Pichwai is a historical form of paintings from the Nathdwara region of Rajasthan. They are believed to have originated in the 17th century, while the earliest evidence comes from 200-250 years ago. These paintings are typically done on cloth, as a backdrop to the sculptures of Shrinathji in the temples. According to artist Dinesh Soni, there are two types of Pichwai paintings. One that is made for the temples, hence known as temple Pichwai, another that is made for the havelis, or residencies of the pujaris, or priests.
These elegant forms of paintings generally revolve around the different scenes from the life of Lord Krishna, manifested as a 7-year-old avatar (embodiment), endearingly called in the local region of Nathdwara as Shrinathji.
Pichwai paintings incorporate elaborate and intricate sceneries to depict the ambience of a scene out of the life of Lord Kirshna and many other mischievous anecdotes related to him.
Origins of Pichwai Paintings
The Pichwai style of painting initially originated from the Indian Miniature paintings. Since the Nathdwara school of painting, where Pichwai paintings stem from, are a sub-style of the Mewar school of painting, these paintings are essentially a variation of the umbrella-style of Indian Miniature paintings.
Indian Miniature paintings are small illustrations of various Hindu manuscripts. Hence, Pichwai paintings too, specialise in the depiction of various scenes from the life of Lord Krishna such as Raas Leela (celebrating divine love through dance), Janmashtami (Lord Krishna’s birth), childhood pranks and many other important scenes, that are described in various Hindu manuscripts.
A typical Pichwai Painting consists of alluring scenes of nature, or celebration of a festival with the centre of the painting left blank. It is understood that this space is left blank to place the idol of Shrinathji in front of the painting.
The term ‘Pichwai’ has been misunderstood to mean hanging at the back, by many. However, its literal meaning translates to ‘coming from the back’. Pichwai paintings incorporate the same quality of setting the tone of the scenery that is being depicted.
The veneration of Shrinathji was popularised by the Vaishnava sect, whose presiding deity is the 7-year-old avatar of Lord Krishna.
It is said that the founder of the Vallabha sampradaya (Vallabha sect), Vallabhacharya (1479-1531), saw Lord Krishna in a divine vision and was commanded by him to go to Mount Govardhan. This is where Vallabhacharya discovered the form of Shri Govardhananthji, which later came to be known as Shrinathji.
Furthermore, around the year 1669, the Mughal emperor Aurangzeb, had ordered the demolition of all the Hindu temples in India. It was during this time that many devotees of Shrinathji at Mount Govardhan, set out with the idol of Shrinathji. The idol was finally given protection under Rana Raj Singh of Mewar, and the temple was established in the Singad village in present-day Nathdwara.
Thus, Pichwai art flourished in Nathdwara and later spread across other parts of Rajasthan.
Pichwais are made to invoke reverence and a feeling of worship primarily towards Lord Shrinathji. Every scenery and its background changes in accordance with the time of the day, the festival and even seasons. Although these paintings were quintessentially made for temples, in the modern times, these paintings have made their way into the homes of people. Typically, Lord Shrinathji’s idol is shown in a particular posture where his one hand is raised up referencing to his feat of lifting the Govardhan hill ( alluding to the anecdote where Lord Krishna saved villagers from the torrential rain brought on by an angered Lord Indra), and the other hand holding a flute. He is adorned with delicately designed royal garments and a crown with a beautiful peacock feather. In front of him, there is always a placement of a pan (an Indian mouth freshener made from betel-nut leaves) box, a Prasad (a religious offering in Hinduism) and a water jar.
There are many important motifs without which a Pichwai painting is incomplete. Let us now take a look at some of these:
Lotus
Ethereal Bloom: Tapestry of Pichwai Painting by Dinesh Soni
One of the most popular motifs that can be seen in almost every Pichwai painting is that of the lotus flowers. In Hindu tradition, the lotus flower is connected with enlightenment, purity, divine, wisdom, and beauty. Large depictions of Kamal Talai (lotus pond) are made as a backdrop in front of which the sculpture of Shrinathji playing the flute is placed. This type of Pichwai painting is used to depict the Jal Vihar ( travel to the lotus pond for a leisurely time) of Shrinathji playing the flute with splendid lotus flowers in different stages of their bloom. The depiction of Kamal Talai is generally used to show a divine scene of serenity and purity.
Peacocks
Radha and Krishna’s Peacock Ballet: Shehzaad Ali’s splendour canvas
The motif of peacocks and their feathers play an important role in the Pichwai painting tradition. Although all birds and animals were loved by Lord Krishna, peacocks are of special importance in his childhood stories. Lord Krishna wore a peacock feather on his head adorning his crown. It is thus related to the divine, grace, and power. There is no image of Lord Krishna that is complete without the embellishment of the peacock feather on his head.
