Sandhya Aarti in Pichwai by Shehzaad Ali Sherani

This exquisite Pichwai depicts the evening darshan of Shri Krishna, his return home at dusk with his cattle after a productive day grazing. He is accompanied by his brother Balarama and fellow cowherds. Many gopis await his arrival. The artwork conveys Yashoda's maternal love as she watches from her pavilion, receiving word of Krishna's return. The Sandhya Aarti is observed on the tenth day of the Krishna Paksha in the month of Shravana (July-August). Goswami tradition holds that the Sandhya Aarti Pichwai commemorates Krishna's full acceptance as a cowherd and is used as a backdrop on Gopashtami. These Pichwais also serve as backdrops for the Handi Utsava during Shravana.

Sandhya Aarti is a hallmark of the Kishangarh painting style. The portrayal of women is particularly striking, featuring elongated faces, arched eyebrows, lotus-bud eyes, sharp noses, and idealized proportions. The nearly translucent dupattas of Yashoda and the gopis, along with the naturalistic depiction of nature, are artistic highlights. The Yamuna River, adorned with fully bloomed lotuses, is prominently featured in the foreground.

The palace architecture, crowned with gleaming marble domes and pavilions in the upper left, appears to be a composite of Kishangarh palaces, integrated within a naturalistic landscape.

The artwork depicts cows returning to their enclosures, juxtaposed with peacocks displaying their plumage. Gopis bearing earthenware vessels containing milk, curd, and butter, offerings sacred to Krishna, are visible in the upper left quadrant.

Kishangarh's adherence to the Pushti Marg sect predates Nathdwara's establishment as the Vallabha sect's center. Raja Roop Singh of Kishangarh received a Kalyan Rai ji Pichwai from Vitthalnathji's grandson, illustrating the Kishangarh school's influence on, and subsequent development into, an independent Pichwai painting tradition.
Real gold is used in this painting.

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