Heritage village of Manipal Case Study

1. VIEW OF THE MANIPAL HERITAGE VILLAGE
THE HERITAGE VILLAGE project was born out of an
intense concern of Hasta Shilpa Trust of Manipal for the restoration and
conservation of centuries-old vernacular structures of architectural merit,
aesthetic interest and craft importance and also for preservation of traditional
objects of art and craft of Karnataka state. The whole concept is based on that
art, craft and architectural traditions are integral to our cultural continuity. The
whole crisis lies in the fact that when a society loses its sense of identity with its
roots, and therefore its pride in itself, it is deprived of a sense of judgement of
values.
Over the last decade, the Trust has relocated through the
process of restoration 26 structures of immense architectural merit and fine
craftsmanship. The whole exercise of relocation of a traditional building involves
several processes like documentation of the concerned structure through
measured drawings and visuals, coding of each component of the structure prior
to its dismantling and restoration of the damaged portions of the structure before
its restructuring in the Village.
INTRODUCTION:
SITE LOCATION:
MANIPAL
MANIPAL HERITAGE
VILLAGE
Hasta shilpa heritage village is located about one km away from tiger
circle in manipal, the university town in udupi district in the coastal region of karnataka
state. The site is located stretches 6 acres to the east of Manipal lake and to the south of
planetarium.
Project initiator : Vijayanath Shenoy
Engineers :Red Earth , Manipal
Site area :6 acres
Total built up area :3 acres
Construction time :12 years
Cost of project :1.4crores(estimated)
Funded by :the State
Govt of Karnataka, and
the Norwegian, Finnish &
Netherlands
Governments.
Expected to open to the
public by 2015
The heritage centre today is visited by some of the most eminent critics,
contemporary artists, students & the corporate world, thus creating a vibrant ecosystem which
furthers the cause of art. presently the hasta shilpa heritage complex is not open to the public
.Mr. Shenoy has painstakingly recreated several buildings with enormous research to bring
alive the past. It vividly showcases the influence of culture, localization, rulers, socio-
economic status and religious practices. Mr. Shenoy has put in a lot of effort to familiarize
himself with the families who owned the buildings, spending days with them to understand
the regal stories embedded in their creation. Most of the buildings have been recreated “as-is”
with precise engineering measurements through a process called “Documentation”.
TOPOGRAPHY:
N
MANIPAL
LAKE
SECTION OF THE SITE
The ground was red laterite earth with lots of ups and downs and the
structures were stuck into the mountainous site forming a beautiful amalgamation of a
traditional village . The overall site slopes down towards the eastern direction ,where the
Manipal lake is present.
1

2. COCONUT TREE JACK FRUIT TREE
MANGO TREES
VEGETATION
The site remains hidden from the outside
due to the varied tree species present in the site ,the of the site is
lined with trees which creates vista at every node and junction,
thus giving the feel of a village expedition
WHITE JACK TREE OTHER TREES
ACASIA TREES
123
4
5
6
a
b
c
de
f
g
h
i
j
k
l
m
78
9
10
11
12
13
14
15
16
17
29
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19
28
27
3026
25
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22
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T
T
OAT
SITE PLAN
N
1.Hungarcutta bansaale mane
2.Jungam mutt
3.Central library(british colonial building)
4.Vidyamandira of ramachandrapura mutt
5.Vaderhobli house
6.Bhatkal navayath muslim
house
7.Crafts centre
8.Basel mission museum
9.Yerukone house
10.Shrine
11.Byndoor-nelyadi house
12.Administrative block and
guest cottage
13.Kunjur chowkimane
14.Vishnu mandir
15.Folk deity museum-garadi
16.Folk deity museum-nandikeshwara shrine
17.Sringeri house
18.Hengavalli korra mane
19.Harkur olaginamane
20.Documentation house(miyar house)
21.Mudhol palace durbar hall
22.Museum of folk arts
23.Publications divisions(peshwa wada)
24.Deccani nawab mahal
25.Kamal mahal of kukanoor
26.Mangalore christian house
27 Museum of Contemparary Arts
28 Museum of Traditional Arts
29 Harihara Mandir
30 Museum Of Arts And Crafts
CIRCULATION
PEDESTRIAN CIRCULATION
This pedestrian path resembles the main bullock cart lane of villages
with buildings on either side, these lanes is further branched into smaller lanes on either side
denoting the pedestrian bye-lane of villages with bazars on either side
MAIN
ENTRY
OAT ENTRY
N
Either side of the street
converted into old village
bazaar
View of the
bullock cart lane
View of the
pedestrian lane
2

3. Entry through the village
Entry from outside
• The brown colour represents the existing
pathways in site
• The pathways were irregular in pattern
depicting the village pathways and the
pathways were not paved
• The pathways near the crafts centre was
paved with brick to ensure artisans to work
in open environment when necessary
• The newly constructed structures were also
done with locally available materials like
laterite,stone,wood ,mud etc…
• The blocks were not placed with respect to any of their original site environment
due to space restrictions.
