PRG. 28.

A (ii)(N)
1000

CENSUS OF INDIA 1961

VOLUME V

GUJARAT

PART VII-A (2)

WOOD CARVING OF GUJARAT

R. K. TRIVEDI
Superintendent of Census Operations, Gujarat

PRICE Rs. 21 or 49 Sh. or $ U. S. 7·56

 OENSUS OF INDIA 1961
LIST OF PUBLICATIONS
CENTRAL GOVERN1IENT PUBLICA.TIONS

Census of India, 1961 Volume V-Gujarat is being published in the following parts:
I-A (i) General Report
I-A(ji)a
"
I-A(ii)b
"
I-A(iii) General Report-Economic Trends and Projections
I-B Report on Vital Statistics and Fertility Survey
1-0 Subsidiary Tables
II-A General Population Tables
II-B(l) General Economic Tables (Tables B-1 to B-IV-C)
II-B(2) General Economio Tables (Tables B-V to B-Dq
II-C Cultural and l\figratiou Tables
III Household Economio 'rabIes (Tables B-X to B-XVU)
IV -A Report on Housing and Establishments
IV -B Housing and Establishment Tables
.
V -A Tables on Scheduled Oastes and Scheduled Tribes
V-B Ethnographic Notes on Scheduled Castes and Scheduled Tribes (including reprints)
VI Village Survey Monographs (25 Monographs)
VII-A Selected Crafts of Gujarat
VII-B Fairs and Festivals
VIII-A Administration Report-Enumeration
} ::N ot for Sale
VIII-B Administration Report-Tabulation
IX Atlas Volume
X-A Special Report on Cities
X-B Special Tables on Cities and Block Directory
X-C Special Migrant Tables for Ahmedabad City
STATE GOVERNMENT PUBLICATIONS

17 District Census Handbooks in English

17 District Census lIandbooks in Gujarati
PRINTED AT THE GOVERNMENT PRESS, BARODA.
PUBLISHED BY THE MANAGER OF PUBLlOATIONS. DELHI 1965.
 CONTENTS
(Figurell within bracket8 indiccUe page number8 ) PAGES

FOREWORD v
PREFACE vii-viii
CHAPTER I-INTRODUCTORY

Use of Wood; Tree Worship; Univer&al Appe~l of Wood; A Superb Medium of Art Expression (1) 1·2

CHAPTER II-ANTIQUITY OF WOOD WORK

Per'3istence of Wood Work to Present Times (5) 3-5

CHAPTER III-REGIONAL CHARACTERISTICS

N"orthern India; Madhya Pradesh and Uttar Pradesh (6) South India; Eastern India; Western India;
Wood work in Burma and Nepal (7) . 6·S

CHAPTER -IV-WOOD-THE RAW MATERIAL

Selection; Trees (9); (a) Teak; (b) Black-wood or Sisam (10); (c) Haldarvo; (d) Sandalwood;
(ty) Babul; (f) Mango (11); (g) Nim; (h) Sevan ; Selection of Wood (12) ; Trees and their Uses (13);
Seasoning (14). . . • • 9·14
ApPENDIX I-A-Timbers (15); B-Classification of Timbers according to Uses (24) 15·27

CHAPTER V-ARTISAN, TOOLS AND TECHNIQUE

Artisan; Tools (28); Training and Apprenticeship (29); Technique (30); Finish Wages and Working
Conditions (32) ,. 28-32
ApPENDIX II-Biography-A Skilled Craftsman in Wood Carving (33) 33·37

CHAPTER VI-ARCHITECTURE
Richness and Diversity of Wood Carving in Gujarat ; Treatises on Wood Work (3S) ; Preference for Wood;
Greater Scope and Freedom of Expression in Wood (39); Gujarat House a Unified Structure; Wood
Carving in Vogue since Ancient Times; Distinction between Temple and House Architecture (40);
Parts Decorated; Dwelling Houses; Door; Windows (41) ; Pillars, Capitals, Brackets, Beams, etc. ;
Temples; Rang Mandap (42); The Arch; The Dome; Jali or Pierced Lattice Work (43); Ghar
Derasar ; Parabadi or Pigeon House (44); Articles of Domestic Use; Modern Trends;
Temples in Wood (45); Other Branches of Wood Work; Painting (48) ; Lacquer Work Gold and
Silver Plating; Marquetry; Block Engraving (49); Shipbuilding (50) 38-50
ApPENDIX III-Jain Mandap in Baroda Museum (51) 51

