BHUNGA

I N S I D E A N D O U T

SHREYA PATEL
1
BHUNGA
INSIDE AND OUT

DOCUMENTED:

SHREYA PATEL
TGD 2017

GUIDED:

CARMINA FERNANDeS
SONAL CHAUHAN
Copyright © NID 2019
For private circulations only.
All rights reserved under International Copyright ©
2018 convention.
No part of this document may be reproduced
or transmitted in any form or by any means,
electronic or mechanical, including photocopy,
recording or any other information storage and
retrieval system, without prior permission in
writing from the concerned authorities.
Sources:
Mentioned at the end unless otherwise stated
Photographs taken by
Pooja Sawant
Shreya Patel

Written and documented by

Shreya Patel
Toy and Game Design Batch-2017
Craft Documentation
National Institute of Design

Guide
Ms. Carmina Fenandes
Ms. Sonal Chauhan

Printed at Chaap Digital Print Studio, Ahmedabad.

ACKNOWLEDGEMENT

I would like to extend my gratitude towards

my faculties Ms. Sonal Chauhan and Ms.
Carmina Fernandes and Mr. Shekhar
Bhattacharjee, for their guidance and valuable
insights in the process of craft documentation.

I would like to express my appreciation for the

craftsmen of Zura, Hodko and Bhirandiyara
village in Kutch district and the whole community
whose skills and sensitivity towards craft have
enriched my knowledge. They helped me out in
every possible way.

I am thankful to Alabhai from Zura

and Arjunbhai “Arjun Handicrafts“ from
Bhirandiyara and their families for their time
and efforts.

5
Bhunga Inside and out
Dedicated to
the people of
Kutch
7
CONTENTS
Chapter 1 : Gujarat 11

Kutch
Banni

a. Formation
of Banni

b. Climate

c. Flora Fauna

d. Communities

Chapter 2: People (Meghwal

Marwada) 19
a. Food

b. Dress

c. Ornaments

d. Marriages

e. Crafts

Chapter 3: Bhungas 25
a. Evolution of
Bhunga

b. Plan and
Elevation
 c. Materials

d. Construction
Process

e. Bhunga in
different season

f. During
Earthquake

Chapter 4: Mattikaam 39
a. Materials

b. Process of Dough
making

c. Pattern Making

d. Motif’s

e. Mattikaam in
Furniture

Chapter 5 : Present Scenario 57

Conclusion 60

Glossary 62

Biblography 64
 1.

GUJARAT

Bhunga from Inside and out

Gujarat is a flourishing state with cultural
diversity. It is vibrant with its true colors of rich
heritage and cultural traditions. Dating back
to history with the Harappan civilization, the
state becomes a confluence of many religions –
Hinduism, Islam, Jainism and Buddhism. The
Gujarati culture blends in arts, beliefs, customs,
traditions, institutions, inventions, language,
technology and values.

11
 Map of India
showing Gujrat

Gujarat is a state in Western India. It is the sixth

largest Indian state by area and the ninth largest state
by population. Its capital city is Gandhinagar, while its
largest city is Ahmedabad.

Bhunga Inside and out

Gujarat was one of the main central areas of the Indus
Valley Civilization. It contains ancient metropolitan
cities from the Indus Valley such as Lothal, Dholavira,
and Gola Dhordo. Lothal is believed to be one of the
world’s first seaports.

Gujarat borders Pakistan’s Tharparkar, Badin and

Thatta districts of Sindh province to the northwest,
is bounded by the Arabian Sea to the southwest, the
state of Rajasthan to the northeast, Madhya Pradesh to
the east, and by Maharashtra, Union territories of Diu,
Daman, Dadra and Nagar Haveli to the south.

Bottom image
shows People
enjoying Garba

Image on
the Left
side Map
of Gujarat

13
KUTCH
district, a peninsula, is situated between Sindh and
Saurashtra, in the north western part of the state. It
is an ancient land possessed of great antiquity, which
takes its name from its geographical characteristics and
topographical features resembling a tortoise.