• All the entries were facing the street and the rear door also opens into the back street
• The building materials used varies on each type of building,vernacular building
materials and techniques were followed since all the structures were old buildings
N
N
• The oat can be approached through the village or directly from the
entrance ,the idea is to open the oat for the public in the evening with
disturbing the village
• The green colour represents the turf
in the site
• There were no water body on site
natural or man made because the site
itself was sloping down to the nearby
lake
• The site itself was highly porous and
does not allow any water stagnation
HUNGARACUTTA BANSAALE MANE:
• The Hungaracutta Bansaale Mane is a trading house and warehouse with its
residential quarters situated in the coastal port town of Hungaracutta in Udupi taluk.
• The structure of the Hungaracutta Bansaale mane was planned in such a way as to
facilitate and merge the dual purpose of its function as a workplace and residence
very effectively.
• The front portion facing the harbour, logically became the business block while the
trader's residence portion was located at the rear separated by a court left open to the
sky It was roofed with steep slopes and deep overhangs to ensure the drainage of the
monsoon effectively so that the commodities stored remained dry.
• Robust circular and square columns with heavy brackets carved with geometrical
patterns span the whole interior of the business area .
• The corridor around the courtyard is used to store samples of merchandise, and
weighing scales to measure the produce.
• The trader's is a simple dwelling located across the court, built on a plinth higher
than the preceding corridor, this provides a sense of privacy to the inmates of the
house as the lean-to-roof of the residential block merges with the eaves of both the
corridors and the business block, thereby eliminating a possible eye contact when
standing upright along the jugli of the house block, a steep masonry staircase leads
to a hall, which serves as an accommodation for buyers who come from distant
shores to trade.
• The main roof slopes down covering a tapered wood-pillared portico on either side
of the main entrance.
• This portico served as a resting-place for loaders, porters, etc. waiting to be
summoned while the need arose.
This building was
aligned facing the lake
in hasta shilpa village to
denote the real context
of the structure
3

4. COURTYARD
SHED FOR
PARKING
BOATS
RESTINGROOMFORTHE
MERCHANTS
RAISEDPLATFORM
UP
COURTYARD
WITH NANDI
PRAYER
HALL
ROOMSROOMSROOMS
ROOMSROOMS
DEITY
1ST TIER
2ND TIER
3RD TIER
4TH TIER 4TH TIER
3RD TIER
2ND TIER
PLAN OF HUNGARACUTTA BANSAALE MANE:
PLAN OF JUNGAM MUTT OF PUCHCHAMOGARU
• The Jungam Mutt at Puchchamogaru is
believed to have been built much earlier
in the sixteenth century, with the
blessings of two jungamas who travelled
down the district from North Karnataka
on a spiritual mission.
• They found this isolated village of
Puchchamogaru situated in a valley
surrounded by hills and lush green
vegetation, an idyllic site for both
meditation and spiritual discourse.
• The Structure of Jungam Mutt of
Puchchamogara that has been
transplanted in the Heritage Village is an
amalgamation of three different portions,
salvaged from their respective places of
origin and put together on a plan of one
of the oldest surviving mutts, although in
its fragmentary state. The functions of
these portions have not been altered and
they collectively stand testimony to the
purpose that they served.