CHAPTER VII-ART
Art the Handmaid of Religion ; Style (52) ; Temple Iconography; Ornamentation (54) ; Flora; Banian
?Cree; Fauna; Peacock (55) ; Parrot; Swan; Elephant; Lion (56) ; Mixed Animal Forms; Symbolism
In Art (57); Influence of Religion on Art {58} 52·58

CHAPTER VIII~ THE FUTURE

Wood Carving a Unique Art; The Setback (59); Bombay Firms of Cabinet Makers (61); !Iistri Somnath
Bhudar and Chaku Bhudar; Reawakening (62); Preservation and Protection (63) 59·64
PLATES
PLATE NOTES 65-76
PLATES I-CXLV 1·145

STATEMENTS
STA.TEMENT I-Buildings with Wood Carving' . • • 1-101
SBTATElIIENT II-Furniture and other Articles with Wood Carving 102·106
lBLIOGRAPHY • 107.108
GLOSSARY ••••
109·111
INDEX. 113·114
 LIST OF PLATES
81.
No. SUBJECT PLATE Nos.

1 Various Parts of a House Deoorated by Wood Carving Facing Page 40

2 Plan of ChintamaDl Derasar, Surat Facing Page 47

TREES, TOOLS, ARTISANS AND DESIGNS

3 Trees I
4 Tools II-III
5 Artisans IV-V
6 Designs VI-X
HOUSES

7 Facades XI-XII
8 Pillars XIII-XIX
9 Capitals XX-XXI
10 Madals XXII-XXVIII
11 Doors XXIX-XXXVII
12 Lintels XXXVIII-XXXIX
18 Front XL-XLI
14 Beams XLII-XLIV
15 Windows XLV-LVII
16 Balconies LVIII-LIX
17 Ornamentation LX-LXXV
18 Ceiling LXXVI-LXXVIII
19 Interior LXXIX
20 Exhibitions LXXX
21 Pigeon Houses LXXXI-LXXXIII

TE1IPLES
22 Gates LXXXIV-LXXXV
23 Pillars LXXXVI-LXXXIX
24 Wall Panels XC-XCIII
25 Madals XCIV-CI
26 Screen and Spandrel CII-CIII
27 Jharukha CIV
28 Domes CV-CXI
29 Heavenly Musicians and Dancers CXII-CXXIII
30 Artist's Fancy· CXXIV-CXXV
31 Hindolaa CXXVI-CXXVII
32 Household Shrines CXXVIII
33 Ceremonial Articles CXXIX
OTHER WOOD WORK
34 Lamps CXXX
35 Cupboards CXXXI
36 J.\Iajus, Patara and Marquetry • CXXXII-CXXXIV
37 Furniture Cx.xxV-CXLI
38 Decorative Pancls, 'Vall Brackets, Photo Frames, etc. CXLII-CXLIV
39 Ornamental Pieces eXLV
 F
o
R
E
W
o
R
D

