The earliest subterranean structures date from the 7th century and are mostly found in Saurashtra. As the form developed, the rituals grew and the richness of the architectural expression increased: the ingenious use of bridges and landings to act as bracing elements between the parallel retaining walls, the complex play of light and shadow as one descends into the depths of the earth, the silent stillness of the water reflecting back the sky. In this

In this drawing we see a number of step-wells, all drawn to the same scale. Starting at the left is Kapadvanj Kund, a 10th-century Hindu structure with a square plan. The next three, Umata Kund-vav, Modhera Kund, and Matar Bhavani are from the 11th century and are also Hindu in origin. Later, with the coming of the Muslim sultans of the 14th century, the form undergoes a metamorphosis. The symbolic value of water continues, but the ritualistic passages give way to pleasure rooms, delightfully cool in the summer heat. For as we shall see in the next section, Islam brought its own mythic values. Thus our fifth example, Adalaj, built in the 16th century, shows the typology in transition. Although the form remains essentially unchanged, the Islamic influence is apparent in the lack of ornamentation, the absence of icons, and in the abstract quality of the sculpture. The sixth example, the Sabali Kund-vav, goes much further towards Islam. Here the fourth side of the kund-vav has been transformed into a pleasure pavilion and the whole structure inset into a garden. The last four examples are all from the 16th century and are of particular interest because of their extraordinary spatial configurations. Bhatpur has spiral steps which narrow down as they descend. Vasad has eleven rooms below the ground level. Halisa has double-spiral steps, with niches in the wall for icon worship. Lastly we have the incomparable Doshi No Kanthalo, which is part of a fort wall – a military bastion strategically located at the confluence of the rivers Vatrak and Majham.

Later, with the coming of the Muslim sultans of the 14th century, the form undergoes a metamorphosis. The symbolic value of water continues, but the ritualistic passages give way to pleasure rooms, delightfully cool in the summer heat. For as we shall see in the next section, Islam brought its own mythic values. Thus our fifth example, Adalaj, built in the 16th century, shows the typology in transition. Although the form remains essentially unchanged, the Islamic influence is apparent in the lack of ornamentation, the absence of icons, and in the abstract quality of the sculpture. The sixth example, the Sabali Kund-vav, goes much further towards Islam. Here the fourth side of the kund-vav has been transformed into a pleasure pavilion and the whole structure inset into a garden. The last four examples are all from the 16th century and are of particular interest because of their extraordinary spatial configurations.

The last four examples are all from the 16th century and are of particular interest because of their extraordinary spatial configurations. Bhatpur has spiral steps which narrow down as they descend. Vasad has eleven rooms below the ground level. Halisa has double-spiral steps, with niches in the wall for icon worship. Lastly we have the incomparable Doshi No Kanthalo, which is part of a fort wall – a military bastion strategically located at the confluence of the rivers Vatrak and Majham.