Likhai: A journey through the craft of wood carving
Abstract
The article unfolds the journey of likhai, a craft of wood carving in the Kumaon region of Uttarakhand from a glorified past to a disappearing craft. Likhai, which was once an integral part of communities, is an amalgamation of diverse cultural influences and represents the land and its people. The article makes the case that it is vital to understand the whole system that revolves around the practice, providing details of the origin of the craft and how it represents the importance of likhai for the communities. A narrative is thus created that connects the changes in the region with changes that have impacted the craft and the craftspeople. Likhai is no longer part of modern Kumaoni houses but despite this still manages to be in the hearts of people.
Citation: Waldia, Lalita. “Likhai: A journey through the craft of wood carving” The Jugaad Project, xx March 2022, www.thejugaadproject.pub/likhai-wood-carving [date of access]
“We may lament the loss of the beautiful objects we now view in museums, but what if the ultimate value of craft lies not in the artifact but rather in the process by which it comes to be?”
(Botnick and Raja, 2011: 43)
The Craft
The creation of things for use has always been the motivating force behind craft but amazingly these endeavors have never been merely utilitarian. There is a desire to beautify things and to integrate them with the purpose. The inward urge to adorn one’s possessions and surroundings is part of the creative impulse. Understanding the roots of “art” and “craft”, however one may term it, reveals a plethora of customs, rituals, deep-rooted dogmas, and belief-systems. The very act of creation gives a new meaning to life, to self-expression and rituals, and also helps to develop an aesthetic sensibility.
In India, crafts have been strongly interwoven with the people, the land and their culture. The varieties of craft forms that are practiced throughout the country and the diverse skills and techniques make India a unique country. According to official estimates of the development commissioner, India is home to 7 million artisans. However, data from unofficial sources indicates that the artisan strength is as high as 200 million. This article focused on the craft of wood carving in the northern state of Uttarakhand and situates it against a backdrop of diverse styles and techniques that vary by state. Influenced by temples and sculptural art, each region has developed its own style and created a range of artifacts such that the states of Jammu and Kashmir, Uttar Pradesh, Rajasthan, Gujarat, Kerala, etc. are renowned for their distinct styles of wood carving. These distinct styles in turn can be related to situated and embedded ways of living.
The aesthetic tradition of Uttarakhand as embodied in its its land and its people is also found in the craft of wood carving. This old and highly skilled tradition is an amalgamation of diverse cultural influences. The term “Likhai” generally meaning writing in Hindi is used specifically in the Kumaon region of Uttarakhand for wood carving as a form of mark making on wood. Kumaon is one of the two regions/administrative divisions of the Indian state of Uttarakhand, the other being Garhwal. It is bounded on the north by Tibet, on the east by Nepal, and sharing an international border has impacted the region and the craft. Likhai is a building craft and is situated in a construction method of using local resources and materials—as such it is an integral part of the vernacular architecture and aesthetics of Kumaon.
The architecture of buildings reveals different narratives about people and their lifestyles. It tells a story of everything that makes that building. In designing any space people rely on certain languages, allowing to articulate and communicate ideas. Similarly, while designing any space different elements come together and define the building and its inhabitants. The vernacular style of architecture in the region is known as bakhlee which is a type of row housing. Usually, two to three houses are presented within a common front yard. This front area is used for cattle and different community functions. The typical layout of these houses has a main door, kholi, in the center leading to the first floor. The ground floor is generally lower in height and is used for storage and has some cattle in a shed, known as goth. These houses have stone masonry, wooden doors, and windows, pitched roof with wooden rafter and a top covering of slates known as pataal. The doors and windows are the main features of traditional houses in the Kumaoni villages. It is the carved facades that make the Kumaoni houses so visually distinctive. The main door is large in size but it has a smaller opening door within it. All Himalayan homes usually have small openings to minimize the flow of cold wind. In addition to this, as per popular saying, to enter through a small opening one has to bend and thereby show respect to the house.
Figure 1. Bakhlee, vernacular architecture of Kumaon. Thal, 2021. Photo by Author.
All kholis have a special element that is the carving of an idol, mostly Ganesha on the top center of the door frame. Rajendra, an artisan from Munsiari says that when craftsmen used to carve the idols they put butter on them to welcome the deity and pray for a prosperous life in the new house thus indicating a possible ritualistic function for the maker. Tyapari is the local term used for the main windows of the house. The two-panel window is dodyari tyapari and the three-panel window is teen dyari tyapari. These windows are on the first floor which is the residential part of the house. Following the pattern from the main door, the large section of windows is also a wooden frame with small openings. The overall appearance of the windows resembles a beautiful picture frame. Women peek out from the windows whenever any ceremony or festival is organized in the front area. The frame of the window has many cornices with small offsets. There is an arch-shaped wooden element with carving on the top of the opening. The shape of the arch is similar with some minor differences. The bottom of the opening has a carved wooden panel or sometimes wooden balustrades for safety purposes. The ground floor has a lower height as compared to the upper floors. This could be the reason that the doors of the ground floor are simple without any detailing work. A few of them have a wooden band on the top of the opening with carving on it.