The Kutch Peninsula is divided into nine sub micro

regions, namely, Rann of Kutch, Dungar Upland, Khadir
Island, Banni Lowland, Rapar Stony Waste, Sathsaida
Bet,Coastal Plain, Bhuj Upland and Creek Zone on the
basis of topography, climate, geology, soils and natural
vegetation.

Kutch is ancient land. The Land is occupied by vari-

ous races and tribes that came from the north and east
since ancient times. During the period of known history
it has from time to time come under the sway of various
dynasties that exercised its authority over Sindh and
Gujarat

Bhunga Inside and out

BANNI
Banni grasslands form a belt of arid grassland ecosystem
on the outer southern edge of the desert of the marshy
salt flats of Rann of Kutch. It covers an area of 3847 sq
km. This area is absolutely flat; the altitude only ranges
between 3 metres to 5 metres above sea level. More than
two thirds of the area of Banni is high in salinity.

Left Hand side Image:

Map of Kutch District

Image below shows

Migratory birds
GREATER- FLAMINGOES
in Kutch

15
FORMATION OF BANNI REGION
The word ‘Banni’ comes from Hindi word ‘banai’, meaning
made. The land here was formed from the sediments
that were deposited by the Indus and other rivers over
thousands of years. Old villagers from this region say
that before the 1819 Rann of Kutch earthquake, the
river Indus flowed right through banni and the local
farmers reaped a rich harvest of crops like red rice and
sindhi chookha, since the earthquake of 1819 the river
Indus changed its course and now flows through Sindh
in neighbouring country of Pakistan effectively turning
this entire region arid.

CLIMATE
The climate of the district is by and large very dry and
hot during the summer and cold during the winter
except coastal areas. The monsoon in this district is
generally accompanied by the gusty winds. It receive
scanty rainfall during the monsoon period. Average
minimum and maximum temperature of the district
during the year 2001 to 2010 is 9.97 degree centigrade
and 42.01 degree centigrade respectively.

Below Image shows

sunrise in Birandiyara
village in Banni

Bhunga Inside and out

FLOURA FAUNA
The Banni is home to great biological diversity, having
37 grass species, 275 bird species, and domesticated
animals, like Banni Buffalo, Kankrej Cattle, Sheep
& Goat, Horses and Camel, as well as wildlife. Banni
grassland also support at least three species of threatened
plants, three species of reptiles, five species of birds
and five species of mammals. Banni Grassland having
numerous large, medium and small sized wetlands
attracts migratory birds to breed and rest in winter.

Above Image shows

Indian Wild Asses in
Wild Ass Santuary in
Banni grasslands

Communities

Banni grassland is peculiar to the Rann of Kutch,

Maldhari (cattle breeders) hamlets, home to the
Halaypotra, Meghwals, Hingora, Hingorja, Jat and
Mutwa communities.

17
 2.
People

Bhunga Inside and out

Meghwal Marvada

Meghwals Marwada people originally came from

Marwar in Rajasthan. Ancestor of this community
migrated from the Sindh region which is now in
Pakistan.

19
The community moved to Tarparkar in Sindh in search
of work around 700 years ago. Another migration
brought them to Kutch with Maldhari’s. Marwada
Meghwals are Hindu and yet strongly influenced by
Muslim Neighbours.

Men work with leather, the leather product includes

embroidered mojadis (foot wear), hand fans, mirror
frames, wall pieces, and laptop bags, and many more
are made with traditional skills. The women in the
family do the Embroidery work.

Image on the
left shows
Meghwal
Marwada
women and
girl having
their lunch

Food
The Meghwals staple food is Bajra and Jowar rotlo. The
rotlo is thick with ghee spread on it. They have Gud
(Jaggery) and Ghee with every meal. The vegetables they
had to buy from the local bazaar in the villages as there
is no agriculture in this region. They end their meal
with a glass of Chass (Buttermilk).
Masala bhaat (Spiced rice), Meethi jeera Bhaat (Sweet
Rice) and Laadavo are the dishes made on the special
occasion.

Bhunga Inside and out

 Women of
Bhirandiyara
Village

Attire
The attire of men in this community is white salwar
kurta with a gumcha. The Older men also wear a white
pagdi with dhoti kurta. The women wears ghaghra with
long embroidered Kanjari (kurta). The embroidery is

introduced to young girls everyday after their school.

