yarmukian site at
Sha'ar HaGolan, in the central Jordan Valley, on the northern bank of the Yarmouk River, giving the
site a special significance in architectural history. Courtyards have historically been used for many
purposes including cooking, sleeping, working, playing, gardening, and animal husbandry.

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Before courtyards, open fires were kept burning in a central place within a home, with only a small hole
in the ceiling overhead to allow smoke to escape. Over time, these small openings were enlarged and
eventually led to the development of the centralized open courtyard we know today. Courtyard homes
have been designed and built throughout the world with many variations.

Courtyard homes are more prevalent in temperate climates, as an open central court can be an important
aid to cooling house in warm weather. However, courtyard houses have been found in harsher climates
as well for centuries. The comforts offered by a courtyard—air, light, privacy, security, and
tranquillity—are properties nearly universally desired in human housing.

Wada: Maharashtrian Courtyard Houses: The architecture of Maharashtra where the language
Marathi is spoken is known as Maratha Architecture and dates back to the 17th and 18th century with
high architectural and cultural significance. It is based on the Hindu tenets of VASTU_SHASTRA.
According to which the main Courtyard belongs to Lord Brahma the supreme God of the Hindus. It is
the main source of “energy” for the building or structure of the dwelling. A series of rooms were built
surrounding it. This was WADA. The Wada was distinctive architectural style of the region
proliferating during 1700-1900. During the 16 th & 17 th Century, after the establishment of the power
of the Peshwas of Maharashtra several dwellings came into existence at all levels of the society small,
medium or palatial. The wadas arose in time of an economic and cultural renaissance. This was preceded
by the Maratha Rule with wars between the Marathas and Moghuls, once however, this period ended
and the Peshwas took over, stability was restored to the Maratha lands which gave rise to this type of
architecture .Material present and available and technique presently used were two factors that impacted
the design. The wada was a cheaper castle or palace and a combination of administrative offices as well
as dwelling. Its design reflected combative mood of the building towards the incessant heat of the
region.

Wadas were the residential form of Maratha architecture, said to have evolved under the patronage of
the Peshwas. Wada is derived from the Sanskrit word ‘Vata’ which means plot or piece of land meant
for a house.The traditional residence ‘Wada’ included houses of several families or only one family
who stayed there. It is generally used to denote courtyard house mansion. This House form belonged to
ruling classes as well as commoners. This typology is very significant in terms of historical, cultural
and economic aspects. Though there are certain variations in size, scale and economic status, but all
wadas do share some of the basic elements and characteristics. Wadas were designed according to the
caste, occupation and status of the family. The size and location of Wada and its basic planning
may have remained similar but the architectural elements and furnishings become more distinct
depending on the wealth of the family.

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Courtyard houses are distinct traditional house-form in India. Wada as a residential typology was
largely built during 1700-1900 A.D. The form was used for construction of houses of different social
classes and adapted to diverse lifestyles of its owners. These were introvert with central courtyards, to
grant privacy and protection. Traditional Indian families were joint families, with three or more
generations staying together sharing the kitchen. Eldest member of the family got the status as head of
family. Spaces within the house were categorized as gender-based domains. Rather than individuals,
family members were recognized as men, women and children. Within the traditional setup, fulfilling
the demands of privacy of an ‘individual’ was not a priority. Higher the place of individual in the family,
more important privacy was and more clearly it was articulated in the interior forms of the house.

Traditional houses of Nagpur region known as the Wadas were developed during the Bhosale period
(1746-1853) and followed a typical pattern of house building with courtyards. Urbanization of Nagpur
took place in the first half of the 18th century surrounding the fort of Gond Raja. It was during the
Bhosale period (1746-1853) that the place acquired an urban character. This period is considered the
Golden Age in the history of Nagpur. Bhosale were Maratha rulers of Pune and were deputed to keep
an eye on Nizam’s movement in the eastern region of the country. Bhosale were on temporary
deputation, its architectural character could not achieve the glory of the Maratha architecture as in places
of western Maharashtra. Nagpur being the geographic centre of India, its architecture is influence by
Bengal and Rajasthan state and in a later period, by the Colonial style. The concept and design of the
Wada was brought here to Nagpur by the Peshwas from Pune who migrated here.