Figure 2. Do dyari tyapari, a two panel window. Munsiari, 2020. Photo by Author.
The world of fauna and flora has inspired a variety of motifs used in the likhai. They are naturalistic, beautiful, and spontaneous, carrying symbolic significance. Trees and flowers are not only part of daily needs but are an important part of rituals and ceremonies. Craftsmen included these designs to maintain a kind of harmony with the surrounding environment. The depiction of the flower is mainly in the form of rosettes with a different number of petals. The lotus is the most commonly used form by craftsmen, and also interpreted in a variety of different shapes and designs. Goddess Lakshmi is regarded as the divine embodiment of fecundity and vegetal growth. The design with vegetation mainly found in the entrance door is symbolic of her presence. Lord Ganesha is mostly found in the kholi of every single house. Known as the deity of auspicious beginnings and also as the removal of obstacles, his figure adorns the pediment of houses and the central portion of the doorway. He is found in different postures in the carvings including seated, standing, and dancing postures. More recently, innovative designs have included geometric patterns. The pattern of carving on kholis is similar in all the houses. Some have a series of motifs running on all three sides of the frame except on the central top part. The other one is carved on the bottom part of the frame and the rest are either plain or series of the same motif. There are also windows with a wooden column with some carving. Most of the designs are in a stylized manner which means the origin could have been a real plant or flower adapted through “play” to create a design. This is a reason that in many cases the original form of the motif design is unclear. These designs are also seen as a lucky charm, protecting the house from evil spirits.
Figure 3. Lord Ganesha on the frame of main door. Munsiari, 2019. Photo by Author.
The wood used in likhai is generally Sal (Shorea robusta), Tun (Toona Ciliata), Chir pine (Pinus roxburghii), and Himalayan cypress (Cupressus torulosa). Tun is a locally available tree and has a beautiful natural wooden texture. The reason behind using these woods is that they are fine-grained hardwood that is dense and shock resistant. The wood is polished to a very smooth finish, making it ideal for furniture-making and carving. Since knowledge was transferred through generations, the methods have changed over a long period of time but it is only by doing that one can learn the technique.
I worked on a project by the National Mission on Himalayan Studies on skill building for alternate livelihood generation and was engaged with the craft whereby I documented the process of the carvers. The initial step for likhai is to prepare the wood that includes the desired shape, size, and planning of the surface. Before likhai the cornices are made with offsets. A stencil is prepared with the desired design and the pattern is drafted on wood. During carving, artisans first chisel out the excess wood except for the design leaving the pattern or motif as a raised surface. The edge of the design is not carved straight to the base but is tapered. The chisel is held at a specific angle to the wood surface and the curved part of the chisel should be downwards. Different sizes of chisels are used depending upon the level of details required.
The chisel is used to hammer, carve and engrave the marked design. Initially, rough carvings are done by chiselling to reveal the approximate countours of the motif. Later fine detailing and minute ornamentation are done. After the carving process, sandpaper is used to polish and smoothen the outer surface of the wood. Once the product is completed, the artisans apply a natural oil to protect the wood from moisture, termites, and insects.
Figure 4. Sharma ji carving a door frame. Munsiari, 2019. Photo by Author.
The Journey
Vernacular houses tell us the story of an earlier lifestyle and how people used to put so much effort and time into the craft. These carvings were not merely for artistic purposes but impacted different social and economic aspects as well. Historically ruled by multiple Hindu dynasties, the Kumaon division was formed in 1816 when the British reclaimed this region from the Gurkhas. While the art of construction in stonework found expression under the Katyuris, sophisticated carpentry flourished during the rule of Chands, as seen in the delicate workmanship of ornate doors and windows belonging to that period. Most of this could be traced from oral sources and there are definite indications that a connection exists between the wood carving traditions of Gujarat and Rajasthan. Familial connections are traced by surnames inhabiting Kumaon and other parts, for instance Joshi to Gujarat, Pant to Maharashtra, and Pandey to Uttar Pradesh. The political history of the region reveals an influx of high caste refugees to the mountains. Oral history states that the craft of carving was brought to the Kumaon hills by immigrants from the Maratha wars (1774-1818), who then settled in the Himalayan region. In the upper Himalayan region, there is the influence of the Tibetans and Nepalese. It is claimed that the Almora district of Uttarakhand was the hub of craftspeople and they used to travel for wood carving to different regions. Historian Dr. M.P Josh described how with the decline of royal households, craftsmen began to be patronized by the merchant communities everywhere (Kak: 2018). During the colonial period, British builders did not incorporate the local woodcraft into their buildings as the style found no takers in the architectural vocabulary of these colonial settlers.
