NathdwaraPichwais AnuJulka 10AugPrint PDF

© Anu Julka 2019
All rights reserved

All rights reserved by author. No part of this publication may be reproduced, stored in
a retrieval system or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without the prior permission of the author.
Although every precaution has been taken to verify the accuracy of the information contained
herein, the author and publisher assume no responsibility for any errors or omissions. No
liability is assumed for damages that may result from the use of information contained within.
First Published in August 2019
ISBN: 978-93-5347-679-3
Price: INR 1500/-
BLUE ROSE PUBLISHERS
www.bluerosepublishers.com
info@bluerosepublishers.com
+91 8882 898 898
Cover Design:
Pallavi Porwal
Typographic Design:
Tanya Raj Upadhyay
Editor:
Apoorva Khare
Distributed by: Blue Rose, Amazon, Flipkart, Shopclues
A Note of Gratitude
Jai Guru Dev
H. H. Shri Ravi Shankar Ji

No words can match my gratitude towards my spiritual master, my Guru H.
H. Shri Ravishankar Ji. Guru Ji, you have shaped my attitude towards life and
nurtured me with divine light.
“A painting is equal to thousand words, means a beautiful painting is
says million of words.”
“Painting reveal mixed feelings. Painting plays on the instrument of

feelings.”
“Painting is the silence of thought and the music of sight.”

Orphan Pamuk
“Painting is the colourful language of culture and religion.”

Acknowledgements
“The power of God is with you at all times; through the activities of
mind, senses, breathing, and emotions; and is constantly doing all the
work using you as a mere instrument.”
Bhagavad Gita
“First of all, I thank God for the amazing opportunity and courage given to me
to write about his Leelas. I thank God for blessing me with much more than I
deserve.”
This book is about the Painting Tradition in Pushtimarg. Pushtimarg is the path of
pure devotion. Pichwais are the lyrical manifestation of Pushtimarg. Lord Krishna’s
pastimes (Leelas) are depicted through these paintings. The journey of writing the
text is long and full of experiences.
I would like to express my sincere gratitude to many people who saw me through
this book; to everybody who provided support, discussed things over, read, wrote,
offered comments, suggestions, allowed me to quote their remarks and assisted in
the editing and design.
My sincere thanks to the folks of Nathdwara, whom I met during the initial days of
this journey. They supported me and encouraged me to complete this book. It was
long and difficult but interesting journey. It was wonderful experience to write this
book
I would like to thank Artist Ghanshayam Gagoria, Raghunandan Sharma,
and Vishnu Sharma for supporting me. My sincere gratitude to Artist Raja
Ram Sharma of Udaipur and his family for their unconditional love and support
in the process of selection and editing. My heartfelt thanks to National Award Winner
Miniature Artist Sh. Rewa Shankar Sharma of (UdaipurRajasthan) for his
support. Avery sincere thanks to Advocate Pardeep Paliwal of Udaipur for his
co-operation. I extend my thanks to the local people of Nathdwara who welcomed me
and helped me all the way.
Last but not the least, “I beg forgiveness of all those who have been with me over the
course of time span of five years and whose names I have failed to mention.”
Anu Julka
Abstract
India is a land of festivals, vibrant colors, enthusiasm, art and folk art. Indian
culture is one of the oldest cultures known to humanity. There is a strong influence
of Indian art and architecture in the society. Folk art holds a specific place in the
Indian society. Paintings are an important aspect of India’s rich culture. Paintings
in India are characterized by color, moods, and lifestyles.
The paintings in India hold a sacred place in Indian religion. The religious
experiences are painted in temples, mosques and illustrate animals, royalties, rituals
and culture of that time. The most popular and famous paintings illustrate various
forms of Lord Krishna and his beloved Radha, Lord Shiva with Parvati, Lord
Ganesha, Goddess Durga and exclusive depicting of exclusive scenes from Indian
epics like The Mahabharata, The Ramayana etc.
Painting in India is believed to be conceived in India before 5500 B.C. and
represents a blend of cultures. Various cultures have contributed in painting as an
art. Thus, we have Miniature Painting, Madhubani Painting, Mughal Painting,
Mysore Painting, and Rajput Painting, Tanjore Painting, each imparting its own
identity to the art of Indian painting.
Hinduism is a richly visual tradition, illustrated by its paintings. There are many
schools of classical art, such as Rajastani, Moghul, Kangra, Pahari, and Kalighat.
The subjects of paintings in India in these schools are usually of a religious nature,
featuring pastimes of various deities e.g. Lord Krishna, Lord Rama, Shiva-
Paravati, and Radha-Krishna. Puja, the worshiping of the temple image, in itself
is a unique and complex art form.
Here, we will come to know about the ancient art of painting which is called “Pichwai”.
It is a kind of Miniature Painting. Miniature Paintings gained prominence in the
11th and 12th century. During this period, people started developing manuscripts
to store valuable knowledge using palm leaves. Miniature Painting art flourished
under the patronage of Mughal and Hindu rulers from Deccan, Rajasthan etc.
Rajasthan has been the leading state with regards to Miniature Painting. Paintings
are forms of expression of human creativity and imagination. It is evident from
Sanskrit records that painting was closely associated with popular festivals and civic
life in the Ancient India. Pichwai paintings are the miniature paintings which are
used in Vallabhacharaya Sect temples for depicting Lord Krishna’s past time as a
child. In Hinduism, religious paintings have a prominent place.
Contents
Chapter 1 Hinduism and Paintings............................................ 1
Chapter 2 Pichwai..................................................................... 3
Chapter 3 Pushtimarg................................................................ 7
Chapter 4 Shri Nath Ji............................................................ 11
Chapter 5 Darshan at Temple.................................................. 15
Chapter 6 Nathdwara.............................................................. 17
Chapter 7 Krishna................................................................... 21
Chapter 8 Pichwai Paintings ................................................... 37
Chapter 9 Colors And Techniques of Making Pichwai.............. 63
Chapter 10 Artists of Nathdwara............................................. 97
Chapter 11 Exclusive paintings of various artists of
Nathdwara and Udaipur ...............................................................103
Krishnam Vande Jagadgurum
Chapter 1
Hinduism And Paintings
1
Hinduism is the oldest living religion and called “Chitrakala” and image is also the
the third largest in the world. Hindus source/media of worship in Hinduism.
worship God beyond form, Brahman. The concept of art is described in Shilpa
Hindus love to express the infinite qualities Shastra text, which states that the word
of Brahman. They paint God’s pictures in form is reflected in painting just as moon is
countless human forms. It is believed that reflected in water on full moon night. The
God takes incarnation as a human Avtar paintings followed many themes including
whenever there is righteous yearn for Him. mythology, love, religion, spirituality
Hinduism is a concept which cannot be are divided into four categories: Wall
understood through our sense organs. It Paintings, Cloth Paintings, Manuscript
is beyond these. In Hinduism, several paintings, and Miniature Paintings.
symbols, images, idols, paintings are used
to reveal the nature of universe. The unique relationship of Art and
Hinduism is defined in all aspects of
The Art form was and is the unique gift/ Hindu life through prayers, deities,
idea to make ordinary people understand temples, festivals etc. The enjoyment of art
the concept of God and its existence of nature which is the signature of God.
without learning any written language.
In this book, we shall get familiar with the
“One picture/painting/image is the ancient art of Miniature Painting called
description of thousand words.” “Pichwai”.
Hindus discovered many art forms as

a tool to invoke spirituality. Paintings
2
Chapter 2
Pichwai
3
The word Pichwai is derived from increased, Pichhwais were getting

the Sanskrit word “Pich” means back painted on precious clothes with liquid
and “wais” means hanging. Pichwai gold and silver being used as ink.
paintings are works of art that are used
to adorn the walls of temples, behind The Pichwais are painted in many
the idol. These paintings are the result ways and by various techniques- these
of utmost devotion and dedication are painted, printed, woven. The
of the painters. Pichwai paintings Pushtimarg shrines use Pichwais
are having religious importance in usually are the biggest (3.0x1.8)
Vallabhacharaya Sect. The central meter. The portion which comes just
theme of these paintings is “Shri Nath behind the icon left either blank or is
Ji” and his Leelas. cut. Pichwais of all shrines can be seen
from a distance.
These came into light when the
Sect Vallabhacharya fashioned 24 The miniature methods are done on the
iconography for Krishna’s image back large almost wall sized cloths to paint
drops at Nathdwara( a small town Nathdwara’s world famous Pichwais.
in Rajasthan, India). Every Pichwai Colorful borders to all the four sides
painting is connected with a specific attached on a heavy cotton based cloth.
festival. Every image of this work has Sometimes these are painted on silk
connection to a specific celebration of as well. Actual gold and silver being
the festival. The rulers of Udaipur, used in these paintings, these paintings
Kishangarh, Bikaner, Kota, and Jaipur represent hand-painted scenes of well
became vaishnavs and started visiting known Leelas or pastimes of Hindu
Nathdwara such was Shrinath Ji’s God Lord Krishna.
(Lord Krishna) magnetism. Political Some Pichwais are dyed and or
peace descended upon Nathdwara printed, others use embroidery with
because all the Kings wanted to various knots and stitches and material
protect their beloved Shrinathji. So, like mirrors or gems. ‘Pichwais’
it is during this period (1700 B.C paintings explains the scenes of Leelas
to 1800 B.C) that the ‘Pichhwai’ from Lord Krishna’s life. These are
tradition developed. The Vallabhkul- wonderful and made with lots of love
Acharayas patronised various painters and devotion. The dark blue Krishna
who painted Pichhwais of various often stands on a lotus and his flute
utsavs like Annakuta, Janamashtami, beckons both gopis (milkmaids) and
Holi,etc. As the riches of Nathdwara animals, especially cows. He usually
4
wears golden yellow robes but may indicates that the custom must have
appear in various garments. started at least as early as the 16th
century, during the time of Gosainji.
Pichwais show the seasons, a particular Goswami Vrajbhushanlal Ji of
Krishna festival and the borders may Kankroli presumes that Pushtimarga
show the flowers that bloom in that may be the result of Mughal influence.
particular season. Full moon nights and Gosain ji was in touch of the Imperial
stars are seen along with background Court, it is very likely that he adapted
forests and rivers. the decorative ideas of Mughal culture
Krishna, personified in the form of to temple use.
Shri Nath Ji - eighth incarnation of A manuscript which gives a day to
Vishnu, which is the inspiration for day account of the Seva of Shri Nath
the Pichwai painting tradition and Ji during the year 1779, states that
culture. Pichwais are used as they it was only 25 occasions during the
could be changed, hung and quickly year that painted Pichwais were used.
stored away after use. A rectangular or Now-a-days, however, Pichwais are
square Pichwai is used when svarupa used on about sixty occasions during
is free standing. Pichwais are made for the year. All the Pichwais in use at
special festivals. Shri Nath Ji ’s Shrine at present date
The first specific mention of a painted from the middle of 19th century to the
Pichwai appears in 1739 when turn of 20th century. And very few are
Tilakyat Goverdhaneshji offered the replaced. Pichwais are traditionally
deity a painted Pichwai on his first associated with Nathdwara only.
birthday as Tilkyat. It seems that after Nathdwara has added an important
this date Pichwais were used more aspect in the Indian art history.
frequently. Today, it is common to find Pichwais
History does not record how the depicting Shri Nath Ji, hanging
cotton cloth first came to be used decoratively in elegant living rooms
in the Vashanava havelis of Pushti for they are loved all over India and
Marga as Pichwais were not being overseas. Until today, Krishna’s
seen in the temples of other religious Vrajwasis are famous allover India for
sects. Ashtachapa poets mention these their well cared cows and milk, yogurt,
textile paintings in their poems. This and mithai.
5
Pushtimarg is based on the Vedant philosophy of

"Ekmevadwitiyam Brahm" (the ultimate truth is one &
only one Brahm) and "Sarvam Khalu Idam Brahm"
(whatever is there, is Brahm).
Ved, Brahma-sutras, Bhagwad Geeta and Shrimad
Bhagawat are the four fundamental scriptures.
6
Chapter 3
Pushtimarg
7
Shri Vallabhacharya is the founder of (Devotion) which gives body, heart and
Pushtimarg. “Pushtimarg” is a 500-year- soul to the cause of God. In this tradition,
old sect of Hindu Religion. Pushtimarg the devotee is not doing anything for the
means “The Path of Grace”. It is a Hindu sake of any reward or favor from God
Vaishnav tradition focused on the worship but for his own sake. It is said that such a
of Lord Krishna. Non-dualism is the devotee goes to Goloka and enjoy the bliss,
philosophy of Pushtimarg introduced by the eternal bliss.
Vallabhacharya. Eight poets of this sect
wrote poetry in praise of Lord Krishna. Vallabhacharya sect temples adorn the
These poets describe Lord Krishna’s temples or haveli’s in their own different
Leelas in their poetry. They are known ways. Hanging of large wall size paintings is
as Ashtachap Kavis. Their compositions the most attractive feature of the sect. These
are central to the worship by the followers paintings depict Lord Krishna’s Leelas
of Vallabhacharya sect. Pushtimarg says as a child. This sect is also the founder
that the highest goal of life is not Moksha of such paintings called “Pichwais”. In
(liberation) only, but life’s goal is to serve no other sect we see such paintings in the
Krishna, to spend life in the service of Lord temples. According to Bhagvad Purana,
Krishna. Vallabhacharya sect originated in “Idulgence of God is pushti.”
Vraja (Vrindavan) but now, most of the In Pushtimarg, Shrinath Ji is the principle
followers are in Gujarat and Rajasthan. deity. Millions of devotee visit Nathdwara
Lord Krishna is treated as a child in this for the darshanas. Shrinath Ji is the desire,
sect, therefore, Lord Krishna is served the festival of heart, his presence fulfill the
like a child. There are eight darshanas of world with knowledge and joy. Shrinath
Krishna. The ashtachap poets has written Ji is the mixture of spiritual and material
compositions which are lyrical and rhythmic world. With the blessings of Shrinath Ji,
descriptions of Lord Krishna’s Leelas as a we obtain happiness and joy.
child. As per Vallabhacharya’s theology,
the glorious Lord Krishna is the absolute “Pushti Margah Poshnam
(Swayam Bhagwan) as said in Bhagvad Tadnugrah” Pushtimarg is the way to get
Geeta. Lord Krishna is permanently indulgence of Lord Krishna.
playing out his Leelas. Vallabhacharya’s
Shri Vallabha’s first disciple was
followers believe that bhakti is the only
Damodardas and explains the Pushti
path to obtain the bliss of Krishna.
Bhakti’s feaures to him. Some of the
Vallabhacharya’s followers recommend features are given below:
pushti bhakti. It is an illustration of oneness
1. It is spontaneous, selfless, and motiveless
with Lord Krishna. It is that bhakti
love for God.
8
2. It is based on pure love for God. 9. It does not require a devotee to give up
a householder’s life. In fact, one can serve
3. It is expressed only through service of Him better, by being a householder.
God.
10. All the worldly desires are diverted
4. It is love after realising God’s true towards God, they are then not required to
nature. be suppressed.
5. The knowledge gained is not a means 11. World is not looked down upon but is
of liberation. treated as God’s creation and thus as real
6. Liberation is considered secondary to as God himself.
the enjoyment of God’s bliss. Shri Krishna is the supreme God, and
7. Its aim is God’s happiness. all the other deities reside in his form.
Therefore, total faith is placed in Shri
8. It does not know any boundaries, be it Krishna alone.
time, place, or anything else.
9
Shri Nath Ji Temple Entrance
10
Chapter 4
Shri Nath Ji
11
Artist: Raja Ram Sharma(Udaipur)
12
Shri Nath Ji is the principle deity in Pushti