Typical Features of ‘Wada’

1. Chawk: There are a number of chawks in the Wada, The more the Chawks, the bigger or
more affluent the status of the owner. The typical Wada is two storied and overlooks the
chowk. The chowk acts as a visual connector and ventilates the interior spaces of the
Wada. The Chawk also functions as a transition space between the public and private
areas of the house. The Wada and ‘Chawk’ is a module of traditional house-form where the
number of chawks in the Wada, depicted the status of the family.
2. Kacheri: The administrative or office part of the building
3. Diwankhana: An Urdu term was the living room
4. Tijory was the treasury where generally a safe box was kept
5. Swayampakghar: Kitchen
6. Kothar : Store room
7. Gotha: Cow pen

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 8. OSARI: Surrounding the Chawks are the open verandas (osari) which allow multiple activities
to take place.
9. Dandi: Within the larger plot, the structure is placed abutting the approach road with an
imposing entrance door termed as Dandi along with rooms for watchmen called devoid.
10. Tatabandi: The house is protected with high compound wall termed as Tatabandi. The
entrance veranda is used to receive the strangers. The houses have relatively small front yards
and huge backyards. The spaces in the Wada are flexible and are used for multiple activities
during day and night-times.
11. Collective plane: Wadas in the Nagpur region do not reflect the modern concept of
differentiated spaces for various activities wherein each room is connected to another and
different activities exist on a collective plane. The sacred spaces are the most important in the
house and at times so elaborate that there are Wada encompassing a temple that is accessible
by any outsider or stranger.
12. Cattle shed, the servant rooms and toilets: The spaces for cattle shed, the servant rooms and
toilets are located in the backyard.
13. Wada Garden: Every Wada is provided with areas for plantation and space for holy Basil
(tulas) as an essential feature of every house. According to the caste, occupation and status of
the family, the size and location of Wada is designed, but basic planning principle remains
similar. With increase in status and wealth of the family, the architectural elements and
furnishing become more distinguished.
14. Temple: The sacred spaces are the most important in the house and at times so elaborate
that there are Wadas encompassing a temple that is accessible by any outsider or
stranger.

Construction Material: The wadas were built of Lime, bricks made from Clay that were available
in the market called”vita”. Cowdung, sand, Wooden beams cut from trees,Gum and Jaggery were
mixed with soft soil, cowdung to make the bonding material.

Number of such wadas were built in the Maharashtra area ( which was then C.P and berar) many
fell to ruin as they were expensive to maintain, some however were preserved and have had a
renaissance. Several such wadas were found in and around the larger cities and are still standing.
Most are gone-
“It is not the beauty of a building you should look at; its the construction of the foundation that will stand
the test of time.”- David Allan Coe

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 Cooking STOVE wood fuelled

Dokras Wada at Chandur(Railway) near Nagpur:

This wada is 300 year old and belonged to my Great great grandfather Ranganath Dokras who
was a wealthy landlord there belonging to the princely family from Ahmednagar and went into
cotton cultivation for which he migrated to the cotton belt of Maharashtra near Nagpur at
Chandur (Railway) and bought the town as well as 2000 acres of land which he utilized for
cotton cultivation and owned a ginning Mill also to deseed the cotton. As seen it is a 2 storied
structure. There are 11 such structures and former dwelling places situated at various locations
of region around Nagpur

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 2 types of wooden staircases that were present there. Made of teak wood and held together by
cast iron Nails, Gum and tarter

Details of one of the doors. More decorative than for any

protection.

Courtyard seen from entrance.Today parts of the wada have been given on rent to a Bank as well as to
the Village councils. The ubiquitous “TULSI” tree in the holy garden in backyard.

