Pichwai

Etymology: The word Pichwai is derived from the Sanskrit word 'pichh' which means at the back and 'wai' means hanging.

Origin: Pichwai is a 400-year-old art form. It is a painted textile which is used as a backdrop in the temple of Shrinathji at Nathdwara, Rajasthan. Pichwai paintings were used during festivals and religious ceremonies to narrate different stories of Lord Krishna.

Location: The tradition of Pichwai originated in the consecrated town of Nathdwara, almost 45 KM from the city of Udaipur in Rajasthan.

Community: The decoration of the Nathdwara temple began in the 16th century CE, not long after the temple's construction was completed. Communities of artists began to produce embroidered and painted depictions of incidents from the life of Lord Krishna, and that is how the tradition of painting Pichwai came into being.

Relevance: The central figure of the Pichwai painting revolves around the 'Bal Swaroop' of Lord Krishna, who is depicted as a seven-year-old, Shrinathji.

Historical Background: In the 16th century CE, this painting style emerged under the Pushtimarg School, founded by Shri Vallabhacharya, who was an ardent devotee of Shrinathji and a devotional philosopher. Subsequently, the artists started creating illustrations on hand-spun cotton cloth, which depicted the life incidents of Lord Krishna, especially Shrinathji. These illustrations were then hung behind the idol of Shrinathji in the temple at Nathdwara.

Culture and Societies: Pichwai paintings were painted by artists who were assigned the task of creating different Pichwai paintings for every season of the year. There are three main communities of artists who made these paintings- Gaur, Jangid, and Mewaras. Another community that patronised the painting of the Pichwais were the Pushtimargis, which was a new sect founded by Vallabhachrya around the latter half of the 15th century CE.

Religious Significance: The Pushtimarg sect belongs to the Vaishnava tradition and involves the worship of Shri Krishna. Shrinathji is the principal deity in Pushtimarg. The central deity shrine of Shrinathji is in Nathdwara, which is known as the 'Gateway to the Lord' and the sacred spot for the Pushtimarg followers. The Pichwai paintings mostly portray Shrinathji's various swaroops. Some backdrops and paintings also feature other important figures in the Pushtimarg shrine and histories, including specific Goswami or priests.

Legends or Myths: According to the legends, as a young child, Krishna lifted the Govardhan Parvat. He used his little finger to prop the hill for seven days to protect the people of Vrindavan from the destructive thunderstorms of Lord Indra, the God of Thunder. Most Pichwais depict Shrinathji with his left hand lifted, symbolizing this scene. Usually, his right hand is on his waist or is lowered in a blessing gesture.

Central Motifs and their Significance: The main motif in Pichwai painting revolves around Shrinathji and scenes from his life. The other themes explored through the art are images of Radha, gopis, lotuses, and cows. The Pushtimarg sect is depicted in Pichwai paintings representing the events from the legends around Mount Govardhan, Annakuta and Ras Lila or Maha Rasa. Additionally, festivals like Daan Lila, Gopashtami and Janmashtami, Govardhan Puja, Sharad Purnima, and Holi, are depicted as well. Shrinathji's facial features are painted like a big nose, large eyes, and a fat belly. Shrinathji is painted in such a manner that the deity's face radiates divine emotions.

Medium Used: Pichwai paintings are painted on cotton cloth. They are often printed, woven and embroidered.

Style: Pichwai painting generally has 24 boxes in its design, which are called the 'Swaroops'. The Pichwai painting is styled with intricate embroidery and delicate finishing and adorned with gem work. The vibrant hues, natural tones, and profound detailing give it an astonishing look.

Process: It takes more than a week or even months to prepare a Pichwai painting. The cotton cloth is starched and dried, after which the artist sketches the starched cloth. Then the beautiful and decorative motifs are created, and at the centre, Shrinathji is painted with concentration and finesse. When the images are ready, they are painted with natural colours made of coal, gold, silver, indigo, zinc, and saffron, among others. Colours like yellow, black, and red are primarily used in these paintings. The paintings are also embellished with traditional style appliques, zardozi work, gold thread stitching, pearls, and gota work on top of a velvet and cotton base.

Today, Pichwai artists have turned their attention to the modern techniques of creating a painting. Many of the artists involved in commercial work use acrylic and oil paints instead of natural organic pigments. There are many artists and organizations that aim to keep this art alive. Rajaram Sharma, from the Bhilwara district of Rajasthan, is one of the prominent artists who is trying to pass on this art to the next generations. He was trained under Tulsidasji Chitrakar, who was the head of the Shrinathji temple. There are artists still working inside the Nathdwara temples.

Pichwai paintings are now largely used for home decor, bedrooms, offices, etc. There are two popular forms in Pichwai, Kota Bundi and Nathdwara. Pichwai paintings have gradually changed according to the audience's outlook on art, aesthetics, and colour palettes. The size of the paintings has reduced from 10-12 feet to 2-4 feet. There are some modifications added to the paintings, like the idol's anatomy as well as other distinguishing features like a sharp or curved nose and round or oval-shaped eyes. Pichwai paintings have now adopted contemporary compositions of traditional iconographies while keeping in mind the sacredness of Pichwai art.

1. Lyons, T. (2004) The Artists of Nathdwara. Ahmedabad: Mapin Publishing Pvt. Ltd.

2. Krishna, K., Talwar, K. (2007) In Adoration of Krishna Pichhwais of Shrinathji. Mumbai: Roli Books.

3. Lazaro, D. (2005) The Pichhvai Painting Tradition of Rajasthan. Ahmedabad: Mapin Publishing Pvt. Ltd.