Artists

Pichwai Paintings of Rajasthan

Festival of the Cattle (Gopashtami); shrine hanging, 19th century,

PICHWAI PAINTING STYLE


For a person brought up in India, it's not uncommon to have grown up listening to the glorious stories of Lord Krishna. The stories of krishna, especially the tales of his childhood, make up a sigificant and beautiful part of indian culture and history. From books to movies and different kinds of media, these tales are everywhere. However, not many know that there is an art form specialized particularly to depict these tales of Krishna. This is a Pichwai Painting. The Pichwai Paintings are believed to have originated about four centuries ago.

Pichwai (pichvai) is a style of painting that originated over 400 years ago, in the town of Nathdwara near Udaipur in Rajasthan, India. pichwai paintings, made on cloth, depict tales from Lord Krishna's life. The making of a traditional painting takes a considerable amount of time, ranging from a couple of weeks to months. Great artists first sketch this conventional art on hand spun starched cloth, and then the beautiful image is created, painted and printed in brilliant colours or woven with hand blocks. The classic styles are generally made with natural colours and even natural brushes. The base is mostly red woven with yellow or any bright coloured embroidery. The focus is mainly on using intense and bright colours such as red, yellow, green, black along with a border beautified with a goat, dabka work or Swarovski. The most beautiful ones are mainly filled with pure gold.

Kota school, Rajasthan, "Priests worshipping Krishna as Shrinathji for Mountain of Food festival (Annakuta utsava), c. 1840

Kota school, Rajasthan, "Priests worshipping Krishna as Shrinathji for Mountain of Food festival (Annakuta utsava), c. 1840

Pichhwai for the Festival of Cows, late 18th century, Aurangabad, painted and printed gold and silver leaf and opaque watercolor on indigo-dyed cotton

Pichhwai for the Festival of Cows, late 18th century, Aurangabad, painted and printed gold and silver leaf and opaque watercolor on indigo-dyed cotton

The word Pichwai comes from 'pichh' meaning back, and 'wai', meaning textile hanging. Pichwai, literally translates to 'that which hangs at the back', and refers to a unique form of pictorial textiles made specifically for use as backdrops in the shrines of Shrinathji. They are made by members of the Pushti Marg sect, The Path of Grace was founded by Vallabhacharya, one of the six main acharyas of the Bhakti tradition in India, at the turn of the 16th century. Originally, pichwai paintings were used to decorate the temple of Shrinathji (Shrinathji ki Haveli) in Nathdwara, hung behind the deity to celebrate different seasons, festivals and events in Lord Krishna's life.

picture of nathdwara temple

Picture of Nathdwara Temple 

Shrinathji Swaroop

The Pushti Marg or Path of Grace was founded by Vallabhacharya, one of the six main acharyas of the Bhakti tradition in India, at the turn of the 16th century. Unlike many other religious sects, the Pushti Marg does not advocate asceticism as a path to enlightenment, believing instead that the true spiritual goal is achieved through personal devotion and surrender to Krishna in the midst of worldly pursuits and pleasures. Due to its philosophical belief of monism, or Shuddhadvaitam, the Pushti Marg maintains that all existence is derived from a single Supreme Power and that all living beings carry its essence within them. The soul's awareness of its oneness with the Almighty, then, comes only through God's grace (pushti) and the revelation of Himself in His divine play (lila) – the path to which lies in the adoration of Krishna (bhakti). This adoration is particularly centered around Shrinathji – the youthful manifestation of Krishna, who Vallabacharya believed to be the most complete incarnation of Vishnu. Thus, the childhood sports (leelas) of Krishna among his cowherd friends on the banks of the Yamuna, is believed to be the most potent and divine play of the Lord, allowing devotees to partake in the highest degree of divine bliss.

Shrinathji Swaroop, Karodimal/Kajodimal Ratan Lal, Early 20th century, From the collection of: Museum of Art & Photography

Shrinathji Swaroop, Karodimal/Kajodimal Ratan Lal, Early 20th century, From the collection of: Museum of Art & Photography

The main Pushti Marg swaroop (form) of Shrinathji represents Krishna at the age of seven. He is shown with his left arm held above his head, in the act of lifting Mount Govardhana to protect the people of Vraja, while his right hand rests on his waist.

This is the central deity enshrined in Nathdwara (translated as 'gateway to the lord'), the primary pilgrimage spot for those of the Pushti Marg order.