Ornaments
Meghwal Marwada married
woman wear an elaborate gold
nose ring called “Velado”. It is a
sign of marriage and worn only
on special occasions. Women
wear beadwork chokers on
the neck, silver ‘Varlo’, silver
chain with ‘Tajvi’, ‘Chuda’ and
‘Bangari’ (Bangles) and ‘Silver
Kadi’ from Bhuj.
Unmarried girls wear a ‘Haar’
silver necklace with leaf-shaped
pendant.

21
d. Marriages
The marriages takes place within the community. The
groom’s family will choose the girl with good embroidery
and craft skills which describes her intelligence.
The girl makes or use to make her own dresses for the
marriage with embroidery.
A display is kept on a khath cot to show all her craft
qualities and embroidery skills in the marriage.

e. Crafts
Leather Work: When a
Maldhari’s cattle died, the
Meghwals converted the
raw hides into leather. The
Meghwals gave new life
to waste, transforming it
into a product of utility.
Now a days they purchase
the leather from the main
market in Ahmedabad.
They make Mojadi,
sapatiyo, bags, purse,
keychain etc.

Bhunga Inside and out

Embroidery:
The Embroidery is done
by the women. They have
different styles and motifs.
They use mirrors in their
embroidery. Each girl is
taught embroidery at a very
young age as early as 4 or 5
yrs.. The women only wears
embroidery clothes not men.
The embroidery are Khudi
Tebha, Kambiro, Pakko Women of Hodka village

Mukko. doing Embroidery

Bead work : The women

makes beads jewelry.
The ‘Akhiyan’ the face
cover for brides and ‘Ser’
the face cover for groom
used in marriages are
also made by bead work.
The Indoni and Mangal
sutra are also of Bead
Image is of bead
work.
jewellary

Mattikaam (Mud Mirror):

Mattikaam is done to
decorate the walls of bhunga
from inside. The mirrors
enhance the light in the room
by reflecting sunlight and
the white color makes it look
more spacious and brighter.
Image is of tile of
Mattikaam

23
 3.

Bhunga

Bhunga Inside and out

Local craftsman Mr. Veljibhai Marvada said after
the 1819 earthquake in the Kutch region building
craftsman developed the circular house-form called
‘Bhunga’, traditional mud houses. They are circular
houses with Thatched roof. It’s a centuries old
construction style in harmony with the environment
and marked by mud floors and walls, tapering thatch
roofs. The place where the Meghwal families stay
together in multiple bhunga’s is called Meghwalvaas.

25
Bhunga in different season

The traditional Bhunga is considered an engineering

marvel as it can withstand severe winds, dust
storms and seismic activity. The materials use in the
construction of bhunga’s keep the interior cool during
the hot season and warm in cold season.

Above Image is of

Bhungas in Hodka
Image on the right is of the Inside
Village
of Bhunga showing Khapatis

and Vali’s used for the roof and

Mud work for decoration

Bhunga during Earthquake

Corners are the weaker parts against lateral forces of
an earthquake. since there are no corners in Bhunga,
it makes the structure more stable in earthquake.

Earthquake imparts lateral forces on the structure.

Due to the circular plan of a bhunga, one half part of
Bhunga always reacts as an arch against the forces
applied from any direction that the earthquake waves
hit the structure.. Thus the bhunga uses maximum
advantage against lateral forces of an earthquake.

Bhunga Inside and out

27
Evolution Of Bhunga

Meghwal Marwada people migrated in search of

work. The people use to construct their houses by
the materials they found in nature. The evolution
is seen in the materials used in the construction
of Bhunga but the structure mostly changed from
temporary to permanent Bhunga’s.

Bawad ni
Bhungi
Bawad is a
Babul tree.
They use babul
sticks because
it was easily
available in the
surrounding.

Matti no
Bhungo
Matti no bhungo
are the Mud
bricks Bhunga,
which we can see
in most of the
villages now a
days.