Caste has been prominent in Kumaon and division within communities is on the basis of occupation. As traditional practitioners of carving, the community was referred to as Doms, the artists. The term is derived from the drummers of Lord Shiva. Last year in 2021, I visited 20 villages in the region of Munsiari to enlist the existing craftspeople in the region where I found 13 craftsmen involved in different forms of craft including wood, stone, and bamboo belonging to the same caste. With the flow of migration from the plains and an increase in caste conflicts, the craft communities have become the victims of oppression by other people from other castes. Today the craft community occupies the lowest rank in the hierarchy even as the level of intricacy and ornateness in wood carving has becomes a symbol of social status, especially among the upper-class.
There is a continuum of change where societies bend to new forces, adapting to their surroundings. All the traditional houses have carved frames though the levels of intricacy are different, representing the social status of the family. Likhai is no longer part of houses these days but how this tradition has vanished with time is a question that elicits responses on the changes that happened in the region. Monetization brought many changes in society as every product and service was evaluated based on specific prices. The craftsmen were however part of the barter system where they carved frames of houses in exchange for three meals a day from the owner. The patience, detailing, and most importantly the time required in the entire process of carving is extensive which made it expensive and eventually unaffordable. Life in the mountains (Hindi: pahad) has always been close to nature and people have a relationship of interdependence with the forest for food and animal fodder. The raw material for carving is collected from local forests and earlier there was abundance of wood available. The scenario changed when forest rules and regulation came into force. The ownership of the forest shifted from the local communities to colonial and then Indian government agencies. Major deforestation, due to the need to build “sleepers” for train tracks, resulted in the rising cost of timber in the region and environmental problems. With the conclusion of the Sino-Indian border conflict in 1963, the region experienced heightened development of road networks and transportation systems. Various government policies prevented the locals from managing their forest and this resulted in various forms of protests including the well-known “Chipko movement”. As the region developed, the availability of wood was reduced and the prices of timber were raised. Now wood construction is a luxury and restricted to exotic resorts and farmhouses.
Figure 5. Abandoned house. Munsiari, 2021. Photo by Author.
The craft of likhai was the pride of houses via the use of a larger housing frame. The traditional knowledge system embodied in mountain architecture is the result of efforts taken to solve problems innovatively by using the available resources. The earlier houses were designed for the region as per the climate and the lifestyle. The structures were thermally efficient and kept the inner spaces warm in the cold and harsh climate. The materials were local including different types of stone, wood, and mud for coating. The introduction of new construction materials like bricks and concrete and the unavailability of local material resulted in the change of housing patterns and styles. Although traditional architecture was convenient, modern life-styles and aesthetics brought about changes and the new houses represent a predefined perception of development, applied to houses in the plains.
People started moving out of the region in search of livelihood and education and returned with innovative ideas for their communities. During my field visit I tried to understand the process of change that shifted the typology. I documented about 100 houses in the remote villages of Pithoragarh district to understand the pattern. Initially a few changes were made via the introduction of new patterns and elements in houses. The arrangement of slates on the roof needed maintenance and so people started covering the roof with tarpaulin and then replaced it with metal sheets. Many houses have added sunshades with wire mesh and glass panels in the windows. The façade that was earlier exposed to stone masonry is now covered with cement plaster and in many cases simply painted to give an appearance of brick masonry. In some cases, fan lights are added above existing openings with a glass panel to emit more sunlight inside the spaces. Some people have added another floor to an existing old house wherein the house starts looking like those in the plains. The newly constructed houses are sometimes directly copied from the plains style with a flat reinforced cement concrete (RCC) roof and brick wall. However, the element of beautification has not disappeared altogether and cement is molded to give it the appearance of carving.
Figure 6. Renovated traditional house with addition of fan lights, flat roof and cemented façade. Munsiari, 2021. Photo by Author.
Figure 7. Attempts to carve on cemented wall. Munsiari, 2021. Photo by Author.
It was not feasible for people to carve new wooden frames because of economic restrictions and unavailability of craftspeople. And so while carvings have symbolic meanings and add cultural values, these have eventually faded away with time. The carved beautiful frames are no longer part of “building language” but people attempt to translate their value even as they move from large and bulky frames with intricate carving intended for stone masonry housing with 0.4m wide walls to 0.23m wide brick walls with a thin wooden frame. Some people have reused beautiful frames from old houses and used them in new ones. Many have renovated old houses and kept some of the traditional designs but that is rarely seen and limited to wealthy families. And there are some old houses where one can see attempts to carve on the cement as they used to do with wood.
