Breathing life into wood
Last Updated IST
ARTISTIC Gudigars arewell-versed in elaborate wooden and stone carvings. Different stages of making sculptures and designs along with completed works are shown in the pictures
Renowned Italian sculptor and painter Michelangelo once said, “Every block of stone has a statue inside it and it is the task of the sculptor to discover it.” The statement stands true for Gudigars, a sculptor community in the State, who have been carving beautiful designs out of stones and wood. They have contributed immensely to the State’s temple architecture. The elaborate wooden carvings that can be seen in the temples in Ikkeri, Keladi, Togarsi and Hunchadakatte in Shivamogga district narrate their flair for sculpting.
Royal patronage
The wooden works of Shivappa Nayaka Palace in Shivamogga is said to be the work of Gudigars. The community is concentrated in Sagar and Sorab taluks of Shivamogga district and Kumta, Sirsi and Honnavar towns of Uttara Kannada district. Many well-known sculptors including Ashok Gudigar, Jade Manjunathappa and K G Shantappa hail from Sagar and Sorab taluks.
Venkatesh Jois, curator of Keladi Museum, who has researched wooden carvings of Gudigars says, “Keladi rulers patronised this craft and encouraged artists to excel. In fact, Keladi rulers are responsible for bringing Gudigars to this part from the northern part of the country.”
Some Gudigar families shifted to Keladi from Bhopal, Madhya Pradesh, during the reign of Keladi Dodda Sankanna Nayaka, between 1545 and 1565. These families carved various wooden structures in local temples. Gudigars are known for their unique wooden carvings depicting the Ramayana, Mahabharata and Bhagavata. Along with wooden sculptures, they also do artistic wooden roofs and pillars. Rulers of Mysore (now Mysuru) also recognised their skills and encouraged them. In fact, most of the wooden works of Mysore Palace and the roof of its third floor are said to be done by Gudigars.
The word Gudigar translates to temple artisans in Kannada, which is their traditional occupation. The community prefers carving works on wood and stone. They excelled in sandalwood carving, ebony and ivory carving. After ivory was banned and sandalwood supply declined, they opted for other wood types. The Karnataka State Handicrafts Development Corporation (KSHDC) supplies sandalwood to these skilled artisans, but artisans complain that the supply is not regular. A majority of the idols and decorative materials are made up of shivani wood now.
They cut wood, mostly soft wood, into various sizes, depending on the final output. Later, they sketch the figure in pencil and carve along the same lines. Carving work takes some days and can’t be done in a hurry. Art enthusiasts say that no machine can replace the unique carving skills of artisans. In fact, Shivamogga residents believe that the carving skills and techniques of Gudigars are unmatched. Hence, there is always a good demand for their craft work.
Gudigars, who are also known for minute wooden carvings, were also involved during the construction of Vidhana Soudha. According to the Karnataka Gazetteer, some of the families stayed in Bengaluru even after the completion of the work, their crafts in sandalwood, rosewood and teak were in good demand in the city. In tune with the changing times, they have shifted to inlay work on wood. Wall plates of gods, goddesses and rural scenes are also created as decoration pieces.
Many skilled artisans have made the community proud. One such artist is Ashok Gudigar who has won many prestigious awards for his work. Another artist, Jade Manjunathappa, introduced the concept of Gitopadesha in sandalwood, which became popular among art enthusiasts. Lord Krishna, Arjuna, chariot and horses are part of this structure. Making sandalwood garlands is said to have been conceptualised by another renowned Gudigar, K G Shantappa. The objective was to make Gudigar women self-reliant. Even today, Gudigar women are known for making garlands.
To preserve and promote this tradition, KSHDC established Srigandha Sankeerna (Sandalwood Complex) near Sagar in 1980. The project officer, V Srinivas Shetty says that the Sankeerna provides sandalwood to the registered artisans at subsidised rates after purchasing the same from the Forest Department. It sells the products made by these artisans through its outlets such as Cauvery Emporium in Bengaluru.
Providing sandalwood, the main raw material, to these craftsmen still poses a problem as the supply is not regular. At present, 232 artisans have registered with the Sankeerna. The artisans of Shivamogga, Udupi and Dakshina Kannada districts come under its purview. Of the total artisans, 152 are men and 80 are women. They prepare a range of wooden products such as idols of gods, human and animal figurines, panels, wall clocks, photo frames, jewellery boxes, lamp stand, mantapas and other artefacts. Women make garlands, coronets and trickers.
Continuing the tradition
The Karnataka State Handicrafts Development Corporation started a two-year certificate course in stone and wood carving in 2011 to encourage the younger generation to excel in the traditional art and get a better understanding of the current trend. At present, 29 people, most of whom are from artisan families from across the State, have enrolled for the course.
Along with free food and accommodation, students are given a stipend of Rs 700 per month. Most of those who did the course are now working as artisans under senior craftsmen. Jakanachari, a first-year student, has plans to set up a cottage industry in his home town Belagavi, after the completion of the course.
Stone carving is popular in the northern part of the State. “There is a huge demand for stone carvings in my home town. But the number of artisans is very less,” he adds.