Bhunga Inside and out

Now-a-days the
Bhunga are
constructed by
using cement
but the structure
remains the
same.
Image on the left

is of a Bhunga

in Bhirandiyara

village

Chan Matti
Thipi
The people
started coating
the Bawad ni
bunngi by using
the mixture of
clay (matti) and
cow dung coating,
which was
available in the
surroundings.

Pathar na
Bhunga

People used Kala

Dungar, nearby
mountain’s stone
and built bhunga.

29
Plan and Elevation
of Bhunga
Bhungas are circular in plan, with cylinderical shaped
walls and topped with conical roof. The inner diameter
of bhunga is typically between 3m to 6m. It has three
openings one door and two windows

Fig: Elevation Of Bhunga

a : Thatched/Tile roof e: Masonary Walls

b: Vertical Wooden Post f: Floor Level
c: Vertical Wooden Post g: Ground Level
d: Window h: Wall Extension

Bhunga Inside and out

Fig: Plan Of Bhunga

31
CHIKANI GANDO GAAY NU
MATTI BAWADO GOBAR

Bhunga Inside and out

 Materials used
in construction of
Bhunga

Materials of the Bhunga are easily

available in the environment of Banni
region. The Authentic materials used
were Chikani Matti (clay) and cow/
camel/horse dung for the walls and
flooring. Gando Bawado (Babul) tree,
Vaas (Bamboo) is used for the roof.
The construction of Bhunga cost
nothing in the past, as they had no
money.
In todays scenario cement and bricks
are used for the construction because
the process is fast and takes less time
but cement makes the bhunga cool in
every season.

VAAS

33
d. Construction
process of Bhunga

A trench is dung in a circle

for the foundation for the
construction of bhunga.

A mixture of Chikni
matti (Clay) and
cow dung with little
water is mixed, a
stiff mud is made.
A large lump is
roughly moulded
into the shape of a
huge egg.

A row of these mud

eggs are laid neatly
side by side and
pressured together.

Bhunga Inside and out

 Another layer is laid
on the top, the sides
are smoothenned so
that the holes and
cracks disappear.

Openings of doors
and windows are
made.

The walls are

plastered with the
mixture of cow
dung and water
called lippan. The
women of the house
do this process.

35
 Adi (the horizonntal
beam) is placed on the
wall, perpendicular
to the door’s axis.
The ends of the beam
slightly rest on the
raised portion of the
wall and fixed with
pegs.

Patli (the vertical

kingpost) rest on the
middle of the adi.
The Mann (cone) is
fixed on the top of
the kingpost.

The vali (joist) are

fixed at the top of
the mann (cone) with
a kathi (rope).

Bhunga Inside and out

 Khapatis (Culms of
slipt bamboo) fill the
span between valis
(joists) and are fixed
to them.

Kheep (bundle of straw) are tied to

the roof structure starting from the
bottom.

A rope’s net is dropped from the

top of the roof in order to hold the
straw bundles.

The entire construction takes around 20

to 30 days. The kheep needs to be change
once in a year.

37
 4.

MATTIKAAM
INTERIOR OF BHUNGA

Bhunga Inside and out

The bhunga are made attractive by decorating the
walls and all their possessions have been stacked to
showcase them. These homes give the glittering craft
of mattikaam Mud Mirror Work as it is locally called,
which is the traditional mud-relief art work . It is
created on the inner walls as well as on furniture
like grainery storage, blanket storage, shelves of the
homes.

39
The home’s interiors are attractive with flowing white
clay walls that seem to merge into their furniture. The
use of intricate motifs that glitter with mirrors renders
an overall dazzling effect. The completely unique art
form makes the homes a visual treat.
Mattikaam is generally done by the women of the
house. It is done for one time and stays forever unless it
is removed manually. .
The artisans of mattikaam are so experienced that they
do not tend to draw any design or pattern on the wall
before starting the work. They divide the area of the into
halves with vertical and horizontal lines. According to
these areal divisions the design is also intutively split
into sections and the lippan kaam is done directly on
the walls of houses. But before doing the mud work on
wall, the wall is given a clay base and the surface is
roughened upon which the mud work is carried away.

