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JAINA WOOD CARVINGS V. P. Dwivedi, National Museum, Delhi
Introduction
Jaina wood carvings form a unique chapter of Indian art history. Usually we do not speak of Hindu or Buddhist wood carving. Not because these religions did not patronise wood work but because of the fact that Jain wood carvings have survived in greater number. This may be because of their geographical situation in the dry climate of Gujarat and Rajasthan. It is not enly the number which make them important but the richness of these carvings also warrant special attention. Fantastic creatures and fascinating forms abound in these carvings. This phenomenon in itself may sound like a paradox, in view of the austerities of the Jaina monks. But then we should not forget that the patrons of these carvings were rich merchants who vied with each other in embellishing temples dedicated by them to the Jaina faith.
How the domestic and religious art of Gujarat, including those belonging to Jaina community, come to use wood to such an extent is a matter of anybody's guess. Unlike many other parts of India, Gujarat lacks quality stone but abounds in forests full of good quality wood. Then the heat resistent quality of wood on the one hand provided incentive to its use and on the other hand helped preserve it for centuries. Perforated jäll work in wood provided fresh air. Lightness of wood's weight made it possible to use it more freely on first and second storeys thereby giving an elegant look to the houses. But the unique peculiarity of the architectural wood work as developed in Gujarat is its application and acceptance by the common man, which has made of wood carving a real folk as well as classical art.
The reasons why the study of wood carvings has not received as much attention as it deserves are several. The foremost being the hazard that quite often different parts of the wooden structure, be it temple or home; came to be replaced as they decayed, making it difficult to assign it a firm date. The later artists, in all such cases, tried to match the earlier designs and motifs, thereby increasing the confusion for us to study them. Use of the age old tools and motifs even to this day is another factor. Yet another reason for the neglect of the study of these carvings is the general apathy of Indian scholars to anything originated during 16th to 19th century period, the period to which most of the surviving wooden examples belong. However, recently some publications, specially the census reports of 1961, have paid
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