Themes

The Pichwai paintings are renowned for their depiction of festivals such as Janmashtami, Sharad Purnima, Raas Leela, Diwali, among others through their paintings. The paintings which illustrate festivals, portray Srinathji differently as compared to the Pichwai paintings of other festivals. For instance, in the Pichwai paintings of Janmashtami, the festival which celebrates the birth of Lord Krishna, the idol of Srinathji, is placed at the centre of the painting. In the paintings depicting Sharad Purnima too, Shrinathji is presented as the central figure. The Pichwai paintings of Sharad Purnima, depicts the full moon, in all its glory, adding a distinct beauty to the artwork. The powerful imagery of the painting is perhaps what attracts the observer the most.

The characters represented in the paintings wear elaborate and attractive costumes with vibrant colours. The characters are created in such a manner that the observer immediately establishes a connection with them. The purpose of pichhwais, other than artistic appeal, is to narrate tales of Krishna to the illiterate. Temples have sets with different images, which are changed according to the calendar of festivals celebrating the deity. Painted in a miniature style, the Pichwai paintings are quite mesmerizing and manage to capture the attention of the observer the moment they set eyes on it. The unique colour combination, the intense detail-oriented style, and the intricate manner of painting make the Pichwai paintings one of a kind.

Two episodes of particular relevance to the Pushti Marg sect, depicted in several pichwais and paintings, are those of events relating to Mount Govardhana, i.e., Annakuta and the Ras Lila.

Annakuta Utsava

The most famous festival of Pushti Marg commemorates the lifting of Mount Govardhana by Krishna. Mount Govardhana or Giri Raj, is prominent in the Vraj landscape. The episode represented by this image relates to the autumnal offerings the villagers of Vraj were about to make to Indira, the nominal king of the Gods. Krishna suggested that worship instead be offered to the spirit of the mountain that sustained the pastures and woods that supported their livelihoods – and transformed into the mountain king in order to receive their offerings. The annual recreation of this scene, therefore, deserves the name Annakuta, or "Mountain of Food".When an enraged Indira unleashed a raging rainstorm, Krishna defeated him by raising the mountain with the little finger of his left hand, captured by the key iconographic gesture of Shrinathji's raised left hand.

Pichwai of Sapta Swarupa Annakutotsva, Unknown Artist, Early 20th century, From the collection of: Museum of Art & Photography

Pichwai of Sapta Swarupa Annakutotsva, Unknown Artist, Early 20th century, From the collection of: Museum of Art & Photography

Ras Lila or Maha Rasa on the occasion of Sharad Purnima

Bhakti, the central tenet of Pushti Marg teaching, is summed up in the Ras Lila where the adolescent Krishna dances with his gopis. On a full moon night in the forest of Vraj, by the flowing Yamuna, the melodic flute of Krishna calls to the gopis like the Pied Piper, and they are forced to give up everything to dance with him. The spirit of devotion and surrender that Ras Lila evokes is the realization of bhakti: it represents the ultimate union of the soul with the Lord, a joining together in a cosmic dance. As such, it is a theme loved by most devotees and an extremely popular choice for Pichwais. Other common subjects found in pichwais include the Daan Lila, Gopashtami and Janmashtami.

Pichwai of Rasleela for Sharad Purnima, Unknown Artist, c. 1900, From the collection of: Museum of Art & Photography

Pichwai of Rasleela for Sharad Purnima, Unknown Artist, c. 1900, From the collection of: Museum of Art & Photography

On the occasion of Nandamahotsav, which is celebrated the day after Janmashtami or the birth of Krishna, the gates of the inner sanctum remain open for darshan throughout the day. Shrinathji in his Navnitpriyaji swaroop is swung in a cradle by priests dressed up as Yashoda and Nanda to enact this scene. There are also festive dances with the temple servants dressed as gopas and gopis of Vraj.

Pichwai for Nandmahotsava, Unknown Artist, Late 19th century, From the collection of: Museum of Art & Photography

Pichwai for Nandmahotsava, Unknown Artist, Late 19th century, From the collection of: Museum of Art & Photography

The Daan Lila Festival is celebrated from August to September and has its origins in bhakti poetry where Krishna demanded milk and butter from the gopis as a tribute for a safe return home. This is believed to have happened in a valley on Mount Govardhana known as Daan Ghati and while some Pichwais provide the full narrative and depiction of the Gopis sharing their milk with Krishna, others only suggest the event at which the Gopis Shrinathji approach with pots of milk. over their heads. In the year in Nathdwara, the Saan Lila Festival lasts for twenty days!

Pichwai of Daan Leela, Unknown Artist, c. 1900, From the collection of: Museum of Art & Photography

Pichwai of Daan Leela, Unknown Artist, c. 1900, From the collection of: Museum of Art & Photography

The Gopashtami festival takes place in the late autumn months and marks Krishna's rise from a young calf herder to a full-fledged cow herder. The cows are adorned with henna and sindur handprints, peacock feathers and bells around their necks. In Nathadwara the cows are brought to the haveli in their best clothes.

