I had the desire to visit the Vav was since it was declared a World Heritage Site in 2014. This shows what an ignorance we collectively have of our Historical Sites. And so, the standard disclaimer holds that I am but a curious student and no expert. I visited the Vav in December, 2014: once in evening and then the next day morning. This followed by a visit to Patola House Museum nearby. I returned even more curious from this trip.
Here is a layman's account of the Vav.
When Udaymati commissioned the building of Patan Vav, what did she seek to achieve? Many things, actually.
First, the entire western India is a region with low water table, less rainfall, poor soils and it was a necessity to bore such deep wells.
Second, it is dedicated her husband, Bhimdev I Solanki, so it earned her merit and legitimacy. The whole complex has several images of Parvati's severe penance for Shiva. Thus, Udaymati too hoped to be one with Bhimdev by means of this commemorative shrine.
Third, the structure is abound with sculptures of gods, goddesses, minor deities etc, so surely Udaymati hoped to gain religious merit too. Constructions are, even in general, considered a meritorious activity in India.
Finally, such structures require pooling in resources, experts as well as a huge number of laborers and so is good employment generating scheme in regions where agriculture is far from being very productive or remunerative.
I like to think of the Vav as a great virtue out of necessity.
Coming to the Vav, we can see a clear three-fold division in East - West direction.
1. The step well (at the Eastern end)
2. The reservoir
3. The main well
All of this is inside, what now appears like a pit, minus the erstwhile glory.
It is located in a sprawling garden which is very well maintained by ASI. The locals were seen enjoying this scenic garden in the evening time. A lasting sight was of two children who rolled down from a tiny hillock to the base along the length of the garden and repeated this process many times.
A prominent feature is the beautiful pillars, which supported several levels terraces when the Vav was in its prime. These too are profusely carved with nymphs, protective animals etc. Using pillars, terraces were placed one on top of another till they reached ground level. Visitors are not allowed to step on these terraces.
A Terrace with freestanding Pillar
A good number of sculptures are visible throughout the Vav and we can specially observe Sheshashayi Vishnu, Parvati's penance and the eight Vasu's who's story appears in Mahabharata.
Seven of the Vasu's were sacrificed by Ganga to rid them of the curse of staying on earth.The eighth Vasu who survived became the famous Bhishma Pitamah. We were informed that a sculpture of eight Vasu's bowing before Udyamati's reservoir is still present at the base. Thus, the Kunda is exalted to the status of Ganges herself.
This is just one example of the rich symbolism associated with Rani ki Vav.
The west end has a deep well. The water from this well used to overflow over in to the Kunda.
The well itself was recharged by River Saraswati till 1980's, though now it is dry. Water could be drawn out from the well end.
The Patola House is "the only museum for Patan Patola's in the world", the owners claimed. The museum opens at 10 a.m. but the patrons were kind enough to allow us entry at 9 a.m. Although the closing time is 5:30 sharp. Here you can observe the complex Patola karigari. There are pictures of famous celebrities who have bought Patola (Shabana Azmi, Jaya Bacchan, Ambani's, Sonia Gandhi etc.) Also, the impact world-over of Patola work which have manged to achieve poor imitation of this art. Patolas are available for sale, but the cost is upward of Rs. 2.5 lakh and there is a minimum waiting period of six months. Patola production involves imprinting on the threads itself. The pre-planning and unique mathematics which go in to making a Patan Patola are a closely held family secret. Photography is strictly not allowed.
The place is also known as Salvi Wada and it is run by traditional weavers from a family only twelve of whom have now remained in the craft. They were settled in Patan (From Jalna, Maharashtra) so that the Kings can obtain fresh Patola regularly. They have now completely lost all of their Maharastrian mannerisms. The art has G.I. tag now and Salvi women and non-Salvi's are being allowed to learn the art so that it isn't lost.
But the most magical part for me was observing the Patola motifs on the walls of Patan step-well.
It just goes to show how integrated their lives were when art forms spilled in to each other seamlessly.
I have so much more to tell and there is so much more I don;t know yet, but this blog demands brevity. You can read more and see better pictures in the links below and online.
Patan has much more to offer than I could cover and is a must-visit place :)
Further readings:
Rani Ki Vav
https://en.wikipedia.org/wiki/Rani_ki_vav
http://whc.unesco.org/en/list/922
Patan Patola
http://www.livemint.com/Leisure/PWKBRogLL50HQfNo8YKPVI/Textile-Conservation-The-centennial-weave.html
http://articles.economictimes.indiatimes.com/2014-03-01/news/47799584_1_weavers-patan-patola-salvis
Here is a layman's account of the Vav.
