 Carving is
often viewed as a most sublime form of expression. In ancient India this craft was
essentially linked to construction and hence gained respectability. Vishwakarma's (the god
of creation )- second son Maya, worked in Wood. Hindu scriptures have laid down the
essential guidlines of maintaining quality and consistency in woodwork. It is interesting
to note that in the Matsya Puran, the auspicious nature of certain trees and suitability
of their location is clearly mentioned. It states that milky trees, trees inhabited by
large number of birds, trees near shrines, water tanks, burial grounds, confluence of
rivers etc. should not be used under any circumstances for house building purpose. A
heightened sensitivity towards environment and ecology can be keenly felt. 6th century Brihatsamhita spells out guidelines for rites and
ceremonies to be performed before or during the creative act, the sanctity and usage of
wood in various applications etc. Hierarchy amongst wood carvers determines who does what
- from the mundane workers for commonplace tasks, to the highest placed ones who create
statues and idols.
 Moguls in particular adored inlay work in wood.
Their patronage encouraged communities of Persian inlay craftsmen to settle in India. One
such group, the petigaras, resides in Surat in Gujarat. Inlay work is extensively carried
out in Delhi, Mysore, Hoshiarpur in Punjab, much of the state of Karnataka, Jaipur in
Rajasthan and Manipuri and Saharanpur in Uttar Pradesh. Earlier, the inlay material used
to be Ivory but ever since the banning of the ivory trade, craftsmen have experimented
with various new materials. A lot of Rosewood products are inlayed with brass and plastic.
 In Jaipur,
Manipur and Saharanpur artisans follow a type of inlay work called tarkashi,
where burnished copper or brass wire is set in the wood to create fine geometric
compositions.
Inspite of rapid development, new tools and materials,
traditional Indian woodcarvers still use the simplest of tools and follow the style of
their ancestors. Probably this has helped a lot in keeping the traditional craft alive.
Block of the hardest wood is used as a mallet. Carving implements include flats of iron or
steel, edges sharpened by the local blacksmiths. Measurement is a matter of judgement and
experience. A rule is seldom seen and the measuring tape is virtually absent.
 The work is
undertaken on the ground and dexterous pair of feet plays the role of a bench and vice.
Large commissions are carved standing up, if necessary on-site. Drilling is done for
surface decoration only, for which a bow drill is used. A bow is also used to power the
lathe for turning components. At display in the IHE are products from south India or Uttar
Pradesh - predominantly from Saharanpur. While centres like Trivandrum are known for
Rosewood and Ebony work, centres in north India, like Jaipur and Saharanpur mostly work
with Cedar and Sesam.
Prominent amongst the collection are antique look boxes,
idols - Hindu Gods as well Buddha, figurettes and sculptures of animals like elephants and
camels, photo frames, trays, pen holders, coaster sets, etc. |