• The spaces could be broadly classified into two areas - the public area and the sacred
area.
• The public area comprises a four-tiered jugli or pillared corridor of varying depths,
each climbing higher and leading to a much broader and wider platform which
functions like a hall.
• The most striking assembly is that of this jugli housing probably the most massive
wooden columns of wild-jack species measuring at its base 32" x 32".
• They taper slightly and step down to an eight-sided cylinder capped by an ornate
capital and brackets supporting an elaborate and intricately carved coffered ceiling.
BRITISH COLONIAL HOUSE
• The British Colonial Bungalow that has
been relocated in the Heritage Village of
Hasta Shilpa was earlier situated in
Cantonment area of Bangalore.
• It is a three-floor building with each floor
having a central hall and two side-halls with
a semi-open veranda.
• The use of timber is limited to doors,
windows, grilles and part of stair-cases.
• The nature of their occupation provided ample time for cultural pursuits in the field of
literature, grammar, ancient texts, arts, performing arts and allied subjects. So a great
number of members of this farming community became scholars, litterateurs,
grammarians, journalists, artists, musicians and pundits.
• The main mutt is situated at haniya near hosanagara in sagar taluk of shimoga district.
When the structure of vidyamandira started showing signs of decay due to weathering
and age, the pontiff decided to pull it down and replace it with a modern
structure. Hastha shilpa intervened and restored the structure in village
4

5. VIDYAMANDIRA OF RAMACHANDRAPURA MUTT
The havyak brahmins of karnataka are basically arecanut
growers and, their population is mainly concentrated in
arecanut-growing pockets of shimoga, uttara kannada and
undivided dakshina kannada districts.
• This compact one-storied structure of Vidyamandira of
Ramachandrapura Mutt conforms to a square plan
facing east comprising a central core with rooms
running around on all three sides.
• The two-levelled entrance jugli opens out to the front,
flanked by the protruding side rooms.
• Two fluted columns with suspending fruit-brackets
provide solidity to the elevation.
• A wooden ceiling with paintings on the coffered panels
provides necessary insulation.
• The mud plastered walls merge harmoniously with the
roof while the balcony, windows and fluted columns of
the front verandah provide the necessary punctuation.
VADERHOBLI HOUSE: MANOR HOUSE
• The structural plan of Vaderhobli House is a rectangular block with pillared two-
tiered verandahs running along its length on both the faces of the house, separated by
a wall, highlighted by a projected balcony at the first floor level, and supported by
two tall pillars at the ground level.
• Of these two-tiered juglis, the upper one has robust square-shaped pillars with a bell-
shaped capital and a bracket assembly that support a planked ceiling resting on a
network of thick beams and joists, while the lower jugli has tapering octagonal
columns.
BHATKAL NAVAYATH MUSLIM HOUSE
• This house is roofed by a single
large gable roof, longitudinally
spanning the first floor, with separate
lean-to-roof covering the kitchen and
dining area at the ground floor level.
• Navayath Muslims live in separately
earmarked localities exclusive to the
members of their community in the
coastal town of Bhatkal.
• This is characterised by an ornate main door, with
couplets from the Holy Quran engraved on the
lintel, placed centrally to the width of the house,
attached to which is the narrow verandah forming a
compact fore-part.
• These localities called keris, consist of two or three narrow streets winding
and intersecting at various points, marked by a mosque at the junction of
such intersection.
• The houses are essentially one-storied, narrow in width and an unusually
large depth.
• Most of these houses are built next to each other with narrow spaces
between them and in many cases the houses share a common wall
• However, the more affluent houses are independent, elaborately planned,
and occupy large areas often enclosed by a high compound wall to ensure
privacy.
• The street leading to the Museum of Arts and Crafts has on both sides a
series of shops that display enamelware, chinaware, catering vessels and
utensils in metalware, terracotta pots, pickle and oil jars.
• Besides, this Bazaar has a couple of artisans’ workshops for stone-crafts
like grinding stones, pounding stones, containers of stones as well as
stone-sculpting and idol-making.
