Unknown
Indian (active Western India, Gujarat)
Facade of a Jain Household Shrine, 18th c. CE, late - early 19th c.
wood with traces of pigment
48 x 44 1/2 x 14 in.
SBMA, Gift of Mrs. Lockwood de Forest
1976.12.1
RESEARCH PAPER
The art of woodcarving, whether in Gujarat or any other part of India, represents the ‘common man’s’ art. Doors, windows, pillars, beams are the main parts on which the wood carvers lavished their skills. The most common Jain religious carvings on domestic doors, lintels, or window frames are of a ‘Tirathankar (divine teacher), image of Lakshmi, i.e., goddess of prosperity, the 14 dreams that a mother has before conceiving a great soul (Tirathankar), and/or the 8 auspicious signs (symbols). The ‘Creeper’ pattern and ‘Dwarpals’ were also commonly used.
This magnificent piece in SBMA’s Asia collection is a good representation of the wood-carver’s skills, and of Jain religious motifs.
The door of the Facade is in two parts, opening in the middle. There is a wrought iron ring on each one of them for opening and closing. There is also a latch of wrought iron for fastening them. Twenty-four open lotus flowers are carved on the door. The other carved motifs are in low relief.
At the bottom of the carved columns on each side of the door are figures of ‘Dwarpals’ (guardians of the door) and/or ‘Dishapals’ (guardians of the directions). One of them has four arms. Above the ‘guardian’ on the inner right column are two human faces looking outward as if they are sitting in their balconies, giving the impression of a multi-storied building. The outer columns on both sides have two ‘Srivasths’ each (a mark which is always present on the chest of all ‘Tirathankars’). Between the columns of each side, there is a floral (creeper) pattern.
There are two animal-like faces at the threshold; they are known as ‘Kirtimukh’ (literal translation: face of glory). They are supposed to protect the worshiper. ‘Kirtimukh’ has been adopted from the Hindu iconography. The borrowing of popular deities and auspicious symbols was quite common among the Jains, Hindus, and Buddhists.
It is important not to step on the threshold of a temple, whether Jain, Buddhist, or Hindu. One is supposed to cross over the threshold. It signifies that one is entering from this world into the realm of the sacred, or divine.
On the lintel, are the auspicious dreams of the mother of a ‘Tirathankar’ before conceiving. The 14 dreams foretell the coming of a "Tirathankar’. From left to right: multi-tusked Elephant; Bull; Lion; goddess Lakshmi; two Garlands; Moon with an antelope in it (according to tradition, the Moon is on a chariot drawn by an antelope); Sun. Then there is what appears to be: a full Container (‘kalash’) with two eyes (representing right knowledge and right faith); Boat (celestial vehicle); two Fish; a mother and child representing the birth of a ‘Tirathankar’.
The Jain religion is one of the three oldest religions of India; the other two are Hinduism and Buddhism. Jains believe in the teachings of 24 ‘liberators’ known as ‘Tirathankars’. ‘Tirathankar’ is also known as ‘Jina’. The word ‘Jina’ means victorious, i.e, one who has conquered all the worldly passions, desires, appetites, and attained enlightenment through his own strenuous effort and thus has become omniscient. ‘Jinas’ taught and believed that enlightenment has to be attained through one’s own efforts. The followers of the ‘Jinas’s and their teachings are known as Jains.
The last of the 24 ‘Tirathankars’ was Vardhaman Mahavir’. He was a contemporary of Buddha (599-427 BCE).
There are two main sects in Jainism: ‘Digamber’ (space-clad), and ‘Shvetamber’ (white-clad). The difference between the two is that ‘Digamber ascetics do not wear any clothes, and their idols are not decorated. ‘Shvetamber’ ascetics wear white clothes and cover their mouth with a piece of white cloth so that their breath might not kill or hurt even the tiniest insect. They decorate their idols.
All Jains are strict vegetarians and put great emphasis on non-violence. They believe that everything–animal, mineral and vegetable--has a soul.
The overall condition of SBMA’s Jain Household Shrine Facade is good. However it shows the toll of time. There is small hole below the third lotus symbol on the right door as well as a larger one between the two doors just above the threshold. One of the ‘kirtimukhs’ is broken. It seems that one of the columns has been replaced because the columns on the two sides are not alike. It could be that the craftsman was not the same. Since wood is perishable, it was not uncommon to have the woodwork repaired or replaced. Although there is other minor damage as well, one can still imagine how it would have looked when new.
Bibliography
1. Jainism, a Pictorial Guide to the Religion of Non-violence, by Kurts Titze.
2. Studies in Jain Art and Iconography, and allied Subject. Chief Editor, Dr. R. T. Vyas.
3. Jain Dharm Svayam Janiye (in Hindi), by Dr. Shekar Chand Jain.
4. Aspects of Jain Art and Architecture, Ed. By U. P. Shah and M. A. Dhaky.
5. Research paper on Jain Shrines (6/11/80), by Maria Ware.
Prepared for the SBMA Docent Council by Sneh Singh, April 5, 2003.
Detail of upper lintel.
SBMA CURATORIAL LABELS
Domestic shrines, with their elaborate wood façades, were likely commissioned to protect Jain families’ household images. Modeled after Jain stone temple architecture, this densely ornamented doorway represents the transition between the human and divine realms. The double doors are carved with a rhythmic pattern of lotus medallions, while divine figures— "yaksha" and "yakshi" (nature spirits) and guardians—inhabit the lower jambs. Carved in the lintel above the doors are the “fourteen auspicious dreams” of a Jina’s mother. This shrine attests to the high skill of its carvers and to the wealth and personal piety of the Jain laity at this time, many of whom belonged to mercantile communities.
- India, Southeast Asia, and Himalayas, 2022
With fourteen auspicious dreams seen by the mother of a Jina upon his conception (according to Shvetambaras) on the lintel, and four guardian deities (dvarapala) flanking the entrance threshold; the entire surface deeply carved with vegetable, floral and geometric motifs.
- Puja and Piety, 2016
This elaborate façade of a domestic shrine was most likely commissioned by a wealthy Jain for use in his home. The beautifully carved doors protected the family’s household images. House shrines were frequently made of wood and were modeled directly on Jain stone temples. Jainism, along with Buddhism and Hinduism, is one of the three major religions of ancient India. It is still actively practiced today.
- SBMA Gallery Label, 2012