Marga and thousands of pilgrims visit Him
everyday in His temple in Nathdwara,
Rajasthan. His magnetism is so strong
that devotees experience a true bliss here.
He is the liberator of all kind of souls.
Shri Nath Ji is the deity form of Lord

Krishna. Krishna is a beloved incarnation/
avatar of Lord Vishnu. It is written in Shri
Garg Samhinta that Lord Krishna would
appear as Shri Nath Ji in a five feet stone
image from the depths of Goverdhana hill.
He came to life on Goverdhan hill for His
special devotees. This sacred Goverdhan
hill today is located at a distance of 14
miles from Mathura. Shri Nath Ji is
the form of bliss manifestation. He is are all the righteous ways to please God for
the perfect combination of Vedant and religious as well as spiritual happiness. The
poetry, of insight and dance, of form and wonderful Pichwais paintings are made to
formlessness, of world and heaven. Shri offer the best that man can offer to God.
Nath Ji is the desire, the festival of hearts. Pichwai paintings are created for Krishna
His presence charges the world with a in his form as Shri Nath Ji, the Lord.
sacredness and holy enlightenment. Shri (‘Shri’, another name for Lakshmi, means
Nath Ji is a child, a young lad who has his abundance and all good things. ‘Nath’
own haveli where he resides. The spiritual means the lord and ‘dwara’ is a door.) Shri
and the material both the worlds are joyful Nath Ji is usually shown richly draped and
unsaid approach to Shri Nath Ji. Purity adorned with gold and jewels. His eyes are
in love and devotion towards God can special – they are deliberately shown half-
bring someone exceedingly close to Him. closed, looking down, deep in meditation.
Only with purity in heart one can feel his His body is painted dark blue, the colors of
unconditional love. outer space and infinity, while he is clothed
in yellow and gold, the colors of our earth.
The lovers of Krishna worship him with
In this way, it is shown that the Lord of all
joy, delight, and fine art.
space and infinity is coming down to earth
Music, especially delicate flute notes, in human form. He wears pearls, flowers,
poetry, fine painting, dance, and drama and silk robes. There are cows and birds
13
who look at him adoringly while peacocks the most living form. Shri Nath Ji is here
dance near him. for granting us the highest joy and bliss
only if we can put aside the mind and join
Today, Shri Nath Ji lives in Nathdwara him in total bhao shudhi (complete and
near Udaipur, Rajasthan. Shri Nath Ji’s pure devotion). 17th Century’s Shri Nath
haveli is the heart of the town. The town is Ji temple or haveli is one of the richest
totally surrounded around the haveli. It is temples in India. Millions of rupees and a
not an ordinary temple or haveli or place big amount of gold, diamonds, and jewels
of worship. God himself resides here in are offered to the Lord daily.
14
Chapter 5
Darshan at Temple
15
Mangla Uthapan
This is the first darshan of the day. It is the After Raj Bhog, during the afternoon,
beginning of the day with having a glimpse around 3:30 p.m., Shri Nath Ji is aroused
of Lord early in the morning. from his nap. A conch is blown when it is
time for him to return home with his Cows.
Shringar
Bhog
The next darshana follows the first by
hour and is called shringara. Shri Nath Sixth darshana of the day takes place an
Ji is dressed beautifully with a garland of hour after Utthapana. A light meal is
flowers around his neck. This is a play served to Shri Nath Ji.
time of lord.
Aarti
Gwal
Sandhya Aarti is the evening darshana.
Third darshana of the day is Gawal. This darshana takes place at dusk, when
During this time, the lord takes cows to Krishna used to bring his cows home from
pasture. It is said that the Lord is playing the fields.
with his cowherd friends and that is the
reason the flute is not being shown during Shayan
this darshana. Shayan is the final darshana of the day.
Raj bhog Various eatables are offered to Shri Nath
Ji. Here, with this darshana, it is assumed
Raj Bhog is the main meal of the day, that Shri Nath Ji is about to take rest for
which is offered to the Lord. This is the the night. So, many arrangements are
most elaborate darshana of all. being made.
16
Chapter 6
Nathdwara
17
“Nathdwara”, the combination of two Nathdwara is rich in art and culture. It has
words – Nath and Dwara, which means been known for its traditional paintings
Gateway of God – is the present version and other art forms. Painting is the main
of the three hundred years old Sinhad. source of living of hundreds of artists here.
Nathdwara is the place of Lord Shri Almost each home is a studio of art. The
Nath Ji where he lives in his most lively artists make a close community and interact
form. It is a pilgrimage for Pushtimargiya freely. Nathdwara is the heart of Pichwai
followers. Goverdhandhari is the form of paintings. The world famous Pichwai
Lord Krishna which is being worshiped paintings are painted here. Nathdwara
here. style of Pichwai is a distinct form because
of portrayal of the artists’ love and affection
It is situated 48 Km from Udaipur in the for God. Art takes the center stage and is
Rajasmand district on the bank of Banas a vital element of ritualistic darshan of Shri
river. It is famous for the temple of Krishna, Nath Ji. Pichwai is a large cloth painting,
which houses the idol of Shri Nath Ji, a which serves as a backdrop to the idol and
14th century 7-year-old infant incarnation is intricate enough to narrate the various
of Krishna. Leelas (pastimes) of Lord Krishna as
Nathdwara is a significant Vashnavite Shri Nath Ji. It is the part of devotional
Shrine pertaining to the Pushtimarga or expression. Pichwais are the auspicious
Vallabh Sampardaya. Nathdwara town contribution of Nathdwara to Indian Art
itself is popularly referred to as “Shri Nath History.
Ji” after presiding deity.
18
19
20
Chapter 7
Krishna
21
“I am the conscience in the heart of all creatures

I am their beginning, their being, their end
I am the mind of the senses,
I am the radiant sun among lights
I am the song in sacred lore,
I am the king of deities
I am the priest of great seers…”
This is how Lord Krishna describes God in the holy Gita.
22
In Hinduism, Krishna is the eighth The stories of Krishna appear across a

incarnation of Lord Vishnu. The name broad spectrum of Hindu philosophical
Krishna appears as the 57th and 550th name and theological traditions. For Hindus,
of Lord Vishnu in Vishnu Sahasranama of he is a God-child, a prankster, a model
the Mahabharata, and is also listed in the lover, a divine hero and the supreme being.
24 Keshava names of Lord Vishnu which Puranic sources mention that Krishna’s
are recited and praised at the beginning disappearance marks the end of Dvapara
of all Vedic pujas. A puja is the ritualistic Yuga and the start of Kali Yuga (present
worship offered in Hinduism. Krishna is age), which is dated to February 17/18,
unique. It is said that Krishna happened 3102 BCE.
in the ancient past, but he belongs to the
future, and is really of the future. Krishna The word Krishna originates in Sanskrit
is beyond the man’s understanding. In the language, which is primarily an
Indian history, He is the only man who adjective meaning “Black” or “Dark”,
reached absolute height and depth of the sometimes it is also translated as “all
religion. He is free from desire and fear. attractive”.
Indian as well as Western scholars have In the 10th canto of Shrimad Bhagavad
now accepted the period between 3200 Gita, it is said that ‒
and 3100 BC as the period in which Lord “aadityanam aham visnur jyotisam
Krishna lived on earth. Krishna took birth ravir amsuman
at midnight on the ashtami or the 8th day
of the Krishnapaksha or dark fortnight in marcheer marutam asmi nakshatram
the Hindu month of Shravan (August- aham sasi”
September). The birthday of Krishna is
It means ‒
called Janmashthami, a special occasion
for Hindus that is celebrated around the “Of the Aadityas, I am Vishnu; of lights,
world. I am the radiant sun; of the Maruts, I
am Marichi; and among stars, I am the
It is said in Bhagavata Purana that Krishna
moon.”
is “Svayam Bhagwan” since he was the
perfect incarnation of the supreme God Krishna is listed as the 57th name of God
Vishnu. In India, Krishna is treated and Vishnu in the Vishnu Sahasranama.
described as a young lad or child playing a Krishna is depicted in murtis as black or
flute. He is always shown with his cowherd blue-skinned. Krishna has various other
friends, gopis, cows, birds, and peacocks. names, epithets and titles, which reflect
His many associations and attributes.
23
He is known as Govinda, “Finder of the great leader, a protector, philosopher,

cows” or Gopala, “Protector of the cows”. teacher, and friend – all in one. Krishna
This title of Govinda was given to him by has influenced the Indian thought, life, and
Lord Indra, when he lifted the Goverdhan culture in myriad ways. He has influenced
mountain for seven days to protect the not only its religion and philosophy, but also
villagers and the cows of Vraj. into its mysticism and literature, painting
and sculpture, dance and music, and all
Krishna is easily recognized by his aspects of Indian folklore. Krishna is the
representations. Though his skin colour only complete human. He has lived all the
may be depicted as black or dark in aspects of his life fully. For that he is called
some representations, particularly in “Sampurana”. Krishna is the desire, the
murtis, in other images such as modern peace, the happiness, the contentment.
pictorial representations, Krishna is
usually shown with blue skin. He is Krishna is the one who completed his
often shown wearing a yellow silk education and mastered the 64 sciences
dhoti, and a peacock feather crown. He and arts in 64 days at Avantipura under
is always standing in a relaxed pose his preceptor Sandipani. As gurudaksina
playing flute. In this form, he usually or tuition fees, he restored Sandipani’s
stands with one leg bent in front of the dead son to him. He stayed in Mathura till
other with a flute raised to his lips. This he was 28.
posture in Hindi is called the Tribhanga Why is Krishna blue ?
posture, accompanied by cows,
emphasizing his position as the divine Krishna being painted in blue or shown
herdsman, Govinda, or with the gopis in blue colour doesn’t mean that he was
(milkmaids). Regional variations in the blue in colour. Blue colour is the colour of
iconography of Krishna are seen in his infinite. Blue is the symbol of vastness. The
different forms, such as Jaganatha of same way, Krishna is beyond the infinity
Odisha, Vithoba of Maharashtra, and and he is as vast as the sky. He is known for
Shri Nath Ji in Rajasthan. his enthralling beauty. Krishna is known as
the father of the universe and a peacock’s
The Importance of feather adorned at his head signifies that
Being Krishna he accepts all his responsibilities with
lightness. In Hinduism, persons who have
For generations, Krishna has been an depth of character, take the responsibility
important incarnation to be discussed, as a protector, and have the capacity to
to be known. Krishna has been God to fight evil are depicted as blue skinned. The
millions. People go ecstatic when they theory of the blue coloring of Krishna goes
hear his name. For many, Krishna is a
24
to the fact that the Creator has given the “Atha kaiscid uktam. yadi sva-
maximum of blue to nature i.e. the sky, the prakaso lila-rasa-mayah paramatma-
oceans, the rivers and lakes. The deity who svarupas tasminkatham syama-
has the qualities of bravery, manliness, varnatvam sarvatra prasiddham.
determination, the ability to deal with yatha srutau rupam na vedyam
difficult situations, of stable mind and na ca bindunadah ity adi. tad
depth of character is represented as blue aha” syamabhatvam vidhatte yat
colored. sarva-varno ‘tra liyate nityam ca
prabhavaty eva kalo ‘smin naiva
In the Brahma-samhita also, the color
vidyate
of Krishna’s body is compared to that
of a bluish cloud. The color of the Lord It means: At this point some may ask,
is not a poetical imagination. There “Why is it that the form of the personality
are authoritative descriptions of the of Godhead, which He manifests only
Lord’s body, His weapons and all other by His own wish, and which is made of
paraphernalia in the Brahma-samhita, the sweetness of transcendental pastimes,
Srimad-Bhagavatam, Bhagavad-gita is famous everywhere for its dark
and many of the Puranas. The Lord’s complexion?” A part of the answer to this
appearance is described here as padma- question may be found in the statement of
garbharekshanam. His eyes resemble the the Sruti-sastra: “No one can understand
inside of a lotus flower, and in His four even a drop of the Lord’s transcendental
hands He holds the four symbols: conch form.” Aside from this, it is also said, “He
shell, discus, mace and lotus. eternally manifests the color syama, within
which all colors rest. His complexion is not
—Srimad-Bhagavatam 3.28.13,
the material color black.” Thus, from the
Purport
last verse we see it says, “sarva-varno”,
Another reason behind Krishna’s having which means that the colour syama is a
a bluish complexion is explained very special color, a composite of all colours.
beautifully in Krishna Bhakti Ratna And we notice that if we combine all
Prakasa by Raghava Gosvami wherein it colours, we get a colour which is somewhat
is said: blackish, but not purely black.
25
Krishna
Artist: B.G.Sharma
26
I adore Krishna, who is bluish-black like a responsibilities as lightly as he is carrying

new cloud, has blue-lotus like eyes, is the the peacock feather.
dear-one of cow herders, has the form of
cow-keeper, has dark curly locks of hairs Krishna paksha in Indian calender means
upward-tied with shining peacock feathers, the days that follow after Full Moon night
and is decorated by a flower-garland hung till the New Moon night i.e., the darker
with kadamba-flowers. — Gopalastotram phase of 14 days of the moon.
[1—2] Further, he wears the peacock feather
which signifies that the entire range of
Lord Krishna And
colours (we mortal beings) is in him. In
Peacock Feather virtue, he is colourless but in the day he
Lord Krishna is the only God who loves appears blue ‒ black in the night to our
jewelry very much or his devotees love vision and in between make us discuss all
to adorn him. He always wears new silk this multi-coloured and multi-perceptional
clothes and wears new jewelery. Lord views.
Krishna is the God of the material world
“venum kvanantam aravinda-
as well as of the spiritual world. He can
dalayataksam
be seen wearing Mukut having a peacock
BARHAVATAMSAM asitambuda-
feather on it. The peacock feather signifies
sundarashgam
the beautifulness. Lord Krishna wants to
kandarpa-koti-kamaniya-viesa-
deliver the message via wearing feather
sobham
that life is too having all the vibrant
govindam adi purusam tam aham
colours as those are present in the peacock
bhajami”
feather. A peacock feather contains all the
seven colours in it. The entire universe is (Sri Brahma Samhita, Verse 30)
covered by akasha (ether) which appears
blue during the day time and black at ‘Always playing the flute,
night. So, Lord Krishna is identified by His eyes like blooming lotus-petals,
both the colours ‘Blue’ & ‘Black’. Dark His head adorned with a PEACOCK
colours are the symbols of grief whereas feather,
the light colours symbolize happiness and His beautiful form the hue of a blue
contentment. In this way, he is advising us cloud;
to take grief and contentment equally, he with the unique beauty that charms
is asking us to live in “sambhava” in both millions of cupids-
the Primeval Lord, Govinda, do I
the states. By having peacock feather in
adore.’
his crown, he is telling us to take all the
27
The Story Behind and placed a feather on his crown. Thus,