Inscriptions at Sanchi tell us how carvers on The nineteenth century gazetteers of the Bombay
ivory and wood came to work on stone and pro- and Sind Presidency left, for some areas at least,
duced some of the most sacred sculpture of the detailed inventories of the best specimens of domestic
world. Wherever one looks in this country one architecture in wood, particularly for the districts
cannot but be struck by the ivory and wood carver's of Nasik, Ahmedabad, North Gujarat and Baroda
way of working and of handling of tools even in State. Campbell's Gazetteer of the 1870's enabled
the most massive of architectural sculpture. me in 1960 to locate some of the oldest relics, now
Architecture itself, through the ages, has been much rapidly being pulled down, in the heart of Nasik
influenced by the craft of the joiner. This has City. Earlier in 1956 the Ahmedabad and
been particularly true for West Bengal and all the Kathiawar Gazetteers stimulated me to search
lowlying coa!'.tal tracts, where the abundant rainfall for and be rewarded with the sight of magnificent
and the cooperating soil yield a wide range of specimens in the cities of Ahmedabad and Rajkot.
timbers good for many kinds of use, from seagoing A visit to Sri Gautam Sarabhai's jewelled house
vessels to the finest of minutely carved combs. at Hansol, five miles from Ahmedabad, in 1961
In all coastal tracts of India wood has influenced impelled me to request Sri Trivedi to consider the
most sacred and domestic architecture and along preparation of a monograph. Sri Trivedi did not
with them freestanding and architectural sculpture. need to be freshly enthused, for he had already
made extensive study of this subject and knew most
The ratha or chariot, for example, has influenced of the finds pots. Some of the magnificent speci-
temple and domestic architecture not only in mens of Gujarat have already been described in
Bengal but in Orissa, Andhra, Madras, Maha- his 1961 Census Report on Housing. The present
rashtra and Gujarat, and even Kerala. In their study is much more elaborate and goes beyond the
turn the sculptural ornaments of the rathas carved pale of domestic architecture and wood carving
in wood, have helped architects and scul~tors in in Gujarat alone. I feel well rewarded that Sri
stone in their many problems of load and stress, of Trivedi has added so well to our knowledge and
elevation, optical proportion and foreshortening. appreciation of this craft.

NEW DELHI, ASOK MITRA,

December 27, 1965. Registrar General, India.

v
 PREFACE
While the Census Organisation was being helpful in preserving some record at least of this
set up in the various States and Union Terri- magnificent art of wood carving, the various phases
tories, Shri Asok Mitra, Registrar General, India, of its development, and the diverse manner in which
addressed an inspiring letter to all his colleagues the craftsman has given expression to the artistic
as early as July 1959 stressing the desirability of sense of the people of Gujarat who used to weave
utilising the opportunity the assignment of working art in every walk of their life.
as Superintendent of Census Operations offered, to This study which started more than 2 years
set their course on some fruitful hobby which would ago was initiated with the listing of three principal
lead to the making of some contribution of per- items of interest, namely, (i) structures which
manent interest and value. Such a contribution exhibited carving of exquisite workmanship, (ii)
was to be in any field that one might care to choose, houses and temples 'which possessed carved pieces of
bearing of course in some way or the other on the furniture and other articles of distinctive merit and
population of the State. The subjects to be chosen (iii) living craftsmen capable of working in tradi-
~ere to be either sociological, economic or industrial, tional style. All the Municipal authorities in the
some aspect of agriculture, irrigation or power State were requested to furnish in prescribed pro-
development, geographical investigation, art, litera- form as particulars about the owner of the house,
ture or ancient history. Pursuant to this expecta- its location, nature of carving, and the probable
tion, the subject of WOOel Carving of Gujarat was age of the structure. This information was to be
chosen as a special study: as this unique and ancient collected by Municipal Inspectors of the locality,
art, which has been so popular with the people of who were likely to be aware of such specimens.
Gujarat, particularly in the field of constructive Similar. letters were also addressed to District
architecture and decorative art, was practically Panchayats for non-municipal areas. In the
on the verge of extinction under the impact of initial stages, the response was varying and not
modern influences and economic stress without altogether satisfactory. Frequent correspondence
any hope of its revival. Wood being a perishable stressing the importance of the survey and explain-
material does not possess that durability which ing the exact nature of information required was
stone does and has a comparatively lesser span of inevitable, as that which was furnished was either
life. In this age of iron and cement, when simplicity incomplete or inadequate. In a city like Ahmeda-
is the order of the day, wood carving which had bad, a special survey had to be carried out
been profuse and common in the pa~t has been through the members of the Census Organisation
completely eliminated in present-day ,structures not only because of. the vastness of its size but also
and whatever exists in older houses is gr~dually because of its being a very important centre of wood
disappearing. A time will, therefore, come In the carving in Gujarat, where masterpieces of wood
near future, when one will completely lose sight of carving still abound in the older quarters of the
the exquisite carving that was once the pride and city. Such an inquiry was greatly facilitated by
attraction of this region. The process of extinction a list of such houses supplied by Miss Giraben
has been further accelerated by demolition of older Sarabhai who because of her keen interest in wood
houses to widen existing streets and lanes to make carving had it prepared some time back by Shri
room for increasing urban traffic which is rising Sarabhai Navab. But to Patan goes the credit
day by day with the growth of popUlation and of havillg some of the graceful and elegant
modern ways of living and economic behaviour. structures marked by diversity and richness of
It was, therefore, felt that a study like the one ~hich workmanship. The information thus collected is
has been attempted in this monograph, might be incorporated in two statements reproduced at the

