Drawing
A CAD file, an elevation or a photograph comes in. A stone-specific proposal goes back: which quarry, which block, where the joints fall, what each piece weighs.
Export wing of Kumawat Enterprises, established 1990
Stonegraph
Stonegraph is a
hand carving +
architectural stone studio.
Murals · Mandirs · Jali · Facades
Carving · Architectural stone · Export
The studio
One workshop, three things it does.
Everything is made to order. There is no catalogue and no minimum run — a single mandir and four hundred metres of carved cladding are the same conversation.
Carving
Toolpaths hold the geometry the drawing demands. A hereditary carver then takes the cut piece and does what no tooling reaches.
Supply
Dry-assembled here, photographed assembled, then crated in numbered pieces with a setting-out drawing your own installers work from.
What we do
Two disciplines,
one bench.
Most suppliers are one or the other: a machine shop that cannot carve, or a carver who cannot hold a tolerance. The whole studio is built on refusing to choose.
Machine precision
Advanced CNC carving holds architectural geometry to the production tolerance agreed for the work, so repeated profiles align consistently across an elevation.
Hereditary hand-finishing
Undercuts deepened, organic flows opened, surface worked until it holds light correctly. Seven generations of judgement that no toolpath encodes.
Engineered for site
Piece weights, lifting points, joint strategy and a numbered setting-out drawing, so the stone can be built by a team that has never met us.
Why it is different
A machine cannot read a stone.
A hand cannot repeat one.
Every block has a grain, a flaw and a direction it wants to break. A carver reads that in the first ten minutes and works with it. A machine never sees it, and will drive a toolpath straight through a fault at full depth.
What the machine does hold is the thing a hand cannot: the same profile, the same depth, the same two hundredth time. So the machine takes the geometry and the carver takes the surface, and the piece gets both.
What we believe
Four things the workshop
will not trade away.
01
The stone decides what is possible.
A detail that reads beautifully on paper can be impossible in a stone that will not hold an undercut. We say so before a block is cut rather than after, even when the answer costs us the piece.
02
Nothing ships that has not been built once.
Every consignment is dry-assembled in our yard and photographed assembled before it is taken apart and packed. The first time it goes together on your site is the second time it has gone together.
03
The work is not cropped.
Not in a photograph, not in a specification, not in a quotation. If a piece cannot be made at the size, in the stone and to the detail that was asked for, that is a conversation, not a substitution.
04
A carver signs the surface.
The last hand on every piece belongs to someone whose family has cut this stone for seven generations. Where the shadow falls is a judgement, and it is made by a person who will be asked about it.
“Carving isn’t what we do. It is who we are.”
Research & development
What the workshop
keeps working on.
Not research in a laboratory sense. Four questions that get answered again on every commission, and are answered better than they were on the last one.
7th
Generation at the bench
Two centuries of the chisel passed father to son, in one family, in one city.
4
Continents supplied
The UK, the USA, Australia and Malaysia, from a single workshop in Jaipur.
6
Bench sign-offs
Drawing, cutting, carving, finishing, dry assembly and export packing are checked in sequence.
Stone selection
Which quarry, which block, and whether that stone will carry the detail the drawing shows. The answer changes the price, the lead time and sometimes the design, so it is settled first.
Toolpath development
Deep 3D relief, complex lattice, repeating textures and multi-layer arch profiles that must match each other exactly across a whole facade. This is where the machine is genuinely better than a hand.
Finishing technique
Undercut depth, surface texture and polish, tuned to the light the piece will actually stand in. A hall panel and a backlit wall are finished differently for the same carving.
Crating and handling
A deep relief and an open jali screen fail differently under the same knock, so they are braced differently. Four continents of shipping is where that was learned.
Send a drawing
Tell us what it has to do.
We will tell you what it takes.
A CAD file, an elevation or a photograph is enough to start. Back comes stone options, achievable detail, piece weights, joint strategy and an indicative cost.
Structure
Six benches a piece
passes across.
Nothing here is a production line. The same carver sees a piece from the block to the crate, and the departments below are the stations it stops at on the way.
Department 01
The drawing office
Where a client's file becomes a stone-specific proposal. Quarry, block, joints, weights, lifting points and the setting-out drawing that will travel in the crate.
Department 02
The cutting floor
Advanced CNC carving. Deep 3D relief, complex lattice, repeating textures and the multi-layer arch profiles that have to match across a whole elevation.
Department 03
The carving benches
Hereditary carvers, and the part of the process no drawing specifies. Undercuts, organic flow, surface texture, and the decision about where the shadow falls.
Department 04
Finishing and polish
Hand-polishing, gilding and gold leaf where a piece calls for it, and the surface work that decides whether the finished stone reads as carved or as milled.
Department 05
Quality and dry assembly
Every consignment built once here, checked against the drawing and photographed assembled. Nothing leaves the yard on trust.
Department 06
Crating and export
Reinforced sea-worthy crating built to the piece, numbered against the setting-out drawing, and documented to the standard a public commission requires.
“A piece does not leave the yard until the last bench signs it off.”
Selected work
What has come off
the benches.
Inlaid flooring
The Oberoi Series
Jali, flooring, pillars, inlay and statuary
Marble & sandstone · Five properties, India · Multi-year
Global delivery
Carved in Jaipur.
Admired worldwide.
We design and supply; your own contractor installs. It keeps the cost sane, keeps your programme in your control, and keeps our attention where it belongs — on the stone.
India
Domestic
Palace hotels, temples, civic landmarks
United Kingdom
Export
Parasol bases, garden statuary, estates
United States
Export
Feature walls, interior murals, sculpture
Australia
Export
Landscape stone, outdoor accents, pool surrounds
Malaysia
Export
Interior murals, sacred commissions, lobby stone
Elsewhere
On request
Freight method changes with scale, not the making
4
Continents supplied
1990
Firm established
No
Minimum order
Start here
Send us a drawing.
Or just a photograph.
Monday to Saturday · 09:30–18:30 IST · Jaipur, Rajasthan
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Material, method and application guides from the Jaipur workshop.