THE QUEEN AMONG STEP-WELLS
First, the entire western India is a region with low water table, less rainfall, poor soils and it was a necessity to bore such deep wells.
Second, it is dedicated her husband, Bhimdev I Solanki, so it earned her merit and legitimacy. The whole complex has several images of Parvati's severe penance for Shiva. Thus, Udaymati too hoped to be one with Bhimdev by means of this commemorative shrine.
Third, the structure is abound with sculptures of gods, goddesses, minor deities etc, so surely Udaymati hoped to gain religious merit too. Constructions are, even in general, considered a meritorious activity in India.
Finally, such structures require pooling in resources, experts as well as a huge number of laborers and so is good employment generating scheme in regions where agriculture is far from being very productive or remunerative.
I like to think of the Vav as a great virtue out of necessity.
 |
| The Gardens |
1. The step well (at the Eastern end)
2. The reservoir
3. The main well
All of this is inside, what now appears like a pit, minus the erstwhile glory.
It is located in a sprawling garden which is very well maintained by ASI. The locals were seen enjoying this scenic garden in the evening time. A lasting sight was of two children who rolled down from a tiny hillock to the base along the length of the garden and repeated this process many times.
The Step Well
Situated at the Eastern end, the step wells are the most beautiful part of the structure. Originally, the entrance was guarded by two massive toranas which no longer exist.They steps run west up to the reservoir or the Kunda.
 |
| View from Eastern End |
And as you step down, you can observe subsidiary steps in multiples. At each wall on two sides there are numerous sculptures which can be divided in to, Major gods and several minor nymphs, fantastic animals, patterns etc. There steps on sides too.
 |
| Side Wall |
 |
| Supplementary Steps |
 |
| Niche Decor |
 |
| Main and subsidiary niches |
A prominent feature is the beautiful pillars, which supported several levels terraces when the Vav was in its prime. These too are profusely carved with nymphs, protective animals etc. Using pillars, terraces were placed one on top of another till they reached ground level. Visitors are not allowed to step on these terraces.
 |
| Pillars and Terrace |
A Terrace with freestanding Pillar
The Reservoir
The rectangular tank is now visible only from a distance as the entire west is now closed off to the public.
 |
| Closed off end |
 |
| Bottom-most point. |
A good number of sculptures are visible throughout the Vav and we can specially observe Sheshashayi Vishnu, Parvati's penance and the eight Vasu's who's story appears in Mahabharata.
Seven of the Vasu's were sacrificed by Ganga to rid them of the curse of staying on earth.The eighth Vasu who survived became the famous Bhishma Pitamah. We were informed that a sculpture of eight Vasu's bowing before Udyamati's reservoir is still present at the base. Thus, the Kunda is exalted to the status of Ganges herself.
This is just one example of the rich symbolism associated with Rani ki Vav.
The Main Well
The well itself was recharged by River Saraswati till 1980's, though now it is dry. Water could be drawn out from the well end.
 |
| View from Well End |
 |
| The Well |
A Note on Patan Patola
 |
| Image Courtesy : Pinterest |
The place is also known as Salvi Wada and it is run by traditional weavers from a family only twelve of whom have now remained in the craft. They were settled in Patan (From Jalna, Maharashtra) so that the Kings can obtain fresh Patola regularly. They have now completely lost all of their Maharastrian mannerisms. The art has G.I. tag now and Salvi women and non-Salvi's are being allowed to learn the art so that it isn't lost.
But the most magical part for me was observing the Patola motifs on the walls of Patan step-well.
 |
| Patola Motifs |
It just goes to show how integrated their lives were when art forms spilled in to each other seamlessly.
I have so much more to tell and there is so much more I don;t know yet, but this blog demands brevity. You can read more and see better pictures in the links below and online.
Patan has much more to offer than I could cover and is a must-visit place :)
Further readings:
Rani Ki Vav
https://en.wikipedia.org/wiki/Rani_ki_vav
http://whc.unesco.org/en/list/922
Patan Patola
http://www.livemint.com/Leisure/PWKBRogLL50HQfNo8YKPVI/Textile-Conservation-The-centennial-weave.html
http://articles.economictimes.indiatimes.com/2014-03-01/news/47799584_1_weavers-patan-patola-salvis