vii
end of this monograph. These statements are the grandson of the late Mistri Somnath Bhudar,
neither exhaustive nor complete. They, however, who still possesses some of the best specimens of
give a fairly representative idea of the widespread wood carving executed by his grandfather, noted
popularity and richness of this ancient art of Gujarat. temple architect like Shri Oghadbhai Sompura,
The third aspect of inquiry relating to craftsmen artists, scholars and research workers like Shri
did not yield any fruitful results as was seen from Ravishanker Raval, Dr. Haribhai Gaudani, Pandit
the entries received. It has not been, therefore, Mafatlal Zaverchand Gandhi, Shri Sarabhai Navab,
thought advisable to publish jt. It has, however, Munishri Punyavijayji, Dr. H. G. Shastri, Dr.
disclosed one important fact that the artisans Panubhai Bhatt and others interested in this ancient
knowing the traditional technique and still working art. To all of them I am deeply grateful. I must
at it do exist, though they can be counted on also express my gratefulness to the authorities of
fingers' ends. the Metropolitan Museum, New York, who have
been good enough to make available and permit
An intensive programme oftaking photographs
the reproduction of photographs of the Jain temple
of important specimens of wood carving preserved
of Wadi Parshwanath of Anhilvad Patan now
in old houses, temples and museums was then
housed in that Museum.
organised after scrutiny of the lists received.
Various places in different parts of the State were Among my staff members, I value the assistance
visited for oll-the-spot study, whereafter a judicious rendered by my colleague, Shri K. P. Yajnik,
selection of those items which deserved to be Deputy Superintendent of Census Operations,
reproduced was made. in charge of Special Studies Section, who
has taken keen interest in this novel study and
This monograph is divided into three sections, worked with singular zeal and industry in the
viz., (i) the monograph proper, which deals with collection of a variety of material req uired.
the 'Wood Carving of Gujarat'; (ii) plate notes For photographic work the staff photographer,
and plates reproducing photographs and line- Shri K. D. Vaishnav, and for the excellent line-
drawings numbering 149; and (iii) statements drawings the staff artist, Shri Somalal Shah, deserve
giving particulars of carving on houses, temples, special mention. For the quality printing of this
furniture and articles of distinctive merit. volume, the credit is shared by Mr. G. J. Gonsalves,
Though there are numerous treatises on the Director, Printing and Stationery, Government of
subject of architecture, temple as well as dwelling Gujarat, Shri R. G. Thakar, Manager and Shri
houses, they make no mention of the technique of V. M. Sonar, Overseer, Government Press, Baroda
carving which has remained a closely guarded and my Head Proof Reader, Shri M. P. Jacob,
secret of the family, to which only the members of all of whom have spared no pains to make this
the household and other close relatives had access publication what it is. I must also mention Shri
during a period of intense training and apprentice- Ratilal L. Shah of Raj Process Studio, Ahmedal>ad,
ship. Such an attitude was really unfortunate, who personally attended to the making of blocks
as the knowledge of the intricacies of the art was for the numerous plates appearing in this
denied to others. Master craftsmen and know· monograph.
ledgeable persons had, therefore, to be contacted Last but not the least, my grateful thanks are
to have a clear idea not only of the technique and due to Shri Asok Mitra, Registrar General, India,
other incidental matters but also of the extant who has inspired me to undertake this interesting
specimens of wood carving worth visiting. The study and helped me with valuable suggestions
persons visited were master craftsmen like Hari- . during the course of its preparation, as also to
chandra, whose unstructured biography appears Dr. Roy Burman, who has gone through the manu-
in this monograph, Shri Jamanadas PanchoIi, script before print.