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Wooden Balcony
passage

Also seen are some stone kitchen equipment for grinding and pulverizing grains
Door

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Finer details of a Bull Carriage ( Right) like a Horse Carriage but BULL powered

TULSI in DOKRAS WADA

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 TULSI in the Courtyard Houses
Significance in Hinduism

As youngsters we played on the Courtyards and around the special container containing the Tulsi and
as evening morphed into night our mother used to come to the plant to perform
AArti (In Devanagari: आरती ārtī). Arti is a Hindu religious ritual of worship, a part of puja, in
which light (usually from a flame) is offered to one or more deities. Aarti(s) also refers to the songs sung in
praise of the deity, when the light is being offered. Prayer to Tulsi was an integral everyday part of our life
in the Courtyard Homes we lived in. The purpose of performing aarti is the waving of lighted wicks before
the deities in a spirit of humility and gratitude, wherein faithful followers become immersed in god's divine
form. It symbolises the five elements:

1. Space (Akash)
2. Wind (Vayu)
3. Fire (Agni)
4. Water (Jal)
5. Earth (Prithvi)
Community Aarti is performed in the mandir; however, devotees also perform it in their homes.
Here is more of the romantic and religious and social practice of these traditional houses.

I am a practicing Hindu and have made no secrets about it.

Tulsi Gabbard

Tulsi Gabbard ( born April 12, 1981) is an American politician and Hawaii Army National Guard
major serving as the U.S. Representative for Hawaii's 2nd congressional district. Elected in 2012, she
is the first Hindu member of Congress and the first Samoan-American voting member of Congress.

While tree worship is not uncommon in Hinduism, the Tulsi plant is regarded as the holiest of all
plants. The Tulsi plant is regarded as a threshold point between heaven and earth.
Simoons, Frederick J. (1998). Plants of life, plants of death. Univ of Wisconsin Press. pp. 7–40.

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 Tulsi plant in the Courtyard in Traditional “pot” or container. Lady watering plant in courtyard-
__________________________________________________________________________________

MANTRA
Om Subhdray Namha Matsatulsi Govind Hridyanand Kaarini, Narayanasya Pujarth chinomi Twan
Namostutai (while breaking leaves)
Mahaprasad Janani, Sarva saubhagyavardhini Aadhi vyadhi hara nitya, tulsi twa namostutai (while
offering water)

Many Hindus have tulsi plants growing in front of or near their home, often in special pots or a special
masonry structure known as Tulsi Vrindavan as this is related to their culture. Traditionally, Tulsi is
planted in the center of the central courtyard of Hindu houses. The plant is cultivated for religious
purposes, and for its essential oil.It may also be grown next to Hanuman temples. Tulsi leaves are part
in the worship of Vishnu and his avatars, including Krishna and Rama, and other
male Vaishnava deities, such as Hanuman and some brahmanas. Tulsi is a sacred plant for Hindus and
is worshipped as the avatar of Lakshmi. The Lady of the Mahararashtrian Courtyard house lights a lamp
each evening before the plant and also waters it. For some the ritual lighting of lamps each evening
during Kartik month includes the worship of the tulsi plant, which is held to be auspicious for the home.
Vaishnavas traditionally use Hindu prayer beads made from tulsi stems or roots, which are an important

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symbol of initiation. They have such a strong association with Tulsi -Vaishnavas, that followers of
Vishnu are known as "those who bear the tulsi round the neck".

During Diwali,20 days after the last day, Marriage of Tulsi or Tulsi Vivah is a ceremonial festival
performed anytime between Prabodhini Ekadashi (the eleventh or twelfth lunar day of the bright
fortnight of the Hindu month of Kartik) and Kartik Poornima (the full moon of the month). The day
varies regionally.