Apart from this, the peacock feather is also considered a symbol of good luck, that is used to ward off negative energies, in the Hindu tradition.
Moreover, peacocks are always a part of the type of Pichwai paintings where Radha (Lord Krishna’s beloved) is present. The presence of peacocks adds to the splendour and beauty of the scene of Radha and Lord Krishna as divine lovers.
Cows
Kamdhenu Kamal Talai Pichwai Painting by Dinesh Soni
Cows have been an integral part of the Hindu tradition as well as every Indian household. Cows are considered as a symbol of respect and veneration. In the Hindu tradition, cows are revered as a divine symbol and are called Gau Mata (holy cow). They are considered sacred and a symbol of motherhood, fertility, and grace. The quality of being a nurturer is always related to cows. With the many things that cows provide, Hindu philosophy, over a period of time, has come to honour and also worship them.
Cows have also been an important part of Lord Krishna’s childhood. He was brought up around cows and is also known as a Gwala (cowherder) and Gopala (protector of the cows). Many scenes in the Pichwai tradition of art are depicted with Lord Krishna herding cows; these scenes are also known as Gocharan Leela ( scenes of Lord Krishna’s playful activities around cows). Lord Krishna was also known to be fond of the many products that are obtained from cow’s milk, such as butter and curd, lovingly called rge makhan chor (butter thief).
In the Pichwai painting tradition, Kamdhenu, is a divine cow that represents Mother Earth and the concept of fertility. Oftentimes it assumes a central role in Pichwai paintings apart from the representation of Shrinathji.
Gopis
Rhythm of Sharad Purnima: Pichwai Painting by Jayesh Sharma
The splendour of Pichwai paintings is commonly shown with the image of Lord Krishna surrounded by Gopis (female cowherders). They are often depicted as being mesmerised by Lord Krishna and adoring him.
Scenes of celebration of Sharad Purnima ( full moon day), Annakoot (also known as Govardhan Puja, where devotees worship the Govardhan Hill and offer auspicious foods and other offerings to Lord Krishna), Holi (an Indian festival of colours), Janmashtami (birth of Lord Krishna), Daan Leela ( scenes of Lord Krishna and his friends collecting toll in the form of milk and butter from Radha and other gopis as they make their way back from collecting milk) are beautifully depicted with gopis present in them. Gopis were said to be beloved of Lord Krishna and were fond of him.
The magnificence of such celebrations is further highlighted with the presence of gopis around Lord Krishna, making for an endearing sight.
Flute
Shrinathji in Pichwai by Shehzaad Ali Sherani
The flute is an important motif of any Pichwai painting. It is an instrument that is always carried by Lord Krishna and often many scenes of Lord Krishna’s childhood are pictured with him lovingly playing the flute. The music coming from the flute is considered to be a divine one, with its soothing notes making for a perfect picturesque scenery.
The serene music being played by Lord Krishna is also said to inspire his followers. The flute is an indispensable embellishment in the shringar (adornment) of Lord Krishna.
Gods and Goddesses
Shrinathji Pichwai Painting by Dinesh Soni
(On the top, various gods can be seen admiring the scene from above)
While Pichwai paintings depict various Leelas of Lord Shrinathji at different times, there is also an interweaving of other Hindu gods that are represented in them. They enrich the paintings with a form of divine splendour and also help in augmenting the spiritual experience of the viewer.
Especially while depicting a scene of Sharad Purnima or Janmashtami, there is also a presence of other gods such as Lord Shiva, goddess Parvati, and many more, shown as gazing lovingly upon worship of Lord Shrinathji. This also symbolises the keenness of these celestial beings, who are also eager to watch the divine leela of Lord Shrinathji.
This creates a divinely charged tableau for the viewers to dive deeper and understand the devotion of Lord Shrinathji.
Natural Elements
Gopashtami Pichwai Painting by Sushil Soni
In Pichwai paintings, the occurrence of natural elements is customary. One of the most important natural elements is the representation of the river Yamuna. It holds great importance and is present in most of the landscapes regarding Shrinathji, as a sacred presence. It embodies purity and spiritual connection to the divine.
Also, surrounding the river and the scenes of celebrations around Shrinathji, are present various other elements that portray an abundance and flourishing of all life forms. Motifs such as, mango trees, banana trees and other forms of fauna, represent a lush and vibrant scene symbolising growth and prosperity all-around Shrinathji.
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