Wearing Peacock he started wearing the peacock feather.
Feather
Moon And Lord
The following story will tell how Shri Krishna Paintings
Krishna came to wear peacock feathers.
As per Hindu scriptures, the moon is the
It is being said that once Lord Krishna son of the sea. The moon is closely related
was in the forest with his cowherd friends to Lord Krishna, and Krishna appeared in
and the cows were grazing there. Krishna the Moon’s dynasty. His another name is
started playing his flute. The wonderful “Krishnachandra”. It has a strong impact
vibrations of the flute brought peacocks in on our lives. The position of the moon
and around Goverdhan hills. The peacocks reflects our moods in our day-to-day life.
started dancing in happiness and filled the We feel very calm and full of emotions
sky with their voice. Lord Krishna, the and love on full moon night. It attracts us.
source of all the arts, was pleased with When we gaze at the moon our small day-
their dancing on the rhythm of the flute to-day anxieties disappear and our minds
and he himself started dancing with the become free to contemplate the mysteries
peacocks. The peacocks cried with joy, of the universe and our little place in it.
started jumping up and down and flapping Lord Krishna and moon attracts us and
their wings. As the peacocks danced, the widens our vision so that we focus less on
king of peacocks made his way to the lotus the mundane matters and more on God.
feet of Sri Krishna, touched His holy feet,
and made a sound which was indeed a The moon has an important place in art,
request to dance with them. Lord Krishna literature, and music since ancient times.
accepted to dance and moves amidst them. It is the cause of high tides in the sea. The
He danced like the peacocks, increased the paintings of Lord Krishna are incomplete
tempo, and played to the rhythm of His without moon. Pichwais, specializes in
steps. The bliss of the peacocks increased Krishna Leela, depiction of which is
multi-fold when Lord Krishna danced incomplete without the moon as a motif
with them. It was so overwhelming, that symbolizing love and longing between
some peacocks even fainted. the devotee and his lord. It is a symbol
of collective consciousness. The moon in
Peacocks got tired and stopped dancing nature and Krishna has the same serene
but Lord Krishna danced for many days. temperament. Simple example is moon and
When He stopped dancing peacocks its sixteen kalas the more kalas moon has
requested Him to wear the feather on his the more it is shining. The moon is there
crown. Lord Krishna accepted the offering
28
Krishna Wanting Moon

“Mother, the moon I want as my toy.
I will roll on the floor,
Not come to your lap,
Nor have my hair-braid combed.
No longer will I be your child
I will only be Nand Baba’s boy.”
“Listen son, come to me

There’s a secret from Balrama (Lord Krishna’s brother) we can hide.”
Hiding her smile, Yashoda said,
“I’ll give you a brand new bride.”
“Quick then, mother, I swear by you
A wedding is what I’d like.”
- Suradasa
but the ansh of light it is reflecting is its at any cost. So, mother Yashoda put water
kala. Sixteen kala moon is full moon which into a plate and the moon reflected in that
is known as Super Moon. So, a physical and Lord Krishna started playing with it.
appearance of god reflecting the light ansha
is his kalas. Shri Krishna was full moon. Ashtachap Kavi Surdas has written poetry
That way Krishna was simultaneously regarding this event in the life of Lord
awakened in Jiva consciousness. Made Krishna as given below.
on cotton or silk each Pichwai creates the In Indian mythology, Krishna incorporates
mood of a specific season or festival. It’s a all the 16 elements of divinity. Similarly, the
brush with nature and divinity. waning and waxing moon has 16 phases
In Shrimad Bhagvad Purana, there is a and each of these are reflected vividly in
story in which Krishna demands moon. the Pichwai tradition. “On moonlit night,
Lord Krishna asked his mother Yashoda to in the month of Ashwin, the Maha-Raas
get him the moon as he wanted to play with of Krishna and the Gopis on the banks of
it. Yashoda tried to make him understand river Yamuna creates divine feelings. And
that it is not a toy but Lord Krishna was the Pichwai artists have depicted these
infant at that time so he wanted the moon holy sentiments very powerfully.”
29
Krishna And His Flute was created for Krishna’s abode, so there
are strings attached to the pastime.
There is a beautiful story about the flute
of Krishna. Krishna always used to say to Krishna’s life on this Earth was not
the plants, “I love you.” The plants were easy. His life was a tragedy from his
very happy and responded back and said, birth to death. Krishna ever took all the
“Krishna, we love you, too.” One day responsibility like he is having peacock
Krishna asked a bamboo plant what if he feather on his crown. He never felt
could give to him. The bamboo plant said burdened or complained. Instead, he was
that I surrendered myself to you. Krishna always joyous and performed his duties.
cut the bamboo in the way he wanted to Krishna’s flute is the symbol of freedom or
be then he made wholes in it and while pranava. Krishna tells us that life is like a
he was making holes into the bamboo, flute. It may have many holes (sufferings)
the bamboo was crying with pain. Lord and some kind of emptiness but if humans
Krishna made a beautiful flute by making work on it carefully, it can play magical
holes into the bamboo. And now the flute melodies.
made of bamboo was always with him. By
Krishna has preached the lesson of love
making flute, Lord Krishna is giving the
through His flute. He has created this world
message to surrender your self to the lord.
out of the Dhwani Omkara that proceeds
Because only Lord can do better for us.
from His flute. He stands on the right
And there is another important message
big toe. This signifies the Upanishads
to get empty from inside. Because being
utterance: “Ekam Eva Adwitiyam
empty from inside means to be free from all
Brahma — One without a second.”
the worries, ego should not be there within
us. Let the Lord do whatever he wants to There are three kinds of flutes used by
do with us. This is the complete surrender. Krishna.
Flute is the symbol of complete surrender.
When you surrender completely, the God Venu, Murali, and Vamsi.
is always with you.
Venu is very small, not more than six
Krishna is a cosmic musician, and the tune inches long, with six holes for whistling.
he creates by playing his transcendental
Murali is about eighteen inches long
flute is embodied with cosmic energy. One
with a hole at the end and four holes on
must understand Krishna to understand
the body of the flute. This kind of flute
the power and magic of his flute’s tune.
produces a very enchanting sound.
Though it is presented on this Earth, it
30
Vamsi flute is about fifteen inches Tenth Canto, Sixth Chapter, verse 43,
long, with nine holes on its body. where Shukadeva Goswami told Kin
Prikshit that when magnanimous Nanda
Lord Krishna used to play on these (Krishna’s father) returned from Mathura,
three flutes occasionally when they he began to smell the head of his son, and
were needed. he was merged in the ecstasy of parental
Lord Krishna has a longer vamsi, love.
which is called mahananda, or
Kadamba Tree
sammohini. When it is still longer it is
called akarsini. When it is even longer In Bhagwat Geeta, Lord Krishna had also
it is called anandini. said among trees, I am Ashvastha.
Sometimes the vibration of Lord Krishna’s It is believed that Kadamba is a mythical
flute, His bugling, His smiling, His tree. Kadamba tree is the main motif
footmarks on the ground, the transcendental in Pichwais painting and of Miniature
fragrance of His body and the appearance Paintings as well. Radha-Krishna are
of a new cloud in the sky also become often depicted under Kadamba tree in
impetuses for ecstatic love of Him. paintings. The Rasa dance with Gopis
and Radha under Kadamba tree is the
In the Vidagdha-mādhava, there is the
most popular topic. The Kadamba tree is
following statement: “When Kṛishna
held consecrated by the devotees of Lord
was playing on His flute, Baladeva very
Krishna and its flowers are used as offerings
anxiously declared, ‘Just see how, after
at various temples. Radha-Krishna spent
hearing the transcendental sound of
their time under the Kadamba Tree in
Kṛishṇa’s flute, Indra, the King of heaven,
the forest of Vrindavan. They used to
is crying in his heavenly kingdom! And
meet under this tree. A Kadamba tree,
from his teardrops falling on the ground,
therefore, stands as a symbol of reuniting
Vṛndāvana appears to have become a
parted lovers. Under the Kadmba tree,
celestial residence for the demigods.’”
Krishna has been seen to swing from the
The parental love of mother Yashoda branches and dance in festivity with all the
for Kṛiṣhṇa steadily increases, and her milkmaids of Vrindavana.
love and ecstasy are sometimes described
There is another interesting story popular
as intense affection and sometimes as
about the Kadamba tree. When Lord
overwhelming attachment. An example of
Krishna tackled Kalyia (demigod) — the
attachment for Kṛiṣhṇa with overwhelming
snake who was living in the river Yamuna
affection is given in Śrīmad-Bhāgavatam,
31
and who had polluted the water of the river asking for no worldly boons but merely to
with poison — then Lord Krishna climbed sing of the miracle of love, like the blossoms
up on the Kadamba tree on the bank of that carry no thorns but merely bring the
the river and from there he jumped into the perfumed wind and then fall at Krishna’s
toxic water of the Yamuna. feet to become his vanamala. Under the
Kadamba tree, our breath should carry no
One more important life event of Lord pious words or petitions but just the simple
Krishna is stealing clothes of the gopis. melody of love songs that we will offer to his
After stealing their clothes, Lord Krishna lotus feet. Under that tree of love we will
climbed up the Kadamba tree on the bank be like the cows that are drawn to Krishna,
of river Yamuna. It is deeply associated after all he is Govind and will become like
with Lord Krishna. the bees that hover around him; for he is
To wait under the Kadamba tree is to also Madhusudana the stealer of honey
invite Krishna into our lives, prepare for his for under the Kadamba tree we will adore
arrival with anticipation and adornment. Kanha — the dark one, of the colour of
And then when we hear his flute, surrender the clouds of ashadha and of the frolicking
ourselves completely to him so that we may Yamuna. And let our hearts be stolen
be touched by his mellifluous love, a love by him, for he is Mohana, the only who
so divine that we forget our mortal world allures, and only then will we really find
and enter the magical and charmed world him and know his love, and in finding him
of his love. It is Krishna’s tree, of all the we will discover ourselves.
trees in Vrindavana, it is here that he plays
LOTUS FLOWER
his flute and under its canopy gopis gather,
and when we wait there along with them, Lotus Flower is one of the most popular
we do so with the bhava or feeling of a gopi, symbols in Hindu religion. It is believed
a bhava that seeks the sheer ecstasy of the that Lord Brahma emerged from the navel
heart and the joyous trembling of romance, of Lord Vishnu sitting on a lotus. Goddess
and not the splendors of the world and Saraswati, the Hindu Goddess of learning,
the thrills of material success a spirit that is shown sitting on a lotus. Lotus flower is a
is prepared to turn its back on prapancha symbol of eternity, plenty, and good fortune.
or the world of duties and tasks. For here Goddess Lakshmi, the Hindu goddess of
under the Kadamba tree, we must put away wealth, is usually depicted with a lotus
the burdens and demands of the world flower. Lotus is known for its beauty. The
and like gopis leave our mundane chores symbolism of Lotus flower is mentioned in
behind even if they are unfinished. Like the 5th chapter of the Bhagavad Gita by
the birds that gather in its shade we come Lord Krishna:
32
“One who does all work as an offering padma (pink lotus), kamala (red lotus),
to the Lord, abandoning attachment pundarika (white lotus) and utpala (blue
to the results, is as untouched by lotus). Lord Krishna is called Lotus eyed
sin (or Karmic reaction) as a lotus one. The earliest reference can be found in
leaf is untouched by water. (5.10)” the Rig Veda.
Thus, Lotus is a symbol of purity and
enlightenment amid ignorance. Many Who is Radha?
idioms and sayings are related to Lotus in Radha is depicted alongside Lord
India. It has religious importance as well. Krishna. She is the Goddess of Vallabha
Lotus is the national flower of India. Lotus and Vaishnav Sect. She is known by
flowers have been carved on the walls of many other names also. “Radharani”,
Hindu temples. “Radhika” are her famous names. She
Lotus, in spite of being in water, never is the most important Gopi with Lord
gets wet. It is not bothered about its Krishna in Maha Rasa Leela. Radha is
surrounding but it blooms and performs Lord Krishna’s companion. She is the
its job and vanishes. Lotus is very dear “Shakti”, the supreme Goddess. Rukmani
to Lord Krishna. Lotus and moon both is the wedded wife of Krishna but between
are loved by Lord Krishna but in reality Radha and Rukmani, Radha is superior.
both are each others opponent. As Radha is a devotee of Lord Krishna, a
moon rises lotus closes its petals. With worshiper of Lord Krishna. Lord Krishna
the rise of sun and fall of moon Lotus is is the life line of Vraja and Radha is the
bloomed. In Hinduism, Lotus represents soul of Lord Krishna.
the concept of primordial birth from the It is said, “Atma Tu Radhika Tasya.”
cosmic waters of creation. Lord Brahma
emerging from the navel of Lord Vishnu It means, Radha, you are His (Lord
symbolically represents that life begins in Krishna’s) soul.
water. Lord Vishnu represents that force
which is responsible for all living and non- Radha-Krishna’s love is pious, it is a
living. It also symbolically suggests that relationship between the worshiper and the
all living and non living are connected to worshipful.
the ultimate source through an invisible “Aradhayate Asau iti Radha.”
thread but we unfortunately don’t realize
it. Lotus flower is frequently mentioned in It means Radha-Krishna’s love is the
the ancient Sanskrit Hindu scriptures, as symbol of feeling of being united. Radha-
33
Krishna are one soul having two bodies. Radha is the one who move towards the
Their love is eternal. source in the opposite direction. The word
Radha has a deep meaning here. Radha is
Radha was born to Vrishbhanu and the one who moves towards the source (the
Kalawati. Vrishbhanu was the partial supreme Lord Krishna) to meet him.
incarnation of Lord Vishnu. In Krishna’s
era, Vrishbhanu is the name given to the YAMUNA JI
owner and protector of 10 lakh cows.
Radha’s mother Kalawati is the partial Bhuvnaskar Sun is the father of Yamuna,
incarnation of Goddess Lakshmi. Radha Yama the death God is her brother. She
is the queen of Vrindavan. is known as “Patrani” of Lord Krishna.
She is very dear to Lord Krishna. In
In Shri Garg Samhinta, the explanation of Garg Samhinta, it is said that Yamuna Ji
the word Radha is given as — is born from Krishna’s left shoulder. Lord
Krishna is said to be the father of Vraja
R stands for Rama (Goddess of fortune)
Culture whereas Yamuna Ji is known as
A stands for Adi-Gopika (the first of the mother. Therefore, in true sense she is
Gopis) the mother of all Vrajawasis. Vrajawasis
called her mother (Janani). Yamuna Ji is
Dh stands for Dhara (the earth) offered the same respect honor, prayers
as these are offered to mount Goverdhan.
A stands for Viraja-Nadi (the river
Vraja poets has given Yamuna Ji great
Viraja)
importance in their poetry. Vallabh sect
Radha is also known as Krishanpriya. poets has described the importance of
Radha is dearer to Krishna than Krishna Yamuna Ji in their poetry. Each and every
himself; Krishna loves her more than he poet of Vallabhcharaya sect talks about
loves himself. There is no man equal to Yamuna Ji in the poetry.
Krishna and no woman equal to Radha.
Yamuna Ji is the “Isht Devi” of Pushtimarg.
Krishna is Purusha and Radha is
Yamuna Ji is known as Kalindi also.
Prakriti. Krishna and Radha never leaves
Yamuna Ji had emerged from the heart
Vrindavana.
of Sun and landed at Mountain Kalindi.
Some scholars define the word Radha as This is why her another name is Kalindini.
the reverse of the word Dhara in Hindi. She had flown on the earth for the benefit
Dhara emanates from its source itself but of her disciples to have Bhakti Bhav.
34
Yamuna Ji has equal importance and Yamunaji is very much loved by Krishna,
place as Ganga Ji is having in Hindu hence, she is beloved of Krishna. That is
religion. Ganga Ji is the symbol of why both are loved by Vaishnavs. Krishna
“Gyan”(knowledge) and Yamuna Ji is the is manmohan of Yamuna. Yamunaji has
symbol of “Bhakti” (Devotion). Yamuna come to earth to be holy and sacred.
Ji is not the wedded wife of Lord Krishna
but she is the Swamini. She is the fourth Yamuna makes a human being enable:
element of Lord Krishna. In Padama • To get body to worship God.
Purana, it is said that when Yamuna meets • To watch God’s action.
Mathura, she provides Moksha. Brahm • To feel God’s action.
Purana states that Yamuna is the base of • To get Sarvatam Bhav Siddhi.
the universe. • To remain and have God’s blessing
Where there is Krishna there is Yamunaji. even during bad days.
She is like Krishna. Krishna is black as • To get divine sight.
is Yamunaji. Krishna is king of kings. So, • To feel the pleasure of God’s blessings.
Yamunaji is Queen of Queens. This is • To feel God’s presence even in bad
the belief of Pushti Marg. Krishna was time.
born in Mathura on the bank of Yamuna.
He performed his Bal-Leela in Gokul on
the bank of Yamuna. He performed his
Rasleela in Brindavan and killed Kaliya.
He used to play with Gopis in water.
35
Artist: RajaRam Sharma (Udaipur)
36
Chapter 8
Pichwai Paintings
Here, in this book, the author is presenting Pichwai paintings of different artists which are
depicting Lord Krishna’s Leelas (childhood pastimes). These paintings are of Nathdwara
Style. Most works produced in this style revolve around the figure of Shri Nath Ji as a
manifestation of Krishna and refer to the incident of him holding the Govardhan hill on his
last finger. Each Pichwai painting is considered a seva or an offering to the deity and hence
personifies Shri Nath Ji as a prince with jewels and luxuries, surrounded by the milkmaids,
gopis. These seva themes are based on different seasons and paintings are made to depict
different moods of the season. There are also paintings that show the Lord in different
costumes celebrating different festivals. Other themes like Mata Yashoda, Nandlal and
Balgopal figures are also painted in this style. Some of the paintings are gem-encrusted.
Pichhwai are intricate paintings which portray Lord Krishna. Krishna is shown in different
moods, body postures, and attire more commonly found on a cloth. It is a very ancient form
of art passed on from generation to generation and it has a very devotional theme towards
Lord Krishna.
The purpose of Pichwais, other than its artistic appeal, is to narrate tales of Krishna to the
world.
The artists mostly live in Chitron ki gali (Street of paintings) and Chitrakaron ka mohallah
(colony of painters) and make a close community with constant interaction. It is no wonder
that many times a Pichwai painting is a group effort, where several skillful painters work
together under the supervision of a master artist.
37
Gangaur Utsav Pichwai
38
Gangaur Pichwai
Gangaur Festivals holds a special
significance for the Rajasthanis. It is
celebrated in honour of Gauri (Parwati),
the goddess of abundance. Young girls
adorned in their best clothes pray for a
spouse of their choice while the married
ladies pray for the welfare of their
husbands. This spring festival is celebrated
with great enthusiasm and zeal all over
Rajasthan. The celebrations at Bikaner,
Jodhpur, Nathdwara, and Jaisalmer are
full of pomp and are a must-see.
Gangaur festival is held every year in