R. K. TRIVEDI,
AHMEDABAD, Superint(!ndent of Census Operations,
29th December, 1965. Gujarat.

viii
 CHAPTER I

INTRODUCTORY

tree (Prosopis spicigera) is worshipped on the

USES OF WOOD Dussera day. Its branch is installed at the en-
WOOD HAS been put to diverse uses in the service trance of a house, before commencing the cele-
of man. It has supplied material for his dwelling, brations of any auspicious occasion like marriage.
for the dwelling of his gods, for his household Tulsi vivah or the marriage of basil plant or tulsi
articles, utensils and furniture, agricultural imple- Osimum sanctum to Vishnu is an occasion of earn-
ments, vehicles, boats, fuel for cooking his food ing great religious merit by a devout Vaishnav.
and lastly the fire that consumes and disposes off New village sites are named after trees and bear
his bodily remains after death. Trees the medicinal such names as Pipaliu, Vadali, Ambaliara, Limbda,
properties of whose roots, barks, flowers and Amba, Mahudi, etc. Trees have thus acquired
fruits, are well-known are not few. Their con- a special significance in the life of the people of this
tribution to alleviate human sufferings has been land.
the greatest in bringing rains so very essential for UNIVERSAL ApPEAL OF WOOD
human existence. Trees have thus proved to be
the greatest benefactor of' mankind all the world As will be seen presently, the antiquity of wood
over. as building material has long been established by
archaeologists and historians through authentic
TREE WORSHIP
sources and references to wood work in the Vedas
To the Indian community the animal as well and Puranas and the accounts of foreigners who
as the vegetable kingdom forms part of the same visited the Indian sub-continent during the periods
fraternity. In gratefulness for the many benefits of known history. While wood carving reached
derived from them, people have worshipped them the zenith of perfection in India particularly in
as deity from ancient times. The most notable the field of decorative art and architectural cons-
instance of tree worship in Hindu mythology is truction, it has had universal appeal since the dawn
afforded by the bani an tree worshipped by Sati of history in every part of the globe, be it the East
Savitri to retrieve the life of her husband from or the West. In India, its uses have been varied
Yama, the god of death. Hindu wives perform and numerous both in constructive and decorative
Vat Savitri Pujan for akhand saubhagylt'Qr unbroken art. In Asia, countries like Burma, Nepal, Tibet,
marital bliss and the long life of their husband, China and Japan evolved tradition of architectural
even to this day. Vat or vad tree is the Indian wood work very nearly similar to those in India
fig or Ficus indica, which is considered to be the in the construction of temples and dwellings.
emblem of god ShiJla, who wears matted hair like
A SUPERB MEDIUM OF ART EXPRESSION
the tangled roots of the tree. It is very sacred to
the Hindus and is believed to be the abode of the It is the basic artistic instinct of the people
three gods of the Trinity, Brahma, Vishnu and which governs the creation of various forms of art
Shiva. Its wood is used in sacrificial fire. Its through which the artist expresses himself. For,
milky juice is believed to have medicinal and energy- the artist is the creation of the community he lives
giving property. It is one of the principal shade- in. His ideas are formed and fashioned by the
bearing trees giving welcome relieffrom the scoarch- artistic sensibility of the society to which he
ing heat of the Sun. If a person who has no son, belongs. It was the love of art which pervaded the
wants to perform the sacred-thread ceremony life of the people of this land that was instrumental
he does it to the pipal tree (Ficus religiosa). Samadi in evolving a distinctive style of architecture and
(Bk) Y-2-1
2 CHAPTER I-INTRODUCTORY