The non-availability of adequate sandalwood has turned out to be a major threat in the recent years. Hence, artisans are forced to switch over to house door works. So far, around 170 kg sandalwood has been distributed to 88 registered artisans this year. Srinivas Murthy says that though lookalikes of sandalwood sculptures are in good demand, sandalwood idols of gods and goddess are still the favourite among people.
In spite of the decline in the number of artisans, Gudigars still dominate the field of sculpture in the State. It is heartening to see that even the younger generation is keen to take the tradition forward.
Royal patronage
The wooden works of Shivappa Nayaka Palace in Shivamogga is said to be the work of Gudigars. The community is concentrated in Sagar and Sorab taluks of Shivamogga district and Kumta, Sirsi and Honnavar towns of Uttara Kannada district. Many well-known sculptors including Ashok Gudigar, Jade Manjunathappa and K G Shantappa hail from Sagar and Sorab taluks.
Venkatesh Jois, curator of Keladi Museum, who has researched wooden carvings of Gudigars says, “Keladi rulers patronised this craft and encouraged artists to excel. In fact, Keladi rulers are responsible for bringing Gudigars to this part from the northern part of the country.”
Some Gudigar families shifted to Keladi from Bhopal, Madhya Pradesh, during the reign of Keladi Dodda Sankanna Nayaka, between 1545 and 1565. These families carved various wooden structures in local temples. Gudigars are known for their unique wooden carvings depicting the Ramayana, Mahabharata and Bhagavata. Along with wooden sculptures, they also do artistic wooden roofs and pillars. Rulers of Mysore (now Mysuru) also recognised their skills and encouraged them. In fact, most of the wooden works of Mysore Palace and the roof of its third floor are said to be done by Gudigars.
The word Gudigar translates to temple artisans in Kannada, which is their traditional occupation. The community prefers carving works on wood and stone. They excelled in sandalwood carving, ebony and ivory carving. After ivory was banned and sandalwood supply declined, they opted for other wood types. The Karnataka State Handicrafts Development Corporation (KSHDC) supplies sandalwood to these skilled artisans, but artisans complain that the supply is not regular. A majority of the idols and decorative materials are made up of shivani wood now.
They cut wood, mostly soft wood, into various sizes, depending on the final output. Later, they sketch the figure in pencil and carve along the same lines. Carving work takes some days and can’t be done in a hurry. Art enthusiasts say that no machine can replace the unique carving skills of artisans. In fact, Shivamogga residents believe that the carving skills and techniques of Gudigars are unmatched. Hence, there is always a good demand for their craft work.
Gudigars, who are also known for minute wooden carvings, were also involved during the construction of Vidhana Soudha. According to the Karnataka Gazetteer, some of the families stayed in Bengaluru even after the completion of the work, their crafts in sandalwood, rosewood and teak were in good demand in the city. In tune with the changing times, they have shifted to inlay work on wood. Wall plates of gods, goddesses and rural scenes are also created as decoration pieces.
Many skilled artisans have made the community proud. One such artist is Ashok Gudigar who has won many prestigious awards for his work. Another artist, Jade Manjunathappa, introduced the concept of Gitopadesha in sandalwood, which became popular among art enthusiasts. Lord Krishna, Arjuna, chariot and horses are part of this structure. Making sandalwood garlands is said to have been conceptualised by another renowned Gudigar, K G Shantappa. The objective was to make Gudigar women self-reliant. Even today, Gudigar women are known for making garlands.
To preserve and promote this tradition, KSHDC established Srigandha Sankeerna (Sandalwood Complex) near Sagar in 1980. The project officer, V Srinivas Shetty says that the Sankeerna provides sandalwood to the registered artisans at subsidised rates after purchasing the same from the Forest Department. It sells the products made by these artisans through its outlets such as Cauvery Emporium in Bengaluru.
Providing sandalwood, the main raw material, to these craftsmen still poses a problem as the supply is not regular. At present, 232 artisans have registered with the Sankeerna. The artisans of Shivamogga, Udupi and Dakshina Kannada districts come under its purview. Of the total artisans, 152 are men and 80 are women. They prepare a range of wooden products such as idols of gods, human and animal figurines, panels, wall clocks, photo frames, jewellery boxes, lamp stand, mantapas and other artefacts. Women make garlands, coronets and trickers.
Continuing the tradition
The Karnataka State Handicrafts Development Corporation started a two-year certificate course in stone and wood carving in 2011 to encourage the younger generation to excel in the traditional art and get a better understanding of the current trend. At present, 29 people, most of whom are from artisan families from across the State, have enrolled for the course.
Along with free food and accommodation, students are given a stipend of Rs 700 per month. Most of those who did the course are now working as artisans under senior craftsmen. Jakanachari, a first-year student, has plans to set up a cottage industry in his home town Belagavi, after the completion of the course.
Stone carving is popular in the northern part of the State. “There is a huge demand for stone carvings in my home town. But the number of artisans is very less,” he adds.
The non-availability of adequate sandalwood has turned out to be a major threat in the recent years. Hence, artisans are forced to switch over to house door works. So far, around 170 kg sandalwood has been distributed to 88 registered artisans this year. Srinivas Murthy says that though lookalikes of sandalwood sculptures are in good demand, sandalwood idols of gods and goddess are still the favourite among people.
In spite of the decline in the number of artisans, Gudigars still dominate the field of sculpture in the State. It is heartening to see that even the younger generation is keen to take the tradition forward.