• The entire area of the Craft Bazaar looks very vibrant with its
impressive array of traditional craft objects displayed on the street-front.
• This Market Place with its several shops and establishments add
to the old-world charm of the Heritage Village.
CRAFTS CENTRE
5

6. And, of course, the radio shop:
This became popular in the late
19th century. and along with it
came the radio repair shop!
This barber's shop, as in the
world over, was an indispensible
part of any village. However,
sometimes, villagers had to trek
to the nearest town for this little
pleasure.
Lamps, shades. And their
repairs.... before the age
of electricity dawned
The iron used to press
clothes was fuelled by heat
from burning charcoal placed
inside its compartment. This
shop was strategically placed
next to a tailor's shop
• other units each engaged in traditional
occupations like oil extraction, jaggery
production, beaten-rice processing, handloom
weaving, jewellery making, photo framing,
umbrella repairing, lamp repairing, knife
sharpening, cotton-bed processing, lock
repairing, copper utensils repairing, bicycle
repairing, clock repairing, radio repairing,
gramophone repairing and typewriter repairing
units. This Market Place also consists of a
metalware shop, a bangle shop, a dhobi shop
and an hair-cutting saloon.
• There are also a primary school, a bank office, a
printing press and a school-book shop besides
an Ayurvedic medical shop.
The german protestant missionaries, who came to south kanara
district in karnataka from basel in switzerland in the earlier part
of the 19 th century, set up, among other production and
processing units, terracotta roofing tiles factories initially in
mangalore.
The Hasta Shilpa has collected almost all
these structural, domestic as well as decorative terracotta
products, designed and produced by these factories and
displayed them in its Basel Mission Museum in the Heritage
Village at Manipal.
BASEL MISSION MUSEUM
YERUKONE HOUSE:
Yerukone is a tiny village in
kundapura taluk dotted with numerous small and
medium-size agricultural farms and vegetables gardens.
The main occupation of the population of the village is
farming. One such family which owned and cultivated
a fairly large tract of agricultural
land built the Yerukone House in the middle of the
nineteenth century.
• The front block is rectangular in plan, sitting on
a high plinth with pillared two-tiered verandahs
running along its length on both the faces of the
house, separated by a wall.
• Of these tiered juglis, the upper one has square-
shaped pillars with a bell-shaped capital and a
bracket assembly that support a planked ceiling
resting on a network of thick beams and joists,
while the lower jugli has octagonal columns.
• The use of cornices running along the edge of
the and beams gives the ceiling a rich look.
• The inner verandah faces another rectangular
block with an open verandah, attached with two
rooms on the sides. The rooms house the
kitchen. dining and the utility, while the open
verandah serves as a multi-purpose space. A side
door opens out to the exterior.
SMALL SIZE SHRINES
Harihara Mandir: The notable among them is Harihara
Mandir which was originally situated in Kodagu. It was
built in the traditional architectural style of Kerala
.This four-century-old shrine was in ruins in
its original location, and the Trust acquired
it and rehabilitated it in its Heritage Village.
The Heritage Village is dotted with a few small-size shrines
of deities mostly belonging to the past ages.
6

7. Khadga Rama Shrine: This is a very
simple structure with no walls, but standing
on a pedestal that supports four wooden
columns and the overhead roof.
Vishnu Mandir: This elegant
temple structure has been
recreated in the Heritage
Village on the model of an
old temple situated near
Katapadi in Udupi district. It
has all the distinctive
characteristics of traditional
temple architecture of this
coastal region.
BYNDOOR-NELYADI HOUSE:
Nelyadi, a small village in byndoor
region of kundapura taluk, has vast areas
of cultivable land, mostly owned by the
bunts of the village.
• Byndoor-nelyadi house has a series of functional areas
positioned around a compact open-to-sky court.
• These kinds of structures came up during the
nineteenth century and have most of the features of the
manor house but built in a smaller scale.
Bhavya Durgi
Shrine: This shrine
represents the age-
old architectural
style of Udupi
district with double
roofs laid one over
the other.