MATERIALS for mud mirror work

Initially it was camel dung or wild ass dung used for

preparing the dough that is mixed with clay. Here dung
is the main binding agent of dough. The clay used for
this work is mud that has been sieved thoroughly to
obtain the fine particles which blends easily with the
other particles.
Sometimes millet was used as an alternative to dung
while the dung attracts termites but the husk does not.
This Chikani Matti is from the Talavdi sand of marshland
that is rich in salt content. Though the lippan kaam is
of white color yet now a days the shades of red, green
and blue are painted on the dried clay work.
It is said that the use of Aabhla Mirror is to deflect the
evil eye which can be overpowered by anything that
dazzle and makes it blink.

Bhunga Inside and out

CHIKANI GHODA AABHLA
MATTI NU LIND

41
Process of Matti
kaam

1. Dough Making

Chikani matti
and godha
ni lind (horse
dung) is used
to prepare the
dough.

Now a days
paper mache
or saw dust
is also added
as a binding
agent.

Bhunga Inside and out

Water is
added
according
to the
requirement.

The mixture of
finely filtered
clay and horse
dung is mixed
together in
equal parts.
the dung is the
main binding
agent.

43
All the
components are
mixed together
and kneded in
a dough called
matti.

A coil of
approximately
3 to 5mm is
made.

Bhunga Inside and out

2. COILING

A small
portion of
matti is taken.

The coil is
made thinner
by rolling palm.

45
 1

3. WORKING ON WALL
The coil is pinched on the wall to make
the clay stick on the wall. Earlier the
they used to dip the coil in water before
sticking it to the wall but now they use
fevicol water for dipping.

The coil is smoothen by using wet hands

to remove cracks and mergeing joints.

The border is created first and

(Image 6 and
divided into parts. The artisan are so
7 shows the
experienced that they do not draw the
division process.)
pattern, they decide while making it.

Bhunga Inside and out

 2 3

(Images 1

and 2 shows
4
the pinching

technique).

(Image 3 and

5 shows the
smoothing of

the coil).

6 5

47
pattern making
Intricate motifs and patterns are
created, similar to the embroidery work
on the clothes worn by the women of the
community. Kutch is renowned for its
stunning embroidery patterns, which
are also embellished with mirrors. the
motifs of which are also common to
ud work. White clay is coated on top
of the the finished mirror embellished
artwork, to get a pristine white look.

Bhunga Inside and out

49
Motif’s

Inspired by Flower & PLANTS

Bhunga Inside and out

Inspired by living beings

51
 Border Motif’s

Image on left shows the

contemporary style of Mud

Mirror work

Bhunga Inside and out

53
 Mattikaam on
furnitures in
Bhunga

SANJIRIYO (to keep

godhadi blankets)

KOTHARIYO (storage of
grain)

Bhunga Inside and out

 KOTHARIYO

PACHANI (use for

keeping and Stacking
Vessels)

PACHANI in a
different form

55
 5.

Present scenario

Bhunga Inside and out

After the Gujarat earthquake in 2001, the government
has taken initiative of promoting bhungas in Banni
region and building it with the help of NGO’s. The people
are also benefitted by the tourism of Rann Utsav, many
villagers of Hodka and Bhirandiyara build bhungas for
tourist like a resort which gave an experience of their
lifestyle, food and a stay in decorative Bhungas made
by them.

57
Bhunga Inside and out
The construction of bhungas have changed when they
are used for commercial purpose. The architecture of
the bhunga is same but the materials used are different.
You can see 2- storey bhungas near the white desert.

The mud work is also used in different decorative

purposes. The people (Meghwal Marwada) have adapted
different styles of decoration as the mud work takes
comparitively more time. They make colourful design
patterns by the use of Dhawadi (colourful clay) bought
from Khavda. Dhawadi come in multiple colours like
blue, yellow, red and white which extracted from mines
in Khavda. It is mixed with water and then painted.
Image of a bhunga made for a farmhouse

purpose. The Image on the left is of roof

inside that bhunga, top is of the entrance

and the bottom is of the bhunga.

59
CONCLUSION

Kutch is rich in the form of culture and craft. It has

many different stories about its formation of evolution
over centuries. It is a place where many communities
stay together in harmony and all of them have their
own unique lifestyle. That lifestyle brought varieties of
craft in Kutch.