the month of March or April. The
festival is enthusiastically celebrated
throughout Rajasthan including Jaipur,
Jodhpur, Udaipur, Jaisalmer, Bikaner,
and Nathdwara. This festival has special
significance for women who worship idols
of “Gan” & “Gauri” in their houses.
Gangaur festival also witnesses noisy

celebrations by the people of Rajasthan.
A magnificent and colorful procession
is also organized during the festival, in
which decorated idols of Gan and Gauri
are circulated with huge fanfare. On the
last day, these idols are immersed in a lake
or pond.
Artist : Raja Ram Sharma(Udaipur)
39
Cheer Haran
Story Behind Cheer Haran Leela
Lord Krishna was a young lad at that time. He performed
his Leelas at the very young age. The Gopis of Vrindavana
were doing a month long Katayani Vrata (a fast) to get Lord
Krishna as their husband. For the completion of Vrata, the
Gopis had to bath in the river Yamuna at the day break.
After bathing in the river, the Gopis worshiped Goddess
Parwati. One day when the Gopis were doing their rituals,
Lord Krishna came there and stole their clothes from the
bank of Yamuna. When the Gopis were about to come out
side the river they fond their clothes were missing. Then they
looked at Kadamba tree on the bank of the river where Lord
Krishna was sitting having their clothes on his shoulder. The
Gopis begged for their clothes but Lord Krishna didn’t give
the clothes to them. The Lord chastised them that they had
no business to bathe naked in the river, particularly when
they were supposed to be engaged in this Katyayani Vrata.
The Gopis realized their mistake and bowed down to Lord
Krishna and asked for forgiveness. Lord Krishna did this to
teach the lesson that one should not bathe naked in the river.
Bathing naked is a sign of disrespect towards river. After
telling them that his treatment was indeed punishment of
their misbehaviour, he gave them back their clothes; but also
promised them that very soon their desire for sporting with
the Lord, for which they did the Katyayani Vrata, would
be fulfilled. And in this context, he makes a very important
statement which is significant for our understanding of the
Ras Leela:
‘In the case of whomsoever that has turned their minds

towards Me, the desire or lust that thereby arises in them
would not result in bad, just as a fried or baked seed would
not sprout again.’
40
Artist Raghunandan Sharma (Nathdwara)
41
Nand Mahotsav
Artist: Yogesh Sharma (Nathdwara)
Description Nandostav
Nand Mahotsav is celebrated on the day following Shri Krishna’s birthday and it begins
the celebrations on the home of Nanda and Yashoda in Gokul. Joy overflow as everyone’s
desires are filled with presence of Shri Krishna in their lives. Child Krishna is swung in
a cradle and even today, lineage-holders dress up as Yashoda and swing their beloved
Krishna.
42
Saat Sawroop
Description Of Saat Bhagwat Parayan) near her banks. It is
Swaroop for Shri Yamunaji, Shri Vallabhacharyaji
composed Shri Yamunashtakam.
Lord Krishna is the chief deity of the sect.
Shri Yamunaji is worshiped as his fourth Several forms/icons of Shri Krishna are
consort (Chaturth Patrani) and is the worshiped in the sect. Here are the main
goddess who ordered Shri Vallabhacharya forms, their description, and where they
to recite Shrimad Bhagwat (Shrimad currently reside.
43
Shri Nath Ji: Govardhan Nath (seven- Padma (lotus) in sequence in his four
year-old Shri Krishna), who is waiting arms starting from lower left arm. Thus,
for his beloved Swamini at the door of his according to the ‘Ayudh Kram’ (Sequence
Nikunj, personal abode. (Nathadwara, of holding ayudhas), Shree Mathureshji is
Rajasthan) ‘Madhusudana’.
Shree Dwarikadhish Ji: The 1. Shankh (Conch): Shree Swaminiji’s

swaroop of shree Dwarkadhish prabhu is Kanth (Shree Yamunaji)
Chatrabhuj (Four armed) Shyam (Dark)
swaroop, where two Shree hasts (Hands) 2. Padma (Lotus): Shree Swaminiji’s
are of Shree Swaminiji (Shree Mukhya Mukharvind (Shree Radhaji)
Swamini) and rest two Shree hast are of 3. Gadha (Mace): Shree Swaminiji’s
shreeji. The swaroop of Shree Swaminiji Arm( Shree Kumarika, Shree Radha
is hidden inside the swaroop of Shree Sahchariji)
Dwarkadhishji. Only two Shree hasts of
Shree Swaminiji are visible. (Kakaroli, 4. Chakra (Discus): Shree Swaminiji’s
Rajasthan) Bangals.(Shree Chandravaliji)
Shree Balkrishna Navneetpriya Ji: Shree MadanMohan Ji: Lord playing

Shree Navnitpriyaji appeared from Shree his flute during the Rasa-uttsava. This
Yamunaji (Mahavan). This swaroop is of swaroop is accompanied by Swamini.
Balleela. Other Leelas are gupt. Shreemad (Kamvan, U.P.)
Bhagwat Tenth Canto 8th Adhyay Praman
Shree Gokul Chandrama Ji: The
Prakaran Ringan Leela is pragat in this
“moon” of Gokul, dark wooden image of
swaroop. In fact, the entire Tamas Prakaran
the Lord playing a flute. He has a Tribhangi
is pragat in this swaroop. Other Leelas are
posture i.e. bent from three sides: the neck,
gupt. Shree Navnitpriyaji is fair in color
waist and legs. (Kamvan, U.P.)
(Gaur Varna). Shree Navnitpriyaji’s
eyes are ‘Sanjan’ i.e. mascara. One Shree Gokul Nath Ji: Lord of Gokul
hand is resting on floor and the other is four armed image of the Lord, lifting
one is holding ‘Navnit’ i.e. butter ball. the mountain and playing his flute. He
Shree Charanarvindas are in the position is accompanied by 2 Swaminis. (Gokul,
of crawling (Ringan). (Nathadwara, U.P.)
Rajasthan)
Shree Vitthal Nathji: Lord, waiting
Shree Mathuresh Ji: Shree with His hands on hips, for His beloved...
Mathureshji is holding Shankh (conch), He is accompanied by Shri Swaminiji.
Chakra (discus), Gada (mace), and (Nathadwara, Rajasthan)
44
Saanjhi Vallabhacharya Sect temples (where Lord

Krishna is served as a child), the Saanjhi
Saanjhi is an ancient art form rooted in festival is celebrated for five days. Different
the cultural and devotional tradition of Saanjhis are being drawn every day in the
Vraja. Originating from folk mythology, temples and poetry is being sung related
the festival of sañjhi signifies the worship to Saanjhi. This tradition was started by
of the goddess Sañjhi, a personification Goswami Vithhalnath Ji. Swami Haridas
of sandhya, twilight. aanji word derives has written a long poetry on Saanjhi also.
from saayankaal means evening in Hindi.
Rajasthani artists have adopted this folk
As per Indian scriptures, Lord Krishna
art and they are presenting this art in a
has made Saanjhi for making Radha Ji
beautiful form of painting which is called
happy. Saanjhi is a folk art of Vraja. It was
Pichwai.
a popular art in Vedic period but during
period of Lord Krishna,
it flourished with some
special form. It is a
decorative art using
dry colours. But since
Krishna’s period, people
started using flowers too.
First of all, Lord Krishna
made Saanjhi in the
evening of autumn season.
Saanjhi is celebrated in
Vraja in the month of
October . Saanjhi art was
adopted well by other
neighbouring states like
Rajasthan and Gujrat. It
is made by women and
girls of villages with flower
made colours, dry colours,
cow dung etc.
Vanishnav religion has

played an important role in
promoting this folk art. In Artist: Shri Vishnu Sharma (senior artist of Nathdwara)
45
Sharad Poornima
46
On the night of Sharad,