KUNJUR CHOWKIMANE:
PLATFORM FOR
MUSIC CLASS
COURTYARD
VERANDA AT
MUTRAM
DELIVERY
ROOMKITCHEN
STORE
STORE
MEN’S
COMPLEX
UP
PLAN
• The Kunjur Chowkimane was built in the architectural style
of Kerala based on the fifteenth century.
• It is a two-storied house, with a hipped roof sloping down
into the central courtyard.
• The plan of the structure follows a mandala or a grid aligned
to the cardinal directions wherein the center of the mandala
is left open or not built up, to coincide with the central
courtyard.
• The basic house module is nalukettu
• The courtyard lined with dressed granite stone-edging, has
circular wood-turned pillars having a gentle taper that
support the most striking assembly, which characterizes the
highly evolved wooden joinery
• The corridor around this court provides access to the various
wings through door openings, the southern wing being
directly open to the court. The eastern wing comprises the
kitchen at the northern extremity, with the dining hall in the
middle and a small wood-partitioned shrine room used for
daily worship, facing west and opening out into the court.
• An intricately carved wooden ceiling running to the entire
width of the louver window adds further beauty.
7
7

8. The exhibits of the Museum are spread over
three buildings divided into eight sections,
each one displaying
(i) ancient building form and character
of a garodi,
(ii) traditional structure of a shrine with
wooden folk-deities of varying sizes
(iii) metal icons of Karnataka and other states
of India
(iv) bronze masks of folk-deities seated in
folk-furniture with traditional ritual objects
associated with the worship of folk deities
(v) household and occupational articles and
artefacts of yesteryears
(vi) folk theatre crafts like Yakshagana,
puppetry, moodalapalya and nandi kunita
(vii) folk musical instruments, and
(vii) stone and metal figures and wooden
masks from Chattisgarh region.
• The entire complex where the three
buildings of this museum are located at
diffent levels, with narrow streets
forming into a courtyard with a large
tree sheltering anagabana and a vertical
small shrine of kshetrapala creates the
right ambience of folk-rich Tulunadu of
a bygone era.
• The Museum of Folk Arts of Hasta
Shilpa is considered as one of the
largest and most unique museums of its
kind in India in respect of volume of
space, number and variety of objects,
rare character of its exhibits and their
imaginative display.
MUSEUM OF FOLK ARTS:
SRINGERI HOUSE
• A small room adjacent to this jugli serves as a shop, run by the inmates of the house
who used to sell ritual items of temple offerings required by pilgrims who flocked
into this holy town.
• These semi-open spaces overlooking the road were made so that more people could
witness the temple festivities.
• A small rectangular room known as padasale serves as the family space linking the
entrance, jugli with the kitchen and the puja room.
• A staircase from the padasale accesses a common hall, which has an attached
balcony and a smaller room used as a store.
• The elegantly scaled, down- to-earth structure of the Sringeri House exudes warmth
and intimacy.
HENGAVALLI-KORRA HOUSE
• Hengavalli Korra House, built about 120 years ago, consists of an outerpillared
verandah, attached to an 'L'-shaped jugli of the main house.
• This verandah with its stout wood-turned columns, placed successively along its
length creates an impressive colonnade.
• A high ceiling panelled to the lean-to-roof resting on these columns adds
volume and richness to this jugli.
• The inner jugli opens out into a central room flanked by a kitchen
and dining area on one side and a room used as a bedroom across.
• The whole spatial arrangement in the interior is compact
and a low wooden ceiling further
enhances the coziness of the space.
• The exterior of the Sringeri House has a rich appearance owing to the
woodturned balcony railings stretching along the entire width of the first
floor and a two-levelled jugli flanked by two
pillars on the ground floor.
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9. HARKUR OLAGINAMANE:
CLOSED
COURTYARD
UP
KITCHEN
ROOM
OUTER JUGLI
INNER JUGLI
MADDALE SHAPED COLUMNS
ROOM
• The plan of Harkur Olaginamane is a simple rectangle with a central
court surrounded by broader rooms on its sides with narrower rooms and
a pillared verandah at the rear and front respectively.
