Ek Bija Mistri

Here is a comprehensive summary in English of the provided Jain text, "Ek Bija Mistri" by Sukhlal Sanghavi:

This article, published in "Prasthan" magazine, introduces readers to Narayan Das, another skilled craftsman, following a previous article about Mistri Seminarath Bhudhar. The author highlights how the stories of such artisans reveal the ancient heritage of India and the importance of deep dedication to a craft.

The author first encountered Narayan Das two years prior and had frequent interactions as they were both residing in the same area. The author spent time with Narayan Das, inquiring about his craftsmanship and ancient experiences, though at the time, the idea of writing this profile hadn't occurred, leading to some missed details which were later gathered through a friend.

Narayan Das, aged 70, is a Vanzha Sutara (woodworker/carpenter) from Jamnagar. His father's name was Ghelabhai. He has only one daughter who lives near Junagadh, leaving him to live alone. Despite being alone, Narayan Das expresses no complaint about not having sons, finding contentment solely in his father's craftsmanship. He enjoys reminiscing about his craft.

Narayan Das began learning woodworking from his father at the young age of eight, using tools like the saw and chisel. At thirteen, he took on another master, Keshavji Kanji, a Gujarati carpenter from Jamnagar, to learn intricate carving. He continued this training until he was 23, dedicating fifteen years to mastering carving, including five years of preparation and ten years of continuous practice.

His father's first creation was a silver swing ("Rupa na Hindola") and a silver cradle for Maharaj Vrajnath's Haveli in Jamnagar, for which he received a monthly salary of 15 rupees. He then crafted six silver chairs, a silver couch, and a silver canopy bed for the Rajkot court, earning 32 rupees a month. Following this, he created silver doors ("Rupa na Kavad") and a silver throne for the Purushottam Jasraj Lathhetwala temple in Jamnagar, along with two wooden horses and two elephants for Thakurji. He also created numerous samples of intricate carving in gold, silver, and wood for the Junagadh, Jasa Jam, and Kishan Garh courts. His work also extended to ivory, with many of these pieces potentially adorning palaces in Europe today. A notable example of his wood carving can be seen in the statue of Ganpati at the Swaminarayan Temple in Ahmedabad. Jain temples also feature his creations.

In the twilight of his life, Narayan Das is now engaged in creating a wooden temple with a silver structure for Seth Keshavji Manek, a well-known gentleman from Jamnagar. The author notes Seth Keshavji's deep appreciation for skilled artisans, stating that he has rarely seen such a patron. Seth Manek considers it imperative to preserve the work of experienced craftsmen like Narayan Das. This temple is a family endeavor, with Seth Manek's entire family treating Narayan Das with the reverence due to an elderly father or guru, taking care of all his needs.

Narayan Das receives a monthly stipend of 125 rupees, with all his food and lodging provided. The author emphasizes that Seth Manek is as grateful as he is skillful. During Narayan Das's bout with pneumonia last year, Seth Manek cared for him with the same dedication one would show to a father, demonstrating both self-interest (preserving the artisan) and altruism. The temple construction is ongoing, and the family's care saved Narayan Das. When asked about his salary, Narayan Das, like a devout ascetic, expressed his inability to adequately express his gratitude for the service rendered by the family, especially during his life-threatening illness.

The author likens Seth Manek's care for Narayan Das to the historical accounts of the "Anupmadevi" serving the renowned temple maker. Narayan Das's dedication at his advanced age is astonishing. He often works until midnight, sketching designs for future works when he wakes up, and then meticulously arranging them on paper. He presents these to Seth Manek in the morning, and upon approval, he diligently works with his valuable tools in the workshop. The author has witnessed Narayan Das forget to eat or drink in his passion for his craft. The temple is nearing completion, and Narayan Das intends to pour all his skill into it. However, the practical Seth Manek wisely advises against delving too deeply to ensure the temple isn't left unfinished due to the artisan's age.

Narayan Das laments that no one is learning his craft, as he is willing to teach anyone who wishes to learn. However, those who start soon lose patience and leave. The author agrees that such craftsmanship requires patience and dedication, which are difficult to find in the current era. The author also notes that photographs of Narayan Das's work should be taken and presented to "Prasthan" readers, a task yet to be done. His various creations in temples, palaces, and homes are worth seeing. The author believes that those who truly appreciate this art should seek out and honor such masters to preserve these ancient traditions, rather than being preoccupied with one-sided pursuits. He observes that rulers like the Jamsahib and other kings adorn their palaces with valuable artifacts, leading to the unfortunate loss of precious and affordable heritage from their own country, a matter of sorrow for enlightened art lovers.