The richness of craft helps me look at things in a

different perspective. How people are still following the
culture and made that as their livelihood. The culture
is the most important thing for these communities,
which is disappearing in urban areas.

It was an overwhelming experience for me to visit the

place and witness the crafts (Mattikaam, embroidery,
Block printing, wood Kothar kaam carving) being
practiced. All these craft had the essence of
authenticity and ethnicity.

I am sharing one of my mesmerizing experience

which is difficult to explain in the form of words. The
experience is of spending a night in bhunga. It was the
night which I will not forget. It was dark and i switch
ON my mobile flashlight. The room was filled with the
reflection caused by the mirrors of mattikaam.

Image on the left is of

that night in Bhunga with

reflection

Bhunga Inside and out

61
glossary
Aabhla: Mirros of different shapes
Adi: Horizontal Beam used in roof of bhunga
Akhiyan: Face cover for brides in Marriage
Bajra: Pearl millet, most widely grown type.
Bangari: Bangles
Bawad: Babool tree
Bazaar: Market
Bhunga: House of Meghwal marwada
Chan: Cow dung
Chass: Buttermilk: Liquid left after churning butter
out of cultured cream
Chikani Matti: clay
Chuda: White plastic bangles worn in arms by women
Dhawadi: Type of mud extracted from mines in
Khavda of different colours.
Dhoti: Traditional garment is an unstitched cloth
wrapped around the waist and the legs.
Gando Bawado: Babool tree which overgrown widly
Ghagra: Traditional clothing of women, skirt
Ghee: Clarified Butter
Ghumcha: A cotton scarf
Gud: Jaggery
Haar: Necklace
Jowar: Sorghum
Kambiro: Type of embroidery
Kanjari: Traditional clothing for women is a long top
Kathi: Jute rope use to fix the mann
Khapatis: Clums of slipt bamboo
Khath: cot weaved by jhute rope

Bhunga Inside and out

Kheep: bundle of straw
Khudi Tebha: Type of embroidery
Kothariyo: Storage of food grains
Laadvo: Sphere shaped sweets made of flour,ghee and
sugar
Mangal Sutra: A necklace worn by married women as a
sign of being married
Mann: Cone structure fixed on top
Masala bhaat: Spiced Rice
Meethi jeera bhaat: Sweet cumin rice
Meghwalvaas: Meghwal family stay together
Mojadis: A style of handcrafted footwear.
Pachani: Furniture to stack vessels
Pagdi: Turban worn by men
Pakko Mukko: Type of embroidery
Pathar: Stone
Patli: Vertical kingpost rest on middle post
Salwar: Traditional attire worn by men
Sanjiriyo: Furniture to keep blankets
Sapatiyo: Type of Traditional footwear specially used in
Kutch
Ser: Face cover for grooms used in marriage
Tajvi: Silver chain
Talavdi: Sand of marshland
Vaas: Bamboo
Vali: Joist fixed on the top of mann
Varlo: Bead Choker worn by Meghwal Marwada women
Velado: Nose ring worn by Meghwal Marwada women

63
biblography
Still Standing : Gandhi Nu Gaam, Ludiya N.d. https://
issuu.com/narendramangwani/docs/still_standing_
ch05_published

The art of building Bhunga. http://www.priyashah.

com/mig/bhonga.htm

Earthen habitat in rural development of Western

India: experiences in post-earthquake rehabilitation in
Kachchh district of Gujarat | https://ChiaraChiodero/
earthen-habitat-in-rural-development-of-western-
india-experiences-in-postearthquake-rehabilitation-in-
kachchh-district-of-gujarat

Mud Mirror Work.N.d. www.dsource.in/resource/mud-

mirror-work/process

Mud Mirror Art. N.d. https://en.wikipedia.org/wiki/

Mud_mirror_art

Lipan Kaam With love from Kutch #HandmadeInIndia

N.d. https://engrave.in/blog/lipan-kaam/

Meghwal Marwada N.d.http://shrujanlldc.org/downloads/

Bhunga from Inside and out

65