• The unique feature is that the columns of the front verandah are modelled
to resemble the maddale or the mridangam, a percussion instrument
associated with the folk art form
• These similarly shaped and successively placed columns form an
impressive colonnade, a rarely seen feature.
• The columns in turn support a robust grid work of beams and joists
planked to function as a ceiling.
• The central part of the veranda ascends to form a jugli, highlighted by
two stout maddale pillars.
• The walls of the central core are raised to form a rectangular hall at the
first floor level, accessed by a steep masonry staircase.
• This is roofed by a simple hip roof.
GROUND FLOOR PLAN
STORAGE
UPPER JUGLI
SQUARE SHAPED COLUMNS
ROOM ROOM
CLOSED
COURTYARD
FIRST FLOOR PLAN
• The Durbar Hall functioned as an audience hall when the ruler sat in state.
• The whole facade of the front block is an assembly of a series of panel doors with
arched ventilators placed behind a delicate wood-turned balcony railing.
• Slender pillars, plain and tapering, support this railing highlighted by very ornate
double brackets.
• The panel doors repeat on either side of a beautifully carved main door.
• This front block probably functioned as the drum house, where distinguished visitors
were announced.
• Earthy colours are employed to highlight the ceiling
• The Durbar Hall, an open-fronted hall stood across the court. It has
two rows of tapered pillars, set in stone bases. with the wooden arches linking
them.
MUDHOL PALACE DURBAR HALL
OPEN TO SKY
FRONT VERANDA
PLATFORM PLATFORM
CORRIDOR
KING’S THRONE
ROOM ROOM ROOM ROOM ROOM
ROOM ROOM
PLAN
9

10. • The decoration reaches its height in a
dazzling display of chandeliers,
paintings, hunting trophies, weapons
and other royal paraphernalia gracing
the wall.
• The doors leading out of the Durbar Hall are wood-
framed, closed by solid wooden shutters and have a
panel carved with decorative motif.
• The royal structure used teakwood entirety.
• A small but elegant structure, which was earlier part
of the frontage of a Peshwa Wada, situated in a
remote hamlet in Belgaum district of Karnataka.
• The remaining portion of this Wada had long back
collapsed, and the frontage of this modest-sized,
single-storey structure with its lovely jharoka was
the only surviving part of the Wada, which the Hasta
Shilpa acquired for its preservation in the Heritage
Village.
PESHWA WADA
DECCANI NAWAB MAHAL
• The structure of Deccani Nawab Mahal, as it stood in its original
location, was more in depth compared to its width.
• A traditional courtyard disappeared from the design and all that remained
was a narrow well bringing in air and light.
• The interior consists of a large hall of a considerable depth in three levels,
having a wooden assembly that divides the width of the space into a
wider central space and two slightly narrower spaces at the sides.
• It climbs up all the way to the first floor ceiling level creating a balcony
framed by arches and covered with draperies to provide privacy to the
women's quarters located at this level.
DOUBLE
HEIGHT
SPACE
DOUBLE
HEIGHT
SPACE
WORK
SPACE
ROOM
NOBLE’S LEISURE
CORNER
FRONT VERANDA
UP
CORRIDOR
CORRIDOR
WOMEN’SQUARTERS
WOMEN’SQUARTERS
ROOM
ROOM
ROOM
ROOM
ROOM
ROOM
ROOM
CORRIDOR
CORRIDOR
KAMAL MAHAL OF KUKANOOR
KAMAL MAHAL'S DECEPTIVE
EXTERIOR
GROUND FLOOR PLAN FIRST FLOOR PLAN
10

11. SPACE FOR
THE KING
AND QUEEN
GUEST
ROOM
GUEST
ROOM
FLOOR PLAN
• With the fall of the Vijayanagara Empire
in 1565, enemy forces destroyed and
plundered palaces and other monuments
in the capital Hampi and continued this
ravaging process in surrounding
provinces such as Kukanoor.