ornamentation in wood work by recognising the a real masterpiece of art. But in wood, the artist
special qualities of wood as a medium of art has found such a superb and pliable form of matter
expression. through the medium of which even the commonest
Matter, form and spirit are the very essence artist has succeeded in expressing the spirit of his
of art. The superior or inferior quality of matter art by creating forms having great esthetic and
helps or hinders not only the creati,on of. form but artistic beauty. It is the varied, facets of art
also the expression of spirit, which the master expression through the medium of wooD-which
artist attempts to infuse in his work. The inter- this Monograph attempts to describe. This sub-
connection between these three elements of arts ject has been particularly chosen as this unique
is so intimate that one cannot but influence the and ancient art of wood carving, which has
other. For, with the best of artistic talent, even developed and flourished in Gujarat in a
a master craftsman would fail to express the true variety of forms, is now threatened with
spirit of his art to the extent he is capable of, if the extinction in this modern age of brick, cement
medium is base. Though the converse is equally and iron, when haste, crude simplicity and
true, the creative genius of the artist would false notions of durability are the hallmark of
transcend the limitations of matter and produce progress.
 CHAPTER II
ANTIQUITY OF WOOD WORK

WOOD CARVING is the most ancient of India's towers, over five hundred in number, and it
arts. Its antiquity is established through various was entered by as many as sixty-four gates.
literary sources and archaeological researches Within the walls was the royal palace, evidently
carried out in recent times. Wood carving finds a much more spacious and elaborate edifice
mention in the Vedas, in the great epics Maha- than that erected by any previous ruler in the
bharat and Ramayan, in Buddhist literature, as also country. The main portion of this imperial
in the accounts of foreign visitors who have des- residence consisted of a series of hYpostyle
cribed the early architectural forms, the prototypes halls containing pillars of wood each of
of which one can find in the Buddhist relief of the which 'was clasped around with vines em-
first century B.C. at Bharhut, Bagh, Bhaj and bossed in gold and ornamented with designs
Sanchi and later in the rock-cut cave temples of the of birds and foliage in gold and silver, thus
Maurya and early Gupta periods. The stone excelling in magnificence the famous royal
railings, their uprights and crossbars and the torana pleasaunces of Susa and Ecbatana'."
on the gateway around the famous Buddhist stupa The same authority goes on to say:
at Sanchi bear testimony to their imitation of the "Of the fortifications surrounding this
wooden forms which exi~ted in ancient times. great capital city of the Mauryan empire
Historians have noted that the palaces of the nothing has survived except fragments of the
great Maurya Emperor Chandragupta at Patali- wooden ramparts unearthed at Bulandi Bagh,
putra which surpassed in splendour the royal near Patna, the beams of which by their size
residences of Susa and Ekbatana were all made of prove that the Greek envoy's account of its
wood. Extensive use of wood in the construction dimensions was by no means exaggerated. An
of palaces and civil buildings during the Maurya idea may be gained from the foundations which
period has been referred to by Percy Brown in the consisted of timbers laid in parallel lines like
following terms while establishing their wooden railway sleepers each twelve to thirteen feet
origin: long, corresponding to the thickness of the
"Among other achievements the art of stockade at its base. To these horizontal beams
building, stimulated by royal patronage, took upright posts were tenoned, some of them
a notable step forward, as Megasthenes' nine feet high, but it is not possible from
account of the Mauryan capital of Pataliputra such scanty remains to estimate its total
(near Patna) plainly shows. This Greek height." 1
ambassador who resided at the court Qf the The antiquity of wood is further established
Emperor Chandragupta about 300 B.C., by excavations of the Maurya Period carried out
presents us with a striking picture of the great by the Archaeological Survey of India which has
Indian ruler's stronghold. Occupying a unearthed remains of wood structures erected on
narrow' parallelogram about nine miles long "a number of massive teakwood platforms each
and a mile and a half broad, it ranged along 30 feet in length found burried deep in the silt and
the banks of the Ganges like an immense apparently introduced as a kind of wrap to support
castellated breakwater, surrounded by a the foundations of the facade or propylaeum of
stupendous timber palisade, with loopholes for the palace. Composed of beams, jointed together
archers and protected externally by a wide and 'with a precision and reasoned care that could not
deep moat. At i"ntervals were bastions with possibly be excelled', they illustrate the abso!ute
1 PERCY BROwN,Inaian Architecture, (Buddhist and Hindu), p. 6, 1956