Figure 8. Relocation of old frames in new houses. Munsiari, 2021. Photo by Author.
The reasons for the decline of likhai with other building crafts are varied. While documenting the existing craftspeople in the Munsiari region I had a conversation with them about their livelihood and skills. The people who have skills of building traditional structures are still working in construction but not engaged with traditional skills. Artisans no longer ply their hereditary trade and have lost their traditional patronage. As there is little or no demand for these skills in the present the next-generation explores other livelihood opportunities.
The Present
Kumaoni communities have now shifted to cheaper, faster, and modern methods of construction, depriving the craftspeople of their traditional means of livelihood, and forcing them to seek employment through other means. Every village has replaced vernacular houses and the new ones imitate the environmentally unsound practices of the plains that have a huge carbon footprint with no consideration of climate thus ignoring the wisdom of indigenous building traditions. Many of the intricate carvings are in the remote villages of Kumaon, which implies that their inaccessibility is able to conserve the craft. Today, with the onslaught of various kind of developmental and media technologies, distinct cultures are being drawn into a common homogenizing pattern. From being once-proud craftsmen, artisans are more often reduced to daily wage earners or stone cutters working for government-sponsored development projects. As a result, the Kumaoni woodcraft community is being erased from its artistic memory, the legendary craft of likhai of its forebears. Presently there is a niche market for woodcarvers that includes wooden products and limited architectural projects. There are no master craftspeople who once built traditional houses. Gangu Ram was known to be one of the last master craftsmen in the region. He was from the Almora district of Uttarakhand and his story gained some highlight for being the last surviving likhai craftsman in Kumaon. His legacy went with him as likhai is no longer part of the community. It’s been more than 100 years since people moved away from traditional construction. Some are left with the skill but not actively involved in likhai.
Life in the mountains is tough but art and craft have always been part of their traditional practices. Carpet weaving, aipan, wood carving, basket making with ringaal, and mask making are the major arts and crafts in the region. Space-making crafts lived longer than building crafts. The housing typology changed completely but people retained some of the elements. Several crafts were impacted by the changing environment but were able to survive in the communities. With the changes in the requirements and lifestyles of people, the craftspeople were able to modify their products as per needs. As a result, the product craft communities can survive in modern times unlike those who are engaged in building crafts like Likhai.
The production of handicrafts in the Indian continent is an ancient phenomenon. The craft sector is stated to be the major sector after agriculture and includes 20 million artisans. There are different values associated with crafts including evidential, historic, aesthetic, and communal. Different kinds of skills like societal, reasoning, creative, and entrepreneurial are also generated within the communities. These values and skills form a niche for the conservation and dissemination of the crafts. Tourism has emerged in the state of Uttarakhand as an opportunity for livelihood and revived the stories where now people wish to support their culture and use it as an element to increase tourism. In recent times people have started recognizing the value of craftwork but because of the impact of the global market and machine-based production, the market offers low prices for the products.
The craft of likhai has now become a subject of research for those who are interested in the region. Some initiatives are taken by the government and private organizations for the revival of likhai. The project by National Mission on Himalayan Studies aimed to generate alternate livelihood opportunities for the people by training them in carving. It was an interest that came from the community-based organization Himal Prakriti from the Munsiari region of Kumaoun. Two people were trained in the project for one year. They carved wooden frames of the homestays in the village to add aesthetic value.
Figure 9. Likhai on modern, Munsiari, 2021. Photo by Rekha Rautela.
Figure 10. Craft studio workshop. Munsiari, 2020. Photo by Rekha Rautela.
Several workshops were organized in the craft studio for the community to experience the carving craft and how it could be used for daily use products. Power tools were used in the preparation of the wood before carving. All the designs used in the studio were the traditional ones from the region. We prepared a collection for all the motifs from different regions of Kumaon. The craft studio was able to recreate the experience of likhai within the community and they look forward to forming a craft school in the village. This could be a hub of traditional craft with innovation and to train many artisans from a craft community. The school’s operation could be linked with tourism for a culturally immersive experience. Design and architecture schools could collaborate for students’ hands-on exposure and learning. Through this model the community could link livelihood with their traditional knowledge system, change the narrative of likhai. Likhai is no longer part of the houses in Kuamon but remains the pride of the mountain (pahad) and its inhabitants, the pahadis.
Figure 11. [L]. Author's participation in workshop. Photo by Trilok Rana [R] Product carved by author. Munsiari, 2020. Photo by Author.
References
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