Jain Wood Carvings

Here's a comprehensive summary of the provided Jain text "Jain Wood Carvings" by V. P. Dwivedi, based on the provided pages:

Jain Wood Carvings: A Unique Chapter in Indian Art History

This text by V. P. Dwivedi highlights the significant and often overlooked contribution of Jain wood carvings to Indian art history. Unlike Hindu and Buddhist traditions where wood carving is less prevalent in surviving examples, Jain art boasts a considerable number of well-preserved wood carvings, primarily attributed to the dry climate of Gujarat and Rajasthan. The richness and complexity of these carvings, featuring fantastical creatures and intricate forms, are particularly noteworthy, even in contrast to the ascetic principles of Jainism. The lavish embellishments were largely funded by wealthy Jain merchants who were eager to adorn the temples they dedicated to their faith.

Factors Favoring Wood Carving in Gujarat:

The widespread use of wood in Gujarat's domestic and religious architecture, including Jain structures, is attributed to several factors. Gujarat's scarcity of quality stone, coupled with its abundant forests of good timber, naturally encouraged the use of wood. Furthermore, wood's heat-resistant properties aided its preservation over centuries and offered an advantage in providing ventilation through perforated jali work. The lightness of wood also allowed for more elaborate constructions on upper floors, enhancing the aesthetic appeal of buildings. A unique characteristic of Gujarati wood carving is its accessibility to the common man, elevating it to both a folk and classical art form.

Challenges in Studying Jain Wood Carvings:

The study of Jain wood carvings has been hampered by several factors. The tendency to replace decayed wooden components often led to later artists attempting to match earlier designs, causing confusion in dating. The continued use of traditional tools and motifs also makes it difficult to pinpoint specific periods. Moreover, Indian scholars have historically shown apathy towards art from the 16th to 19th centuries, the very period from which most surviving wooden examples originate. However, recent publications, such as the 1961 census reports, have begun to shed light on this art form.

Materials and Techniques:

The text emphasizes the use of high-quality wood, with teak and black wood being particularly prized for their durability and workability, metaphorically referred to as "gold" in a Gujarati proverb. Other woods like ravan (for thresholds) and mahua (for beams) were also utilized. Naturally seasoned wood was the preferred choice.

The process of wood carving involved marking lines with a string dipped in pigment, a technique that gave rise to the term Sutradhara (holder of the string), later evolving into the caste name Suthar. Carpenters progressed from larger tools to finer chisels to achieve intricate details, light and shade, curves, and relief work. Finishing was often done with dry coconut husk or a stony substance called kuranj. Some carvings were also colored, with traces of pigment still visible.

Jaina Architecture:

It's important to note that the same carpenters worked for Jain, Hindu, Buddhist, and Muslim patrons, leading to common architectural elements across these traditions.

• Domestic Architecture: Jain homes often featured carved door lintels or window frames with auspicious symbols like Tirthankara images or mangala cinha (fourteen dreams). Wooden facades were common, with the extent of carving reflecting the owner's financial status. Doors, windows, pillars, beams, and brackets were primary surfaces for elaborate carvings. Windows, especially those on upper floors, were often adorned with perforated jali work, providing ventilation and an elegant aesthetic. The Kutch region is noted for its artistic window shutters, often featuring perforated tracery placed over glass, with bold, twisted designs and elaborate foliage and animal motifs.

• Temple Architecture: Jain temples can be categorized into ghar derasar (home shrines) and larger stone and wooden temples. Home shrines are a distinctive feature of Jain households, often decorated with intricate carvings that vary with the family's wealth.

  • Mandapas: The mandapas (pillared halls) of Jain temples frequently feature frieze panels depicting narrative or representative scenes, with the life stories of Tirthankaras being the most popular themes. The renunciation of Lord Neminath and the preaching of Jain Acharyas are frequently depicted. Dikpalas (guardians of the directions), sursundaris, apsaras, and kinnaris are commonly found on brackets.
  • Notable Examples: The Santinatha derasar in Ahmedabad (AD 1390) is an early dated example of a wooden temple structure. Several other derasars in Ahmedabad, and similar home shrines in cities like Patan, Palitana, and Cambay, showcase this art form. Museums like the National Museum in Delhi, the Prince of Wales Museum in Mumbai, and the Baroda Museum house significant examples. Notably, a wooden Jain temple from 1594, originally from Patan, is now in the Metropolitan Museum of Art in New York.

Sculptures:

While Jain tradition speaks of a sandalwood portrait of Vardhamana Mahavir carved during his lifetime, no freestanding wooden sculptures of Tirthankaras have survived. The ritualistic washing and anointing of images with milk, water, and sandalwood paste might have contributed to the transition to bronze or stone. However, subsidiary carvings as integral parts of architecture have a better continuity in wood. These architectural carvings are typically smaller than their stone counterparts, often appear as independent works when detached, have unfinished back sides (due to being attached to structures), are frequently colored, and exhibit characteristic regional features of Gujarat and Rajasthan.

Conclusion:

Jain wood carvings are a rich and diverse art form that provides valuable insights into the social history and artistic traditions of the period. These carvings, reflecting the taste of their affluent Jain patrons, adorned every available space in homes and temples. While primarily religious, they also offer glimpses into contemporary social life. The text concludes by asserting that Jain patrons took a leading role in wood carving compared to their Hindu and Buddhist contemporaries.