3
4 CHAPTER II-ANTIQUITY OF WOOD WORK

perfection of such work and those who executed manency and durability in public and private
them would find little indeed to learn in the field buildings.
of their own art, could they return to earth Apart from the rock-cut cave-temples and
today." 1 monuments of the Mauryan and post Mauryan
An upper portion of the Mauryan stockade period, there are other instances, which establish
referred to above can be seen at the Indian Museum, the antiquity of wood and its persistence right
Calcutta. upto the present times. Legend has it that the third
Whereas the Mauryan structures confirm the temple of Somnath built by Lord Shri Krishna
undoubted antiquity of wood as a standard material was of wood. At the time of the invasion of
for constructive architecture and decorative art Mohamed of Gaznavi, the flooring and pillars
in ancient India, its adaptation in stone is more of the Somnath temple were of wood. That he
than amply proven by the earlier Buddhist cave- carried with him to Gaznavi the doors of sandal
temples or chaityas and their ancillary buildings, wood is a fact recorded by 'history. That the
monasteries or vihars for tneir monks, which have famous Jain temples which were originally erected
reproduced in their construction all the ancient on the Holy Mount Shatrunjay were of wood is
forms of wood work. In the words of Benjamin established by references made in Jain manuscripts
Rowland about 400 years old. The anecdote regarding
Uda Mehta causing wooden temples to be replaced
" As many authorities have pointed out, by stone is considered by some to refer to Sha-
the barrel vaulted chaitya-halls of the Buddhist trunjay and not to Girnar, as is generally believed.
period, the rock-cut cave-temples of western The story goes that while the famous minister was
India, are imitations of free-standing buildings reciting Navakaravalli in the shrine at Shatrunjay,
in which the barrel roof was constructed of he saw a mouse carrying away a burning wick.
interlocking wooden ribs covered with thatch. Realising its danger to the wooden temples, Uda
In many of the cave-temples of western India, Mehta resolved to rebuild the temple in stone.
although the interior is really a cave cut from Later, when he was mortally wounded in a battle,
the living rock, the duplication of the wooden he expressed the three last wishes, which he desired
original is carried to the point of affixing his son to fulfil. These were (i) to have the darshan
actual wooden ribs to the socle of the solid of a sadhu before death, (ii) to make his son a
stone roof. Such later features of Hindu and Dand-nayak, and (iii) to rebuild Shatrunjay temple
Buddhist architecture as the horse shoe- in stone. It was in pursuance of this last wish
shaped chaitya arch presumably had their that his son replaced the wooden shrine on holy
origin in the Vedic Period. ,,~ mount Shatrunjay by stone. The tradition of
It would be interesting to observe that the building temples in wood survived with the Jains
various artistic forms and motifs in Wood were for a much longer period. Towns are not few
copied not in stone alone. They also came to be which still have derasars or portions thereof built
imitated in terracota as seen from some of the in wood between the 14th and 19th centuries.
brick stupas, unearthed in recent times. The Jain derasars exquisitely carved in wood still exist
excavations of a Buddhist stupa at Dev-ni-Mori in cities and towns like Ahmedabad, Surat, Patan,
near Shamlaji in North Gujarat have revealed Cambay and Radhanpur. Chintamani Derasar
designs and motifs in terracota similar to those at Surat and Shantinath Derasar at Ahmedabad,
found in contemporary wood work. all built of wood, are intact even to this day. Jain
Wood carving is thus the forerunner of stone temples constructed of wood are also reported to
carving of later days, when it was gradually have been built in the city of Baroda, but none is
replaced by brick and stone to ensure per- found to be in existence now. But parts of a jain
1. Archaeological Survey of India, p. 76, 1912-13
2. BENJAMIN ROWLAND, The Art and ArChitecture of India Buddhist-Hint:lu-Jain, p. 21, 1959
 PERSISTENCE OF WOOD WORK TO PRESENT TIMES 5