Radha along with her maids is immersed in joy
Her fair body glows against the deep blue of
Krishna while their dance and duet flows. There
is a Madhava between each gopi, the ring of the
rasa presents a spectacle memorable. Celestial
beings and sages shower flowers from heaven,
welcoming this moment incomparable.
The moon above is tired wondering when will
sun appear in the morning?
The occasion is the talk of the day, and thus,
Parmananda pray.
—Parmanandadasa
Artist: Raja Ram Sharma (Udaipur)
47
Maharasa Leela On
Sharad Poornima
Artist: Sh. Vishnu Sharma (Nathdwara)
48
Description of the banks of Yamuna in Vrindavan where

Maharasa Leela there were plenty of Kadamba trees. The
moon is the king of hearts. On this full
The Rasa Leela or Rasa dance is part of moon night, Krishna flew breath into his
the traditional story of Krishna described flute and on receiving the vibrations of flute
in Hindu scriptures named the Bhagavata and its melodious music Gopis ran towards
Purana and literature such as the Gita Lord Krishna in the mid night. When they
Govinda. reached there then Krishna scolded Gopis
for coming out of their houses at mid night.
The term, rasa meaning “aesthetics” and
But it didn’t affect Gopis. They were
leela meaning “act,” “play” or “dance” is
deeply in love with Krishna and they we
a concept from Hinduism, which roughly
re now able
translates to “play (Leela) of aesthetics
to see Krishna in every creation. Krishna
(rasa),” or more broadly as “Dance of
loves his devotees very much. The Rasa-
Divine Love”.
dance was planned to fulfill his promise
Sharad Poornima has a deep relationship which he had made to the Gopis when they
with Lord Krishna. As on the night did Katayani Vrata. Chandra-Sarovar in
moon is complete with its 16 Kalas so as Krishna’s era is place where the famous
Lord Krishna is 16 kalas “Sampoorna” shared poornima’s Maha-Rasa is realized
(The perfect Incarnation of Vishnu). by Lord Krishna himself. In Shrimad
Lord Krishna is also known as “Leela Bhagvadam, we find the description of
Purshotam”. His whole life is full of Gopis blessed by Krishna. Gopis react to
Leelas. But Maha-Rasa Leela on Sharad his flute by running towards the direction
Poornima has inspired and influenced of the sound.
people since centuries. This tradition of
10th canto of Shrimad Bhagvadam is the
Rasa-Leela is being celebrated in India
heart of Krishna. In this canto, the chapter
for ancient times. A lot of research work
Rasa Panchadhyayi explains about
has been done on it. Some connect it with
Krishna’s celestial game, predominantly a
the galaxy of stars in the sky (Taramandala
dance that is mainly performed in a circle.
in Hindi). Some fond Gopis (milkmaids)
This chapter has 5 adhayas (chapters).
and some relate it to the twinkling stars
Krishna’s pure bliss form is described in
in the sky. God has choosen shared
these chapters. Lord Krishna is the reason
Poornima night for Rasa-Dance (Leela).
of enjoying five fold ananda. Lord Krishna
Rasa dance is not a normal dance. Rasa is
is beyond the realm of time and the devotees
the nectar which one needs to get close to
can attain him through:
God. Lord Krishna planned this dance on
49
Atma (Soul) Rasa-leela. Rasa-leelas are particularly

Manna (Heart) performed in the city of Vrindavan.
Vaani (Voice)
Legend
Prana (Life)
It is said in Bhagavata Purana that Lord
Indriyas and Sharir (Senses of Body) Krishna was loved immensely by gopis.
Krishna’s flute culminated parmanand The love that the gopis felt for Lord
bhakti around. The rasa leela takes place Krishna was divine and in its purest form.
one night when the gopis of Vrindavan, This special bond that Krishna shared
upon hearing the sound of Krishna’s flute, with the gopis made them forget all about
ran towards the sound of the flute to meet their worldly chores. The gopis were
Krishna. In the Krishna Bhakti traditions, totally merged in the love of God through
the rasa-leela is considered to be one of the practice of constant surrender.
the highest and most esoteric of Krishna’s Rasa Leela
pastimes. In the Bhagavata Purana, it
is stated that whoever faithfully hears or During the rasa-leela Lord Krishna
describes the Rasa-Leela attains Krishna’s promised the gopis that he will dance with
pure loving devotion (Suddha-bhakti). all of them. So, Lord Krishna stood in the
center surrounded by gopis who danced
Rasleela is one of the divine activities, and sang in his glory. Sometimes Sri
which Shri Krishna played with his gopis Krishna would put his arms around the
on the banks of river Yamuna in Vrindavan. neck of gopis and all of them would dance
Among all the gopis, Radha was closest to together. The demigods would witness this
the Lord. Her love for Lord Krishna was divine dance and throw flowers from the
complete and in its purest form. Sri Krishna sky giving their blessings.
was ten-years-old when he performed
50
Mount Goverdhan
Artist: Unknown
Story behind lifting Mount Goverdhan By In Shrimad Bhagavadam, Shri Shukdeva

Lord Krishna: narrated the story to king Prikshit. Lord
Krishna was a child at that time. One day
There are many reasons to celebrate the he got surprised seeing that all the villagers
festival of Goverdhan Pooja. But one of the offering religious rituals to rain god, Indra.
main reasons to celebrate is that Krishna One day, Krishna observed that the
lifted the Goverdhan mountain on his people were preparing for the worship of
small finger for 7 days to save the villagers, Indra. He asked His father Nanda, “Tell
cows and other animals etc. On the 8th day me, O father! What is this occasion for
when it stopped raining, Krishna put the your great festivity? What is the object?
mountain back on the earth. To celebrate To whom is it intended? By whom and
this victory against rain God Indra, this how is the sacrifice to be performed?”
festival is celebrated. The story about He asked his father Nand not to worship
the Goverdhan lifting is there in Shrimad Indra. Nanda replied, “My beloved,
Bhagvadam. child! Indra is the Lord of the clouds. He
51
will give us rain by worshiping him. The came to know about this he started hail
rains give life to all beings. Therefore, storms and strong winds to blow. It rained
people worship Indra by these sacrificial and rained continuously. Then Lord
offerings. Whatever is left after offering Krishna lifted the mount Goverdhan on his
him in sacrifice, we use for our subsistence little finger and provided shelter to all the
in order to attain the three objects of life, villagers, milkmaids, cowherds, animals,
viz., Dharma (righteousness), Artha and cows under the mountain.
(earthly possessions) and Kama (worldly
enjoyments). Indra is the dispenser of the On the 8th day, when Indra’s ego was
fruit of our exertions.” obliterated by Krishna’s miraculous
power, he come down to Earth and fell at
Lord Krishna made his father and all Krishna’s feet offering prayers and begging
the villagers understand that they should forgiveness for his audacity. At this time,
worship mountains and cows instead of Indra consecrated Krishna as Govinda.
Indra. Mountains bring rain to us and cow Since that day, Goverdhan Pooja is being
serves us as a mother. Everybody agreed celebrated. This worship has been carried
with Krishna and started worshiping on from 5000 years ago till date.
Goverdhan instead of Indra. When Indra
52
Annakoot
Annakut Festival form. At night, after pooja, people take

away this food.
Annakut stands for “Anna” as food and
“Kut” as mountain. It means that on this This is assumed that one who take away
day a huge food distribution is arranged at more food get more prosperity throughout
Shri Krishna Temple. People come to see the year. On this day, Govardhan pooja is
the food including all things through the also performed. As per Hindu calendar,
day. Food is arranged in a mountain like this day is new year day of Vikram Era. It
is said that once Maharshi Ved Vyas told
53
Yudhistir (eldest brother of Pandava’s) This festival has great importance in the
that one who remains peaceful and happy lives of the Indian people. In villages it is
on this day will remain happy throughout celebrated at a very high level.
year.
On this day, a big heap is made of cow
Govardhan Puja, also called Annakut dung and people worship the cow who
(meaning a heap of grain), is celebrated is with Lord Krishna and Gopis are
as the day Krishna defeated Indra. It is also being worshiped. In Goverdhan
the fourth day of Deepawali (Diwali), the Pooja, “Godhan” meaning “Cows” are
Hindu festival of lights. worshiped. Cows have an important place
in Indian culture. Cow is called “Gau
The day is celebrated on the first lunar day
Maataa” (Mother). On Deepawali night,
of Shukla Paksha (Bright fortnight) in the
people worship Lakshmi, the goddess
Hindu calendar month of Kartika.
of wealth, but in the morning cows are
According to the legends, Lord Krishna worshiped as cow is supposed to provide
taught people to worship the Supreme us happiness, contentment and health. For
Controller of nature, God, specifically offering the respect and honor towards
Govardhan, as Govardhan is a manifestation cows, Goverdhan Pooja is being done.
of Krishna, and to stop worshiping the For attaining Moksha, people worship
god of rains, Lord Indra. For Annakut, a Goverdhan Mountain which is formed
mountain of food is decorated symbolizing using boiled rice and cow dung. People
Govardhan mountain. Every state in India decorate the cows with different types of
celebrates this festival in a different way. arts.
54
Gopashtami
Watching him lead the cows to pasture And hearing
his oft-told tales Kanhayia, Prince Charming, Over
my heart so prevails! Brother (Balarama),
Lord Shankar’s Serpent incarnate, Safegaurds Vraja
Sparkling like its river’s ghats.
A pleasant excitement fills the air As the call of the
flute is heard Cows lose their bearings Forgetting their
very own herd. Barefoot in the grass,
Body shorn of ornament(s), Parmanand, his Das
Praises the Lord wonderment.
—Parmanandadasa
Gopashtami Cow in India is as important as a mother.