• Most of the mansions in the governor's
forst complex fell prey to the enemy. The
only structure which escaped their wrath
-- more because of its modest appearance
and least attractive architectural features
on its exterior than for any other valid
reason -- was the Kamal Mahal
MANGALORE CHRISTIAN HOUSE
LIVING
KITCHEN &DINING
VERANDA
BED ROOM
PRAYER
ROOM
STORE DECK
PLAN
The usage of space in the Mangalore Christian
House is compartmentalized owing to the new life-
style imbibed by its inmates and due to the influence
of western sources, unlike the traditional Hindu
house.
This house which is square-shaped with an attached
front verandah has a steep hipped roof with its eaves
projecting to cover the walls and the verandah,
shading them from the sun and deflecting the
downpour of rain away from the building.
MUSEUM OF ARTS & CRAFTS
RICHLY CARVED
DOORWAY HOLDING
ALL THE POSTURES OF
BHARATANATYAM
TO TANJORE PAINTING GALLERY
ELEVATION
UNDER GROUND PLAN
TO RAJA RAVI VERMA
MUSEUM
UP
• The museum of arts and crafts is housed in a three-floor building.
• The ground floor displays exclusively aradhana kala, that is, traditional ritual arts
consisting of wooden idols and panels of gods and deities in classical tradition, stone
statues and terracotta figures and also ritual objects and icons in metal ware in the same
tradition.
GROUND PLAN
11

12. • The upstairs of the building displays both traditional and
contemporary Alankar Kala, that is decorative crafts and also physical
objects used by men for their Vilas and recreation and by women for
their shringar.
• The basement of the Museum building contains old wooden structural
craft primarily devoted to the display of scores of various patterns of
pillars earlier used for houses, shrines and monasteries in coastal and
Malnad regions of Karnataka.
• Besides, the enormous quantity of old wooden pillars with their capitals
collected and displayed in the basement of the Museum reflect the skill
and imagination of the artisans of the yesteryears.
RAJA RAVI VARMAARCHIVAL MUSEUM
GANJIFAART GALLERY
The Ganjifa Art Gallery that the Hasta Shilpa Trust has set up in its Heritage
Village presents a comprehensive spectrum of ganjifa themes and style in
practice and are illustrative of both individual and regional stylistic variations
that are representative of Sawantwadi, Sonepur, Chikiti, Puri, Raghurajpur,
Bishnupur, Nirmal and Mysore.
• The hasta shilpa trust acquired from the ravi varma press the colour
reproductions of the works of not only raja ravi varma but also of a large
number of other indian artists who were inspired by the paintings of ravi
varma.
• These printed materials along with other physical properties like
machineries used for printing process, litho stones with the impressions
of the works of ravi varma, packets of special colour ink powder made in
germany for reproduction – all acquired from this press by the hasta
shilpa – constituted an important body of archival materials.
• These materials and physical properties have been judiciously displayed
in the gallery of cultural legacy of raja ravi varma in the hasta shilpa
heritage village at manipal.
MUSEUM OF THANJAVUR PAINTINGS
• The Hasta Shilpa Museum of Thanjavur
Paintings consists of about 150 works of
Thanjavur School of Maratha period and about
18 glass paintings of the earlier Nayaka period
and an equal number of glass paintings of post-
Maratha period.
• All these Thanjavur Paintings have been
displayed in the most imaginative way in this
Museum.
CRITICALANALYSIS:
• Hastha shilpa forms an unique environment to conserve and protect the art and
architecture of Karnataka just bringing out the rich culture of their past
• Hastha shilpa gives an idea about the prominent styles of art and architecture prevailed
in early parts of karnataka
• Hastha shilpa presently serves as a gateway for many historians, scholars and
researches to visit the complex ,learn and analyse the vernacular architecture of
Karnataka and history .
• The planning is very cosy and composed
• This place serves as a platform for many artisans to practice their arts and keep the arts
alive however the artisans didn’t have any accommodation in the complex.
• This complex is not commercially viable as the trust is not interested in converting this
place into a tourist spot and they have not encouraged any lay of powers by corporate
sectors
• This heritage complex is very sensitive that more crowd cant be handled in this place
due to he intricacy in design.
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