temple purchased by a Parsi gentleman for sale in cost and availability only at particular places, all
America from~ Sinor in former Baroda State and of which restrict its use only to those who can
later acquired by H. H. the Gaekwad are erected afford it. Small wonder that its choice was con-
in the Museum at Baroda. The Wadi Derasar fined only to princes and potentates, who had no
of Anhilwad Patan which Burgess and Cousens have consideration for the wealth to be expended. For
illustrated in their volume on 'the Architectural others, wood and brick continued to be the common
Antiquities of Northern Gujarat'l now adorns building material in use by the high and the low
the Metropolitan Museum, New York. who could equally afford it.
The tradition of constructing temples in wood
PERSISTENCE OF WOOD WORK TO PRESENT TIMES
thus persisted pari pasu with their construction in
stone and brick in various parts of Gujarat even Wood as a material of constructive architec-
during the Hindu and Muslim period and conti- ture and decorative art has been in use since ancient
nued into the nineteenth century when wood was times both in the erection of temples and dwellings.
completely replaced by brick or stone in temple Its use in India has persisted to the present times,
architecture. The reasons are not far to seek. though brick and mud for the dwelling of the
The religions of this country have placed God common man have been in use all over the country
before everything, and preached plain living and ever since prehistoric times as revealed by the
high thinking, practice of self-abnegation and excavations of the Harappan period at Lothal
dedication of all their material possessions to God. about 42 miles away from Ahmedabad. The use
The natural consequence of such a philosophy of any material for building construction is mainly
was for the people to earn religious merit through determined by its local availability and cost. The
the construction of temples, an activity which first material which man could without any diffi-
received the greatest impetus before Gujarat came culty make use of even in primitive times was
under Muslim rule. wood. Its persistence, however, till the commence-
Prior to Muslim invasion, Hindu rulers must ment of the twentieth century for constructive
have constructed palaces for their personal USe work has been mainly due to its easy availability
and public edifices for administrative purposes and comparative cheapness. But in Gujarat, the
which are for the most part extinct. It cannot plastic quality of wood has provided a very handy
be that the people and princes who constructed material for the expression of an art so dear to
such beautiful temples in stone in medieval period the people of this land, where some carving at
did not have their residence built with equal taste least on the door or window frame is the commonest
and art. But the fact that such structures do not feature of houses in towns and villages, its exten-
now exist show that palaces like ordinary dwell- sion to other parts, elaboration and ornamenta-
ings were constructed of wood and brick. The tion varying according to the purse of the owner.
use of stone in the construction of structures The development, however, of wood sculpture as
other than temples came into fashion after the a distinctive style of art was encouraged by the
Muslim invasion. Even then it was the material inherent quality of the material, the artistic taste
in demand only for the construction and decoration of the people, the creative genius of the carver
of mosques, mausoleums and palaces. For, stone further stimulated by religious zeal and royal
has certain obvious limitations to its use in cons- patronage, all of which were instrumental in
truction as compared to wood or brick, owing to keeping alive the traditions of wood work in every
its massiveness, difficulty in transport, its heavy nook and corner of Gujarat.
1. For details of these temples, see Chapter VI
 CHAPTER III
REGIONAL CHARACTERISTICS
WOOD CARVING is the most ancient and popular as animal, coupled with exquisite; panelling and
art worked withal by the ordinary carpenter and pinjra or jali work, i.e., pierced lattice screen
the most expert of artists. Because of its immense show distinct influence of Mughal style. Doors,
popularity and universality of its appeal this art doorways, balconies, lintels and jambs formed the
was assiduously cultivated all over the country. usual objects to which the artistic ability of the
The degree, however, of its permeation and the wood carver was applied. Carving in small
objects to which it was applied in the different articles was absent, as in the rest of the country,
regions has been varied, influenced as it was by though in recent times,