Cow is a domestic animal and as worshiped
In India, cows are considered extremely by Indains. Cow is the most useful animal
important and scared. As per Hindu among all. Cow is considered sacred in
religion, cow is the mother of the universe. Hindu religion. For Hindus, Cow is a
A cow is a deity for Hindus. In many Hindu symbol of wealth since ancient times. Cow
religious rituals, cow’s milk occupies a place and Bull represent the symbol of Dharma.
of special importance. The importance of
cow is also mentioned in Rig Veda (10- In Rig Veda, the cow’s figure is used as
169-2). In ancient times, traditionally, symbols of wealth and in comparison with
Rishis and Munis maintained a number river goddesses.
of cows. It is a tradition in Mathura, the
“Like two bright mother
birth place of Lord Krishna.
cows who lick their young,
“Gopastami” occurs on the eighth day
of the bright fortnight in the month of Vipas and Satudri Spread down
Karttika. On this day, as Krishna entered
the pauganda age he was initiated as a cow their waters.”
herder. Lord Krishna is the protector of
- Rig Veda (3.33.1)
cows. This is the reason he is known as
Govinda.
55
Artist: Raja Ram Sharma (Udaipur)
56
“The Cow’s body is represented by devas On this day, when the cows come back from
and other subjects.” grazing in the evening, they are greeted
with pooja. It is believed that this ritual
-Atharva Veda increases one’s good fortune and lead to the
In the Bhagvad Purana, Surabhi is realization of all desires. Krishna gives us
the name of the cows which exist in the the message that our own progress depends
spiritual planets and are especially reared on protecting the cows. Protecting them is
by Lord Krishna. Gopastmi is celebrated self protection.
in the month of Kartik. It is the day About Krishna’s love for the cows and
when Lord Krishna put down the mount theirs for him, the Gods have said the
Goverdhan on the Earth after obliterating following through Jiva Goswami’s pen in
Indra’s ego. Indra fell on the Lotus feet Gopala Campu:
of Lord Krishna and worshiped him and
asked for forgiveness. At that time, Indra “Whenever they are satisfied so too is he;
consecrated Krishna as “Gopala” and the whenever they are hungry, he is as well.
cow “Surabhi” rained milk on Krishna and He calls them near again and again, and
consecrated him “Govinda” meaning “lord pressing against them he relishes their scent
of the cows.” This day is commemorated and further embraces them, examining them
as Gopashtami. This festival is celebrated closely and feeding them. Without him their
in traditional ways. People bath the cows hearts are empty and they stand motionless
in the morning and decorate them with as if they were painted. Only when they are
flowers, ornaments and decorative clothes reunited with him do they recover, smelling,
and worship them. The devotees feed them seeing, hearing, tasting, and touching him.”
jaggery by hand (go-grassa) and play with
them.
57
Dana Leela
Artist: Dinesh Ghanshyam Gagoria (Nathdwara)
There is a place named Dana Ghati for moving forward. Gopis refused to pay
known as Dana Garh in Vrindavan. Once the tax and scolded Lord Krishna by saying
Bhaguri Rishi was performing yajna for the that they would inform his father Nanda.
pleasure of supreme lord. The Gopis and But Lord Krishna wasn’t afraid. He said
Radha was heading for Govind Kunda to the Gopis, “You are regularly using
where rishi was performing Yajna bringing this pathway to carry your milk products
yogurt, milk, butter etc. Dana Ghati is for different purposes but you never ever
on the way to Govind Kunda. There is pay the Dana(Tax).” He told Gopis and
a narrow path known as sankri khor from Radha that each one of them must pay
which the Gopis and Radha had to pass. diamonds as tax. Listening theses words
At that place, Lord Krishna with his Radha became angry and tried to walked
sakhas obstructed the path and asked the away, but Lord Krishna forcibly stopped
Gopis to give them “Dana”(Tax) to cross her. The Gopis were full of anger on such
that path. Lord Krishna was standing in a behavior of Lord Krishna. Lord Krishna
tribhanga asked the Gopis to pay the tax chastised Lalita for not paying tax by the
58
Gopis. But Gopis made him understand forced Lord Krishna to bow down to Her
that his reputation would be ruined if he lotus feet, ask forgiveness and accept Her
chastised a woman. as the queen of Vrindavana. So, the kund
where tax (Dani) was returned (nivartana)
So the next day, the Gopis hid themselves is known as Nivartana Kund. These
around this lake. When Krishna arrived with various tax pastimes went on almost
only a few cowherd boys, the Gopis pounced daily because, due to the influence
on them, beat them, tied them up to the of Yogamaya, everyone would forget
trees and humiliated them in various ways. the previous day’s episode. They are
Lalita, the friend of Radha, then demanded described in the Dana-Keli-Cintamani
that Lord Krishna pay tax to Srimati by Raghunath das Gosvami, Dana-
Radharani, the queen of Vrindavana, Keli-Kamudhi by Sanatan Gosvami
because His cows were eating the grass of as well as in various other Vaisnava
Her forests. Lalita then brought Radha and literature.
59
The Ashtachap Kavi Surdasa expresses the Dana Leela in the form of poetry. He is
depicting the scene of the whole process as below:
Sashaying, the gopi descends the hill
Buttermilk matuki on her head
As if she has not heard Krishna’s call.
He grabs her kangan (bracelet) with one hand and her chunari
with the other in the woods of Ghawar,
He demands his toll.
“You have been avoiding me all these days
I demand the toll of each and everyday.”
Enamoured at looking at the young maidens sway
Krishna sweet asks, “Why do you turn your face away?”
“I take this path often
But never before heard you call, so Mohan, do let me pass.”
Cane in hand, he blocks
The narrow path (Sankari Khor)
Unable to avert her eyes,
The gopi is drawn as if mesmerized
Beholding his cunning smile
She feels her passions rise.
—Surdasa
60
HOLI The Festival of Colors
Artist: Nayan Sukh Leeladhar Ji
The Festival Of Colors women, rich and poor alike. All superficial
social barriers are pulled down on this day.
Holi is the festival of colors in India. It is a
festival of joy. It is celebrated at the end of The day is celebrated for many interesting
winter season. It is a festival of merriment. reasons and enlightening Puranic legends.
The trees are smiling with their sprout of It is the day of Kamadahana, the burning
tender leaves and blooming flowers. Dry of god Kama, Cupid.
colors as well as flowers are sprinkled on
Holi is also associated with the story of
each other by elders and children, men and
Holika, the sister of demon Hiranyakasipu.
61
The demon-father, having failed in various by feeding him with her poisoned breast.
other ways to make his son Prahlada Lord Krishna, however, sucked her blood
denounce Lord Narayana, finally asked and she lay dead in her hideous form.
his sister Holika to take Prahlada in her
lap and enter a blazing fire. Holika, who These stories and tales fill the people’s
had a boon to remain unscathed by fire, did mind with the faith that the force and
her brother’s bidding. But Holika’s boon power of divinity always triumph over
ended by this act of supreme sin against demonic forces.
the Lord’s devotee and was herself burnt In Vraja, this festival is celebrated for
to ashes and Prahlada came out unharmed. 16 days. For Hindus, it is the time of
This festival is celebrated on the full moon enjoying spring abundant colors and
day of Phalgun (March). Therefore, it saying farewell to winter. Holi is also
has a relation with Lord Krishna. Lord associated with Radha, the beloved of
Krishna had planned everything. Holika, Lord Krishna. In Vraja, this festival is
also known as Putana, who came as a celebrated commemoration of the divine
charming woman to kill the infant Krishna love of Radha for Krishna.
62
Chapter 9
Colors And Techniques Of
Making Pichwai
63
Colors are the important aspect of our could save them a great deal of time and
life. Our life is full of different colors. The energy. They maintain it as the old stone
primary colors are red, green, and blue. It colors do not fade or flake while chemical
is from these colors we can make any color. colors do.
Miniature Painting artists choose the color
The primary colors: blue, red, and green
scheme as per the topic of the painting.
are obtained from different stones. If a
Different colors represents various qualities
brilliant yellow is desired, however, cow’s
of the painted idol e.g. blue color is he symbol
urine is collected and dried. The cow from
of spiritually strong, focused, dominant
which the urine is collected is fed a diet of
figure. Blue is a cool and tranquil color. It
mango leaves for six months before its urine
is because of the blue sky, it is blue ocean
can produce the desired shade!
because of the sky’s reflection in water. Blue
is said to be the color of communication. Heena leaves are used to obtain black,
Green is the symbol of closeness to nature, blue and green; lac yields a light red and
family oriented figure. Green is a calming, bamboo stalks a brighter red; and guvar
fertile and nurturing color. Red has many pata, cactus, another shade of yellow.
meanings. Red symbolizes the emotion of Gum or resin is added to form a crystalline
anger. Red is the color of love and passion. substance which is hard and therefore must
Red is a bright and energizing color. be pulverized before use. These lumps are
kept ready in coconut shells.
Like most traditional Indian painters
in other parts of India, the painters of Gold and silver, available in paper-thin
Nathdwara have also always produced sheets, are also used to give certain paintings
their own pigments from colored stones and a rich look when required. In one method,
plants of various kinds. Those are collected the sheet is applied over sticky base with
from the hills and forests around them and the fingers; an outline is drawn and the rest
taken home for further processing. Stones of the sheet is removed.
are broken into small pieces, ground to
Factory-produced powders are also used by
powder and then put to use. Today’s
the artists who put the required amount of a
painters continue to employ these paints
particular powder into a coconut shell and
as often as possible in spite of the influx of
mix it with a little water. Gum is added to
chemical colors which are ready made and
the mixture and the color is ready for use.
64
NAMES AND CLASSIFICATION OF WHITE PIGMENTS
Indian Name English Name Mineral, Earth, Organic or Alchemical

Kharia
Safida/Jasta Zinc white oxide
Safida/sisa Lead white Mineral: basic lead Carbonate
Kharia-miti Gypsum
Chini-mitti/Multani-miti Kaolin Mineral: Hydrated
calcium Sulphate
Silkhari Soapstone Mineral talc or hydrate
Magnesium Silicate
Sankh Conch Shell Mineral: Earth surface deposit
Earth white Titanium white Alchemical: Titanium dioxide
SAFIDA, ZINC WHITE; KHARIA

SAFIDBA, LEAD WHITE; Kharia is extremely versatile unlike the
AND KHARIA, CHALK other whites and can be used variety
WHITE of ways. Kharia as a ground: a thin
transparent wash of kharia is applied to the
Safida and safidba, are the two main surface of the drawn image. This ground
alchemical white pigments used in seals the surface for later colours and sets
miniature paintings. Zinc white is prepared the initial drawn image. Several coats are
by heating copper metal to 3000C with applied for Pichwais and cloth paintings,
zinc ore and was first synthesized for whereas a single coat is applied for paper.
commercial use in Europe in 1834. Lead
white is prepared by exposing the lead In the Nathdawara school of veil, pearls
strips to acidic vapors, turning lead acetate for Shree Nath Ji is made with this impasto
into lead carbonate. It is determined when mixture. Kharia can mix with all other
lead white was first used in India, although pigments. By emphasizing a particular
it has a long history of use in Persian and colour orange, the rasa of the painting can
western painting. Most craftsmen still be suggested at an early stage. Danafarang
prefer kharia that is mixed with safida or in its pure form is quite dark, and so is often
safidba altering its shade from matt to a mixed with dhumsa and kharia to make it
brilliant whiteness. lighter, the characteristic emerald green
shade (often used in Mughal paintings).
65
PREPARATION OF KHARIA GRINDING

Kharia is a naturally occurring calcium Kath kharia is a hard stone; so, initial
carbonate (calcite, CaCO3) and is found grinding is done in a metal pestle and
in a variety of forms: chalk, limestone, mortar. It is later transferred to a stone
marble, and conch shell. Traditionally pestle and mortar for finer grinding. Phul
mined in Rajasthan, in the Bansko region kharia is a much softer stone, so it is placed
near Jaipur and Mangroop (Bilawara) directly in the stone pestle and mortar and
near Udaipur, it occurs in two distinct broken by hand.
forms: phul (soft) and kath (hard) kharia.
The soft, phul kharia, produces a smooth
fine pigment that is used as a ground for
paper and clothe painting.
66
Orange
Pigments
67
HISTORICAL CONTEXT Red lac or Dhumsa is used for general

shading work and also as a way of toning
Sindur, minium is mentioned in
down the strength of the color. The only
visnudharmottara as antaritas-misravarnas,
drawback with sindhur is that it can
a secondary colouring substance.
oxidize-turn to a brown shade-once it has
Considered by many of Sanskrit texts as
been prepared into pigment; craftsmen are
a red pigments, sindur is often associates
therefore careful to grind thoroughly and
with hinglu, cinnabar and geru, red ocher.
then wash the pigment in milk before use.
The silparatna gives three gradation of red-
In the Nathdwara school, sindhur is widely
sindur for light red, gairika(mountain born
used in Pichwais and Miniature Painting,
red ochre-geru), red (mineral chalks) for
particularly in the Annukut festival. The
the ‘middle tint’(cinnabar)and laska (lac)
combination of the two colours ranga and
juice for a deep colour.
sindhur holds great significance: Ranga,
The method of preparation has been known sacred ash; and sindhur, sacrificial blood.
since ancient times. Sindur originated as an
PREPARATION OF SINDUR
alchemical pigments during the sixteenth
century. Sindur is an alchemical pigment, synthetic
tetra oxide of lead. Pb3O4 traditionally
SINDUR
made by roasting white lead, the basic
The alchemical preparation yields the carbonate of lead, in open air. The molten
sindur, an iridescent pure orange. Primarily lead first oxidizes into mascots-similar
a compound of lead, sindura or sindhur(the to litharge (lead monoxide) and then, if
common studio name) shares many heated continuously at 480oC, it converts
characteristics with hinglu. Both are heavy to sindur. The method of preparation was
pigments due to the respective lead and common to Tibet and China, although
mercury contents,making them ideal base Chinese texts suggest adding vinegar, nitre
colours. With sindur this ‘weight’ gives the and sulphur to the molten lead. The purity
craftsmen several advantages: first, it can be of the pigment can be tested by weight and
applied in a single coat which rarely flakes colour.
or cracks when burnished; second, it can be
Red Pigments
burnished rigorously, providing a smooth,
even surface for later painting.
NAME AND CLASSIFICATION OF ORANGE PIGMENTS

Indian name English name Mineral, earth, organic or alchemical
Sindur Minium Alchemical: Tetraoxide of lead.
69
70
RED
Pigments
71
The use of red as a principal pigment dates Tree bark is removed, boiled in water
back to ancient times. The visnudharmottara and mixed with an alum, lodh, or borax,
suggest that a colour called igur was used suhaga which produces lac resin and dye.
to delineate the image of fresco paintings. In the western tradition, lac is known as
This could well be an early derivative of lake lac and is often confused with carmine
the word geru, red ochre, an earth pigment or cochineal which is similar in colour.
listed as one of the mularangas, primary However, Cochinea is extracted from
colours, in the Silparatnam. female insect Cocu cacti.
Red chalk (geru/red ochre), for instance, Use of red lac
ought to be ground on stone and left
The outline of Krishna: this is often made
covered with water for half a day; red
with red lac as the body colour is either a
arsenic, however, should be made into
dark or light blue, the red warms the outline
powder but it should not be covered with
to leave a softer, more rounded tone.
water. Then the colors should be mixed
with the exudation of the nimba tree (gum Hinglu, Cinnabar
resin) and then at last they are ready to be
Hinglu, or cinnabar is the ‘native’ red
applied on the walls and pictures.
sulphide of mercury and is the most
The Abhilasitartha-Cintamani also commonly used red pigment in miniature
mentions: sona, red from darada. Darada painting.
is an early name of cinnabar.
Given that cinnabar is a compound in
Hinglu, red lac, lake lac and ramraj, are which one atom of mercury is chemically
the most commonly used red pigments in bonded to one atom of sulphur, the most
miniature paintings. Vermillon or ‘synthetic common naturally occurring mercurial ore
cinnabar’, an alchemical pigment-widely is red in color.
used in western paintings was rarely used
The fusion, therefore, of mercury with
in miniature, as pure cinnabar was readily
sulphur produces this mercurial ‘red’.
available.
A union, or alchemical ‘marriage of the
KIRIMDANA/RED LAC OR opposites’, it has been a source of ayurvedic
LAKE LAC and alchemical speculation since ancient
times.
Red lac is an organic lake color extracted
from insect matter. The Laccite Lacca Source of Cinnabar:
insect lives on several plants-boral banyan,
“As that, there are no substantial mercurial
peepla and palasa or thutar, cactus. The
deposits in India it is difficult to determine
when cinnabar first arrived; however, it is transparent coat of red lac; after burnishing
likely that it came from China. it produced a deep solid red with a lacquer
finish. The hinglu border was widely used
The Sanskrit term for cinnabar, cinapata,
by many indigenous Indian schools.
means ‘Chinese powder’. Also, many of
the terms for mercury or its ores indicate HINGLU BORDER
regions to the northwest of India, this region
The ‘framing’ of these images with the
traditionally being a source of cinnabar.
hinglu border seems to be a purely Indian
Hinglu, base colour: As a heavy pigment tradition. It is not found in either Mongol
higlu is often used as a base color that can or Persian paintings. This ‘mercurial red
be applied in a single coat. This makes it a border’ formed an inherent part of the
stable pigment, which rarely flakes or cracks Rajput tradition.
when burnished. However, this dense
It is not known when this tradition began.
texture makes it difficult to mix with other
However, the Chawand school (fifteenth
pigments. The only two which do mix well
century), one of the earliest Mewar
are transparent colours dhumsa or smoke
schools, often used this red border, which
brown, red lac. These tend to be laid over
then inspired later sub-schools including
the top, using the wash technique. The
Unirana, Sahori, Deogarh, Pratapgarh
wash technique itself is similar in principle
and Ajmer, all of which relied on this red
to the European tradition of glazing.
border. The Udaipur, Kota and Bundi
HINGLU AND RED LAC: (Mewar) centres for painting, also used this
border extensively, and it later informed the
The two ‘reds’ have a curios relationship
Nathdwara school (seventeenth century).
considering they are chemically very
different. Red lac is an opaque transparent The common thread amongst many of
dye, whereas hinglu is a mineral pigment. these schools was the use of the hinglu
Hinglu provided a thick undercoat of deep border in religious paintings. The use of
red which was then washed with a thin red to enshrine a paintings indicates a
NAMES AND CLASSIFICATION OF RED PIGMENTS