Holy basil plant that represents Tulsi

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Tulsi is grown in special pots or a special masonry structure known as Tulsi Vrindavan as this
is related to their culture. Traditionally, Tulsi is planted in the center of the central courtyard
of Hindu houses. The plant is cultivated for religious purposes, and for its essential oil.
The Devi Bhagavata Purana regards Tulsi as an manifestation of Lakshmi, the goddess of
wealth and principal consort of Vishnu. Once upon a time, King Vrishadhvaja—a devotee of
the god Shiva—banned worship of all other deities except for that of his patron god. An
agitated sun god Surya cursed him that he would be abandoned by Lakshmi. Upset, Shiva
pursued Surya, who fled, finally seeking shelter with Vishnu. Vishnu said to the deities that
years had passed on earth. Vrishadhvaja and also his heir-son were dead and his
grandchildren—Dharmadhvaja and Kushadhvaja-were now worshiping Lakshmi to gain her
favor. Lakshmi rewarded their efforts by being born as their daughters Tulsi (literally
"matchless") to Dharmadhvaja and Vedavati to Kushadhvaja, respectively. In time, Tulsi gave
up all her royal comfort and went to Badrinath to perform penance to gain Vishnu as her
husband. The god Brahma was pleased with her penance but told her that she would have to
marry the demon Shankhachuda before she could marry Vishnu. Sudama, a part-incarnation
of Krishna (an avatar of Vishnu) was born on earth as the demon (Shankhachuda) due to a
curse. Shankhachuda, who also pleased Brahma with his penance, was granted the Vishnu-
Kavacha (armour of Vishnu) and blessed that as long as his wife's chastity was retained and
Vishnu-Kavacha was on his body, no one could slay him. Shankhachuda and Tulsi were soon
married. Shankhachuda was filled with pride and terrorized the beings of the universe. To
rescue the universe, Shiva challenged Shankhachuda to war, while Vishnu went to Tulsi to
break her chastity. Vishnu assumed the form of Shankhachuda and compelled Tulsi to have
coitus. With her chastity broken, Shankhachuda was killed and Sudama was freed of his curse.
In middle of their lovemaking, Tulsi recognized the impersonator. Vishnu appeared in his true
form and urged Tulsi to abandon her earthly body and return to his celestial abode as Lakshmi,
his wife. Tulsi's mortal remains decayed and became the Gandaki River, while her hair
transformed into the sacred Tulsi plant.

A variant of the legend replaces Shankhachuda with Jalandhara and the

name Tulsi with Vrinda (a synonym of the Tulsi plant). It concentrates on the tale
of Vishnu destroying Vrinda's chastity to lead to the death of Jalandhara by Shiva. In this
legend, Tulsi is distinct from Lakshmi. The legend ends with Vrinda cursing Vishnu to become
a stone, turning him the Shaligram stone (which are found only in the Kali Gandaki River
of Nepal) and Vishnu transforming Vrinda into the Tulsi plant. In a variant, Vrinda immolated

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herself in her husband's funeral pyre but Vishnu ensured that she got incarnated in the form of
tulsi plant on the earth. In both versions, she gain the status of a goddess named Tulsi, while
his earthly form is the Tulsi plant.
A Vaishnava legend relates Tulsi to the Samudra Manthana, the churning of the cosmic ocean
by the gods and asuras (demons). At the end of the churning, Dhanvantari rose from the ocean
with Amrita (the elixir of immortality). Vishnu procured it for the gods, when the demons tried
to steal it. Vishnu shed happy tears, the first of which fell in Amrita and formed Tulsi.
Worship
While tree worship is not uncommon in Hinduism, the Tulsi plant is regarded as the holiest of all
plants. The Tulsi plant is regarded as a threshold point between heaven and earth. A traditional prayer
tells that the creator-god Brahma resides in its branches, all Hindu pilgrimage centres reside in its roots,
the Ganges flows through its roots, all deities in its stem and its leaves and the Hindu scriptures –
the Vedas in the upper part of its branches. It is considered as household god particularly referred as a
"Women's deity". It is called as "the central sectarian symbol of Hinduism" and Vaishavas consider it
as "the manifestation of god in the vegetable kingdom".