Festival of the Cattle (Gopashtami); shrine hanging, 19th century,

Festival of the Cattle (Gopashtami); shrine hanging, 19th century,

History of Production

16th - 19th Century:

In 1672CE when the Shrinathji temple was established, Vitthalnath the chief priest and son of the Pushitmarg sect founder Vallabhachrya, employed artisans under the temple administration to create pichhwais. These were traditionally made by the artisans only on commission by the chief priest for religious worship and ceremonies. However in the coming centuries, as the sect grew to various part of India such as Gujarat and Mathura, the art styles reached those places as well. Pichhwais were made to be taken by pilgrims from Shrinathji temple but were also commissioned by wealthy families. The heavy and intricate nature of this art also led to its favour by theatre companies, with production companies commissioning as backdrops for productions.

Gopis and cows, late 18th century, cotton plain-weave, dyed and painted with opaque watercolors, gold and silver

Gopis and cows, late 18th century, cotton plain-weave, dyed and painted with opaque watercolors, gold and silver

19th Century:

The start of the century had westernised art school painting forms gaining more preferability to the Indian business and upper classes compared to traditional styles such as pichhwai. To increase pichhwai demand, artisans started to make slight shifts in their painting techniques. pichwais were made both in the traditional style, but also started to incorporate western influences such as using oil paints and using realism rather than the traditional stylistic approach. One example is that the feet drawn in these paintings, particularity that of Shrinathji, were drawn with the western art technique of Foreshortening rather than the traditional portrayal of feet being sideways. However, this time period also had heavy influence from political movements such as the Swadeshi movement, where traditional Indian art, cultures and music was encouraged to be support. This, alongside the religious nature of the art form led artists to favour the traditional art styles and most artisans stayed with using traditional techniques in their own style.

Krishna as Shrinathji and the Dancing Gopis, from the temple of Nathdvara, 19th century

Krishna as Shrinathji and the Dancing Gopis, from the temple of Nathdvara, 19th century

Pichwai Paintings in Modern Day

Pichhwai have become the main export of Nathdwara and are in much demand among foreign visitors. The artists live mostly in Chitron ki gali (Street of paintings) and Chitrakaron ka mohallah (colony of painters) and are a close community with constant interaction. Often a pichhwai painting is a group effort, where several skilful painters work together under the supervision of a master artist.

Although pichwais were usually made in Rajasthan and Gujarat, a few examples from the Deccan, as well as machine-made roller-printed or lace pichwais from Europe are also known. The pichwais are changed daily, seasonally, and for various rituals and festive occasions in the temple. They create the setting for all related seva and as such depict key events significant to the Vallabha sampradaya or doctrine.

Over time, Pichwai's also found a place in the homes of art connoisseurs, owing to their visual appeal. In India, some of the arts were invented to connect the human to god, and because of that, the value of art becomes more precious. Some of the arts are worshiped like God and are still considered holy and sacred. But Like several other traditional Indian art forms, the art of Pichwai is also dying, and requires recognition and revival.

Artists and Materials

The pichwai artists are exponents of a living tradition, centuries old, in Nathadwara, the temple town devoted to Shrinathji. Little is known of their history before the early 19th century, or how they took to their profession. They belong primarily to three sub-castes: the Adi Gaur and the Jangid, and the lesser known Mewaras. From the nineteenth century on, many of their names appear on paintings and pichwais, though reliable details about them are still hard to find. What is certain however, is their participation in the development of a unique visual idiom in Nathdwara during the 19th and 20th centuries, that reinvented the traditional iconography of Shrinathji with ingenuity and creativity, inspired by newer forms such as photography, Ravi Varma oil paintings and calendar art.

As mentioned earlier though, pichwais were not restricted to painted hangings, but also included printed, woven and embroidered pieces. In the havelis of the Pushti Marg, painted pichwais are not displayed during winter months, when heavy brocades, zardosi, and khari works are deemed more appropriate – because of both the warmth they are considered to bestow upon the deity, and the fact that the reflected light from the glowing flames of the aarti is captured by them through a silvery or golden glitter in dim winter months, elevating the experience of the darshan.

Fragment of a Woven Pichwai, Unknown Maker, c. 1850, From the collection of: Museum of Art & Photography

Fragment of a Woven Pichwai, Unknown Maker, c. 1850, From the collection of: Museum of Art & Photography

Pichwai Shrinathji Painting

Pichwai Shrinathji Painting

Leave a Reply

Your email address will not be published. Required fields are marked *