Hinglu Cinnaber Mineral: Native mercuric.sulphide. mined.
Geru Red ochre Earth: Hematite, iron oxide. Earth surface deposit.
Mansila Realgar Earth: Arsenic Sulphide
Kirimdana lac Lake lac Organic: Insect resin collected from the plant.
Kamela Rose Organic: Extracted from the plant Mallotus
Phillipinenis
73
deeper meaning. Red is the symbol of fire, The grinding should take several days if
that by burning purifies maya (illusion)or not weeks. The more one grinds, the better
ignorance. the colour.
Whether the hinglu border has its roots in At the end of each day of grinding, the
Jain cosmology is difficult to determine. mortar should be filled with water and left
However, it presents an alchemical path overnight. By morning the pigment will
through which this mercurial red pigments settle to the bottom of the impurities will
traveled, leading the vernacular painting rise to the surface, forming a skin.
tradition of Rajasthan. This tradition
When the grinding action becomes silent
would later move to the north of India and
the pigment is ready. A smooth upward
find expression in the Krishna paintings of
and downward direction should suffice.
the Basholi school.
After the grinding is complete, place the
PREPARATION OF HINGLU
pigment in a large, round, shallow dish.
According to myth, mercury is believed At this stage, the pigment will still contain
to be an elixir which should not be given water which has to be removed, so place
in man. The gods requested Shiva to the dish on the floor with one side slightly
adulterate the five ‘mercurial wells’ so that upturned, drip a wet cloth into the water
humans may not drink it. Shiva granted that collects at one end, and slowly pat the
this, thus, mercury is often found with many cloth with the palm of the hand, so as to
impurities. The aim of the preparation suck out excess water.
through grinding and washing is to rid to
After all the water has been removed, place
the mineral color of these impurities.
the dish in the sun for drying. This should
1. Although a heavy mineral due to the normally take two days.
mercury content, cinnabar can still be
Even after washing and grinding, the
crushed in a stone pestle and mortar
pigment will still have some impurities as
without much difficulty. Within a few
dust collects over the dish when drying.
minutes of grinding, one immediately sees
This is filtered out by sieving the pigment
the bright red colouring.
through a dry cloth.
The pigment is then ready.
74
GREEN
Pigments
75
Historical context from Prussian blue; dhumsa, harabhata

and gemboge or goguli.
Traditionally, green is made by mixing
the prime colours yellow and blue; for this So, common was this shade that a large
reason it is listed in the Sanskrit texts as quantity would be kept in the studio at all
anaritas or secondary colour. However, in times. Usually, the dark green shade would
the visnudharmottra, an earlier text, it is be accompanied by a lighter tone made
mentioned as a mularanga colour-green- from danafarang, harabhata or selu mixed
brown-a mixture of harital, orpiment, and with Kharia. This lighter tone would be
kajjvala, lampblack. laid over the dark base colour to make
foliage.
Mixed Green
SELU, EMERALD GREEN
Danafarang, zangal, selu and harabhata
were the most commonly used green Selu is an alchemical pigment, copper
pigments in miniature paintings. However, acetate arsenate, first synthesized in
many greens were mixed often made Europe in 1814. It was used during the
with neel (indigo), Prussian blue, harital nineteenth century and resembles a mixture
(orpiment), goguli (Indian yellow) and of danafarang and kharia.
gamboges. Landscape were often painted
Harabhata
with these ‘mixed green’, a practice
associated particularly with the Kota, Harabhata was commonly used in
Bundi, Kishangarh, and Basholi schools. miniature paintings until the nineteenth
Each would have their own stylized version century. It was also known as fresco
of the landscape, but the base colours pigment. Unfortunately, in the recent times
would remains largely the same. This Harabhata has been difficult to find either
would consists of a dark green shade made in stone or pigment form.
NAMES AND CLASSIFICATION OF GREEN PIGMENTS

Danafarang Malachite Mineral: Basic copper carbonate
Zangal Verdigris Mineral: Copper acetate.
Harabhata Terra verte Earth: Hydro magnesium-iron almunium silicate.
Earth surface deposit.
Selu Emerald green Alchemical: Copper acetate.
77
HARABHATA: Method of wine vinegar (red) is used and the grape

Preparation stalks are added, however, unless locked
in a resin it is fugitive turning brown. To
Harabhata is the mineral caladonite or prevent this it is made into copper resonate
glauconite, an iron oxide earth pigment by dissolving it in venic turpentine.
prepared through grinding and washing.
DANAFARANG,
ZANGAL, VERDIGRIS MALACHITE
Zangal, verdigris, is an alchemical colour
Malachite seems to have been brought to
produced by exposing copper metal to salt
India from Persia along with azurite as the
water or other chloride solutions such as
two are often found together in the same
vinegar in a sealed container. The pigment
earth deposits. The term danafarang, later
is an intense green/blue colour that is
adopted into vernacular Hindi via Urdu,
opaque.
suggests this middle-eastern connection.
Zangal is traditionally used for the Dana in Hindi refers to an object that
background of a painting and is mixed has spots, seams or veins, farang-mineral
with different yellows to create foliage. or stone form. Together dana and farang
It is probable that it was introduced to describes the green colour that is extracted
India by Persian artist during the Medival from the mineral. Craftsmen prefer
period, as there is no reference to zangal in danafarang to zanfal an harabhata as it is a
Sanskrit texts. more stable pigment and retains its colour.
ZANGAL: Method of Danafarang has an exceptionally luminous

preparation colour, a pale green with a blue cast. Its
strength lies in its smooth chalky texture
A polished piece of copper is suspended (similar to that of kharia) and is light
in a tall jar over about half an inch of between the fingers usually tests the quality
vinegar. This jar is sealed and kept in a of a pigment. As a mineral, malachite is
warm place. Within two weeks, the green found in two forms a hard smooth stone,
copper acetate can be seen floating over or a soft crumbly stone. The hard, smooth
the copper. After a week or two, the lid variety is used in paintings, the method of
of the jar is opened and the jar left for a preparation being similar to that of kharia
further three or four days. Traditionally, and hinglu.
78
BLUE
Pigments
79
Historical Context (Bilwarai). Mewari artists known the

pigment as bastashi-neel.
Blue is mentioned in the Silparatna as
a mularanga, primary color, together This Mewar connection suggests several
with kajal (lampblack): soot and syama ways in which indigo has been used by
(dark blue or black). An earlier treatise, itself or mixed with yellow to make green.
the visnudharmottara, mentions neel, Neel is quite versatile and can be used as
indigo, rajavarta, and lapis lazuli, as color either a base or a transparent wash color.
substances. It has been established that In Nathdwara and Kotah painting, neel is
indigo is known to have been manufactured used for the figure of Shri Nath Ji. The
in India in antiquity and exported to figure is a dark blue-black colour, made
Greece and Rome. by mixing neel, asmani, lazwardi, kajal
and red lac. The peacock shade, which is
Lapis lazuli was imported from the often the same as the shade for Krishna,
Badakashan region of Persia, the Kokeha is also made from base color of neel or
vally being a source of the mineral since
ultramarine.
pre-historic times. The colour, known as
ultramarine blue, was extracted from this ASMANI, SMALT
semi-precious stone. The term rajavarta
is sanskritized from of the Persian word Asmani or Smalt, is a potash glass-tinted
lazward that means ‘blue’ or ‘lapis lazuli’. cobalt oxide. The method of preparation is
believed to have originated in the middle
NEEL, INDIGO
east, as the major source of cobalt ore is
Neel, indigo, is an organic pigment, Iran. As a colour, it is closer to cobalt
which is extracted from the plant Indigo blue and less intense than ultramarine or
Tinctoria. The Nathdwara craftsmen azurite. The name asmani means ‘sky’ in
assign it the name of kanti-rang and use
Hindi, which suggests that it may have
it for the blue paintings of Shri Nath Ji.
The plant was grown on a large scale in been used for sky or background. However,
the Mewar region of Akola and Sanganer it was also used by the Nathdwara and
NAMES AND CLASSIFICATION OF BLUE PIGMENTS

Neel Indigo Organic: Extracted from plant Indigo Tincotoria

Lazwardi Lapis lazuli Mineral: Sulphur containing sodium alminium silicate.
Syama Azurite Mineral: Basic copper carbonate.
Asmani Smalt Alchemical: Cobalt Oxide-Smaltite.
81
Kotah painters for the figure of Shri Nath nature by using a substance quite different
Ji. The glassy characteristics of Smalt were from other pigments employed.
exploited to good effect by Kotah artists.
In one case, it seems to have been used
for Krishna’s face, emphasizing his divine
82
BLACK AND
BROWN Pigments
83
Historical Context mixture till the water is reduced to one-

forth the quantity of the original old kajal
Carbon black was used as a source
and allow to dry. When necessary, add
of pigment since early times. The
water and use it as ink. This is pigment.
Visnudharmottara lists black as a mularanga
or suddavarna, a primary color, along with BLACK PIGMENT
red, white, yellow and green-black from
As black is used for making ink, which
kajjvala (soot, used for eye-black). The
requires a smooth, fine powder, craftsmen
sliparatna, a later treatise on painting,
prefer lampblack. Charcoal, ivory and bone
actually describes the method for making
black have been used in earlier times, but
kajjvala, lampblack. The Abhilasitartha-
they tend to be much grittier. When ground,
cintamani also mentions lampblack for
lampblack gives finer, softer particles,
use as a black pigments. Later, the Jaina
which make better ink. Black is rarely used
chitra kalpadrum describes various recipes
in any quantity, its main use being outline
for preparing kajjvala into ink for palm leaf
and detail work; the flow of the ink is
and paper. A typical recipe for paper ink
therefore vital. During the Mughal period,
is as follows.
Chinese ink was introduced. Chinese ink
Take best lac resin, boil it in water, and and lampblack were, and still are, the only
add a little borax and lodh bark. Boil the black inks used in studios.
Names and classification of Black Pigments

Kajal Lampblack Organic: Carbon mineral after preparation.
Kajal Chinese ink Organic: Carbon mineral after preparation
Names and classification of brown pigments

Dhumsa Walnut-like-ink or sepia Organic: Carbon mineral after
preparation.
Earth brown Sienna Iron oxide. FeO (OH). Contains
(light) aluminosilicates and magnesium dioxide.
Earth brown Raw/burnt umber Iron oxide (with a large proportion of
(dark) manganese dioxide)
85
BLUE-BLACK SYMBOLISM PREPARATION OF BLACK

OF THE COLOUR OF INK
KRISHNA To make kajal, lampblack, burn wood, oil
The colour blue and black seem to have an incense in a ceramic pot that is placed over
inherent relationship in Indian paintings, a flame to catch the soot. Collect this to
one that is mentioned in Sanskrit texts. In make Chinese ink.
the Abhilasitartha-Cintamani of the nature Soak shellac in pure alcohol (90%); this is
of blue, is posed, in an attempt to distinguish the same quality of varnish that is used for
between the two colours; this colour is, wood instruments.
therefore, different from kajjavala (for
Krishna). The question implies that this Add shellac in pure alcohol slowly,
relationship is confirmed in the silparatna, dissolving it to saturation point. Use only
a latter treatise on paintings, which goes the liquid form, discarding any deposits
on to list blue/black as a primary colour: that fall to the bottom of the pan.
soot and syama (dark, blue or black), here Put the shellac liquid into a double boiler:
syama being azurite or ultramarine. two pans, one larger than the other that fit
The relationship between the two colours is inside each other with water in between.
later realized in the form of Krishna. Each Bring more water to a boil in a separate
colour represents the nature of infinity pan.
within the finite realm. Blue, the colour
of the sky, is a symbol of the infinite, and Add boiling water to shellac plus half
black symbolizes the absence or completion a teaspoon of ammonia. This should
of colour. When all colours merge into become a milky consistency.
‘one’, then appears the void of blackness. Take off the heat and cool.
The svarupa of Shri Nath Ji is a blue-black
stone relief carving which symbolizes these Once cooled, add large quantity of
two aspects of the infinite, this being the lampblack.
nature of Krishna.
86
YELLOW
Pigments
87
Historical Context RAMRAJ, YELLOW OCHRE

Yellow is mentioned in almost all the ancient Yellow ochre was initially used as a fresco
texts as being a primary color, mularanga, pigment but later became part of the paper
Harital, orpiment, and ramraj, ochre, are tradition. Its survival as a pigment is largely
both listed in the Visnudharmottara as due to its golden color. Gold, being very
coloring substances. The silparatna, a later costly, could not be used in large quantities,
treatise, mentions yellow and orpiment, so craftsmen would often lay a base color
this yellow being ochre described as a of ochre before applying gold leaf or paint.
‘mountain’ or ‘earth’ color, used for fresco
As the base color for gold, ramraj is ideal for
painting. Ochre is regarded as the oldest
decoration and jewelery work. Thick base
yellow pigment and the one used at Ajanta.
of ochre is applied directly to the surface of
Both orpiment and ochre survived into
the paper or cloth. A wash of gold is then
the early paper periods for similar reason,
laid over this base. After burnishing, it has
namely their association with gold. In each
the effect of solid gold. As a color, ochre
case they were used as the under-paint for
can be painted into any shape particularly
gold, a practice that continues even today.
useful for intricate jewelery. The solid
However, orpiment was later replaced by
under base allow the gold to be well
ochre due to its corrosive tendency towards
burnished making it shine brighter and at
other pigments and the binding medium,
the same time saving precious gold. This
gum Arabic.
method is also used for Pichwai painting.
NAMES AND CLASSIFICATION OF YELLOW PIGMENTS