Once upon a time Tulsi plants were grown in or near almost every Hindu house, especially
by Brahmins and Vaishnavas. A house with a Tulsi plant is sometimes considered a place of
pilgrimage. Sacred places where they are grown are also known as Vrindavan (grove of Tulsi).
Vrindavan is a raised cuboid stone or brick structure often in middle of the house's courtyard or in front
of the house. Visitors to the house pay obeisance to the TULSI in the courtyard, just as they greet the
host of the house.

A person who waters and cares for the Tulsi daily is believed to gain moksha (salvation) and the divine
grace of Vishnu, even if he does not worship it. Traditionally, the daily worship and care of the plant is
the responsibility of the women of the household. The plant is regarded as a "women's deity" and a
"symbol of ideal wifehood and motherhood". Though daily worship is prescribed, Tuesdays and Fridays
are considered especially sacred for Tulsi worship. Rituals involve watering the plant, cleaning the area
near the plant with water and cow dung (considered sacred) and making offerings of food, flowers,
incense, Ganges water etc. Rangoli (decorative designs) of deities and saints are drawn near its foot.
Devotees pray to Tulsi and circumbulate it,chanting mantras. The Tulsi plant is often worshipped twice
in a day: in the morning and in the evening, when a lamp or candle is lit near the plant.
In the 19th century, some families in Bengal regarded the plant as their guardian or family deity. In
a British Indian census, North-Western Provinces recorded themselves as Tulsi worshippers and not
belonging to Hindus, Muslims or Sikhs.
In worship of other deities

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Set of Japa mala, made from Tulasi wood, with head bead in foreground.

Garlands made of 10000 tulsi leaves, water mixed with tulsi, food items sprinkled with Tulsi are offered
in veneration to Vishnu or Krishna.

Vaishnavas traditionally use japa malas (a string of Hindu prayer beads) made from Tulsi stems or
roots called Tulsi malas, which are an important symbol of the initiation. Tulsi malas are considered to
be auspicious for the wearer, and believed to connect him with Vishnu or Krishna and confer the
protection of the deity. They are worn as a necklace or garland or held in the hand and used as a rosary.
Tulsi's great connection with Vaishnavas is communicated with the fact that Vaishnavas are known as
"those who bear the tulsi round the neck".

Some pilgrims carry tulsi plants in their hands throughout their pilgrimage to Dwarka, the legendary
capital of Krishna and one of the seven most sacred Hindu cities.
There are conflicting accounts about Tulsi leaves being used in the worship of the god Shiva, a rival
sect (Shaiva) god to the Vaishnava Vishnu. While Bael leaves are often offered to Shiva, some authors
note that Tulsi may also be offered to him. Tulsi worship is sometimes regarded the worship of Shiva,
conveying the deity's omnipresence. Shiva's aniconic symbol – the linga – is sometimes prescribed to
have made from the black soil from the roots of the Tulsi plant. However, Tulsi is taboo in worship of
the Devi – the Hindu Divine Mother as the pungent aroma of the Tulsi plant angers her. It is also
important for the worship of Hanuman.

Every part of the Tulsi plant is revered and considered sacred. Even the soil around the plant is holy.
The Padma Purana declares a person who is cremated with Tulsi twigs in his funeral pyre
gains moksha and a place in Vishnu's abode Vaikuntha. If a Tulsi stick is used to burn a lamp for
Vishnu, it is like offering the gods lakhs of lamps. If one makes a paste of dried Tulsi wood (from a
plant that died naturally) and smears it over his body and worships Vishnu, it is worth several ordinary
pujas and lakhs of Godan (donation of cows). Water mixed with the Tulsi leaves is given to the dying

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to raise their departing souls to heaven.Just as Tulsi respect is rewarding, her contempt attracts the wrath
of Vishnu. Precautions are taken to avoid this. It is taboo to urinate, excrete or throw waste water near
the plant. Uprooting and cutting branches of the plant is prohibited. When the plant withers, the dry
plant is immersed in a water body with due religious rites as is the custom for broken divine images,
which are unworthy for worship.Though Tulsi leaves are necessary for Hindu worship, there are strict
rules for it. A prayer of forgiveness may also be offered to Tulsi before the act.

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