Indian name English name Mineral, earth, organic, or alchemical
Ramraj Ochre Earth: Geothite iron oxide, earth surface deposit.
Harital Orpiment Earth: Arsenic Sulphide. Earth surface deposit.
Goguli Indian yellow Organic: Crystalline magnesium salt of exuanthic
acid.
Gamboge Gamboge Organic: Extracted resin from the Garcinia tree.
Peori (dark) Chrome yellow Alchemical: Pure lead chromate
Peori (light) Lemon yellow Alchemical: Pure lead chromate
Kesar Saffron Organic: Extracted from the plant Crocus Sativus
Haldi Turmeric Organic: Eracted from the plant Curuma Longa
Kussum Safflower Organic: Extracted from the plant Carthamus
Tinctorius.
89
Ramraj: Method of hartal, the latter being the one used as a

preparation pigment. It tends to corrode gum Arabic
and other pigments. Orpiment is a naturally
Yellow ochre is an earth pigment of occurring mineral tri-sulphide of arsenic
hydrous iron oxide and quartz often found which often appears as realgar, a closely
in soft earth deposits. It requires little related sulphide of arsenic. The method of
grinding and washing before being made preparation involves simple washing and
into pigment, which is later mixed with grinding in a pestle and mortar as the stone
gum Arabic. is very soft.
HARITAL, ORPIMENT
Orpiment is found in two forms known in
Rajasthan as godanti hartal and takanja
90
METAL
Pigments
91
Historical Context paint, which is largely based on the Persian

technique.
Sona (gold, rajata (silver), tamra
(copper), ranga (tin), abhrak (mica) Gold
and loha (iron) are all mentioned in the
The Nathdwara style developed fairly
visnudharmottara as colouring materials.
late in the miniature tradition of the
Patra-vinyasa and rasakriya describes the
early seventeenth century. In Nathdwara
technique for using these metals in ancient
school, the image of Shri Nath Ji itself
times, Patre-vinayasa being the leaf and
being adorned with gold jewelery. These
rasakriya the paint form. Gold is believed
decorative cloth hangings were painted
to have been used to decorate stucco image
with gold in both leaf and plant form.
and paintings of the Buddha during the
Gupta period. However, it was not used Gold Pichwai were made in two distinct
as part of the fresco tradition at Ajanta, forms: black or red, these being the colour
Ellora, Bagh and Badami, even though of the cloth upon which the image were
the techniques of preparation were known painted. In each case, the cloth would be
to Indian craftsmen from as early as the dyed prior to painting. These Pichwais
seventh century. With the movement from were made with gold leaf, as opposed to
wall to wood (palm-leaf), gold continued to paint, which would have been impractical
be used, albeit in some what crude manner. and very costly on this scale.
The earliest common use is the illustrated
PREPARATION OF GOLD
Jain manuscripts of the fifteenth century.
Refined methods of preparation came LEAF
much later during the sixteenth century, Gold is usually sold in ten-gram biscuits;
brought by Persian craftsmen who had after preparation a biscuit yields exactly
mastered the technique almost the century 160 leaves of gold. The biscuit is heated
earlier. A later treatise, the Abhilasitartha- by a goldsmith and then made into a long
Cintamani and the Silparatna, describes in strip, approximately two inches in width.
detail the method of preparation for gold This strip is then cut into small pieces, and
NAMES AND CLASSIFICATION OF METAL PIGMENTS

(DHATUS)
Indian name Earth name Mineral, earth, organic or alchemical
Svarna Gold Mineral: Element mineral.Au
Chandra Silver Mineral: Element mineral.Ag
Ranga Tin Mineral. Gn
93
then placed inside a leather-tanning book. a metal block and beaten with a hammer.
The book is tanned with a wooden mallet Gum Arabic is added; the tin becomes a
for several days until the pieces of gold are fine powder and eventually a paste. The
thinned into individual leaves. The leaves paste then hardens and resembles a grey
are then made into gold paint. silver nugget. To reconstitute the colour,
the nugget is rubbed against the side of a
RANGA, TIN OR MICA bowl with a little water.
Ranga is used in Miniature Painting as
GAMBOGE, GAMBOGE
a substitute for silver, which often turns
brown after a period due to oxidization. Gamboges is a natural resin that is
However, ranga itself has a long history of collected from gum known in Rajasthan
use in India, originating as an ayurvedic as sare-revan similar in nature to red lac.
medicine, which was later passed into the The name gamboge, however, derives from
alchemical and tantric traditions. As a the two words, gum and resin, originating
mineral pigment, it seems to have used in from various trees, found in Cambodia
many of the Rajasthani painting schools. and Thailand. Gamboges is used as a
Ranga is often used as a base colour for transparent wash that gives a warm yellow
the depiction of Krishna who appears in tone.
several forms; Shreenath Ji, Brij Nath,
and Navanitpriyaji. Ranga is also used as
GOGULI, INDIAN YELLOW
a base colour for the lotus pond a common Goguli is the colour par excellence of
motif in Pichwais and Miniature Paintings. miniature painting. The goguli which
The silvery blue-grey colour represents the survived was later adulterated with inferior
muddy waters from which the sacred lotus chemical yellows, namely, chrome and
emerges. cobalt that were introduced to India from
Europe. A few craftsmen have actually seen
RANGA: METHOD OF
or used the color. Today, it is regarded as a
PREPARATION lost part of the tradition. At present, goguli
Ranga is traditionally prepared in is no longer prepared anywhere in India.
southern Rajasthan, Udaipur, and As a transparent colour, goguli could be
Nathdwara regions. It is found in several washed over the forest and background
shades-silvery grey in colour, often with a scenes of the painting. This would warm
blue cast-some being slightly darker than the dark green foliage of the forest, giving
the others. The method of preparation it a subtler ethereal orange/brown shade.
is similar to that of gold and silver leaf, This was a common feature of the bundi,
whereby the tin is heated and beaten into Kota and Kangra schools
long strips. The strips are then placed on
94
Materials used in and, by and large, the painters have

making of Pichwai not succumbed to the lure of modern
commercially produced brushes.
Cotton Cloth Traditional, brushes are of various sizes
The fabric used in making of Pichwai is a and thicknesses and the particular brush an
simple cotton. It is easily available in the artist uses depends upon what he wishes to
market and not much expensive. A special paint. Squirrel’s hair brushes are used for
kind of adhesive is used to make it thick so very fine work. The hair is attached to a
that it can hold the colour. piece of pigeon quill and the brushes have
a bamboo stem. The squirrels are trapped
Pencil by the painters themselves, using the
It is the basic tool used for each and every familiar combination of basket, stick, and
kind of painting. It is used for sketching. bait known to most children. The squirrels
It is kind of normal pencil which is used are not killed when caught but are treated
by students. Some special type of drawing with great care, being released when
pencils are also available in the market. they have served their purpose, and have
yielded the best hairs from their tails, those
Scale: The normal scale is used for considered most suitable for detailed work.
measurement. Other brushes are made from horsehair
Ply Board (For and these are used for work, which is of
a more general nature. A few painters
Hanging Cloth)
have taken to the use of sable brushes now
The ply board is used to hang the cloth on manufactured in India but the traditional
which the Pichwai is being painted. ones are still preferred.
Clip(To hold the Rug
Cloth) It is any type of cloth which is used for
The clips are used to hold the cloth on the wiping off the extra colours.
board.
Coconut Cap
Water Container It is normal coconut cap which is used for
The container can be any bowl or glass or mixing the colour. It is used as a colour
tumbler. It is used to wash the brushes. palette.
Brushes
Brushes are prepared in the traditional
manner from available natural material
95
96
Chapter 10
Artists Of Nathdwara
97
We don’t know much about the history of to them, dismissing their work in one page.
the painters of Nathdwara. There is not Evidently, he was under the impression that
any record which tells that when they had the artists restricted themselves to paintings
adopted this profession. Todays generation of the icon, executed in the typical ‘archaic’
of artists says that their elders came here style.
with the icon of Shri Nath Ji. And they were
employed to paint murals in the new haveli/ Painters (Artists)
temple of Shri Nath Ji. Sectarian records According to an oral tradition, amongst
which give details of the construction of the painters, Ramachandra Baba was the
the haveli and of the temple authority’s first artist of note. He is said to have come
efforts to embellish its interior, support from Jaipur and settled in Nathdwara over
this theory. Since chitra-seva, worship of 200 years ago. Today’s artists hold him in
a painted icon was permitted and even esteem and speak of him as a painter of
encouraged. The artists in Nathdwara talent who invented a new style of depicting
must have commenced painting the Shri trees.
Nath Ji icons quite early, and then gone
on to paint festival scenes, Krishna Leela About the same time, the artist
scenes, Krishna’s favorite pastimes, and Radhakrishna is also known to have moved
similar subjects for their patrons. to Nathdwara from Udaipur where he was
a mason. He is remembered for having
The painters in Nathdwara belong to started painting icon of Shri Nath Ji in a
two distinct, Brahmin a sub castes-the color different from that used earlier.
Jangid and the Adi Gaud, and live in
separate sections of the town. The Adi Eklingji was another gifted mason-sculptor-
Gauds claim that their ancestors have painter who migrated from Udaipur to
traveled to Nathdwara with Shri Nath Nathdwara in 1850. His wall paintings at
Ji in a bullock cart. Many Jangids make the Mahuvavala akhada testify to his skill.
the same claim but neither group can Noteworthy amongst these is the painting
substantiate its statements. Government of Ragini Todi, which shows a graceful
Gazetteers published by the early British woman, and a deer grazing at her beauty.
administrators based on exhaustive
research do not mention them; nor does There are many other nineteenth century
Tod’s famous journal of 1839, possibly painters, whose names appear on paintings
because, at that time, painters did not live and on Pichvais, but no reliable details
in the town in any significant numbers. are available about them. The name
In his on Rajasthani painting, Ananda of the painter Nathuji is mentioned in
Kumaraswamy makes a passing reference a manuscript dated 1813 containing
98
numerous drawings, which stylistically group of artist and was a direct descendant
resemble the contemporary folk paintings of Ramachandra Baba. He was the chief
of Mewar. A Pichwai, dated 1846 in painter, Mukhiya, of the temple.
the collection of Shri Jatindra Mistry
of Ahmedabad, also bear the name of Ghasiram’s initial training took place at
Nathuji. home and for twelve years he worked on
murals for the Raja of Zalavad. Shortly
One such artist, Vitthal, used to bring thereafter, the tilkayat engaged him.
large quantities of paper for his own work The excellence of his work won him the
stacked on a donkey’s back and made Tilikayat’s favour and he became the
his own colors in big earthen pots. He Mukhiya of the painting department.
used to create numerous paintings on one
particular subject at the same time. Ghasiram joined Sukhdev in the task of
producing the great-illustrated Bhagavata
Another painter, popularly known as commissioned by Tilakayat Govardhanlalji.
Phakkad, because of his whimsical nature In this venture, renowned painters like
and unusual life style, used to collect a tax Bhagvanji, Narayanji, Ramlalji, Fathelalji,
of one paisa on every rupee from his clients and Nandlalji assisted him. Old artists still
and then donate the total amount collected living in Nathdwara have vivid memories
to the shrine. of Ghasiram at work.
Little is known about Sukhdev’s life except Ghasiram soon won the respect of Master
that he created several exquisite paintings Kundanlal, his maternal uncle, who was
and Pichwais, which still survive. The faces the Tasvir-e-Karkhana ra Daroga, chief
in the Pichwai bear a strong resemblance to painter of the atelier of Maharana Fateh
those seen in paintings of the Kishangarh Singh of Udaipur. In 1893, Kundanlal
school. had been sent to England by the Maharana
for three years to study at the Slade Fine
It seems clear that Sukhdev was strongly Arts School. When he saw his nephew’s
inspired by Pichwai of 1817 on a similar work, Kundanlal declared that Ghasiram
subject by a Kishangarh artist. This had managed to achieve what he managed
Pichwai, formerly in use at the Vrajarayaji to do only after his special studies in
Temple, Kotah, is now in the collection of England.
Bharat Kala Bhavan, Varanasi.
Several Pichwais in use in the Shri Nath
The painter whose name has become Ji shrine today were painted by Ghasiram
a legend in the world of art is Ghasiram or executed under his direction. His studio
Hardev Sharma (1868-1930). Ghasiram’s was always crowded with students whom
father Hardev belonged to the Jangid he trained with great care and affection.
99
The various innovations brought about by very simple and always ready to teach. His
Ghasiram have made the present generation ancestors were also into painting. Many
of Nathdwara painters consider the father students from India and abroad comes to
of the modern phase of the Nathdwara learn from him. He has got students from
School. According to them, “The credit France, Denmark, Hungry, and Isrial.
for whatever prestige and administration His son Dinesh Gagoria is a very talented
that the painters of Nathdwara command, artist. Both are practicing at their studio at
both here and abroad, should go to Nathdwara.
Ghasiramji.”
Raghunandan Bhoora Lal Sharma is a
Now-a-days very few artists are working senior artist of Pichwai in Nathdwara. He
on Pichwai. Here are the name and is expert in making Pichwai. He is of shy
introduction of some artists who are nature.
painting Pichwais and developing their
own style side by side. The artists of today Artist Raja Ram Sharma is a Master
are very innovative and they are conserving temple painter and contemporary artist.
their heritage along with the modernity. Intimate, sacred and fantastical, he
Shri Rewa Shankar Lakshmilal Sharma is working independently on Pichwai
of Nathdwara is such an example. He and Miniature Paintings in Udaipur.
started learning this scared art of painting He paints in the tradition of the Indian
Pichwai at the age of ten in Nathdwara. miniature typical of works developed in
He learned the art under the guidance of the Mughal empire as well. He is very
Ghasi Ram Ji and Heera Lal Ji. Sh. Rewa simple by nature. Many students come
Shanker has been to U.S.A. in 1978 to learn the art of Miniature Paintings
to give the demonstration of Nathdwara from him. He is running a learning center
style traditional Pichwai painting at named “CHITRSHALA”. Any
Buedegamal Academy of Arts. In 1987- student is always welcomed by him. He
88, he received state Award in Miniature started learning in 1976 in Nathdwara
Painting. Recently, he was awarded with Pichwai Painting in “Guru-Shishya
the most prestigious President Award in Parampara” under Sh. Tulsidas Chitrakar
2013 for the contribution he has made for in Nathdwara.
the betterment of the art and the artist. --- He is having 15 years experience in
Shri Ghansyam Gagoria follower of Sh. Pichwais and Miniature Paintings under
Rewa Shanker is an expert in making President Awarded Artist Lt. B.G.
Pichwai and Miniature Paintings. He is Sharma, in “Guru-Shishya Parmpara”
100
in Udaipur. At present, he is working on Jnana Pravaha, Varanasi (U.P.)

Pichwais, Miniature and other Paintings.
Traditional art Trust, New Delhi.
He has received many
Victoria Monroe Fine Art Gallery, Boston
awards which are (U.S.A.)
listed below:
Collection in New Delhi, Mumbai,
1998: Specially Honored by Education Bangalore, Kolkata, Varanasi, Surat,
Minister on 15th August for the Field of Ahamdabad, Varndavan, Jaipur.
Painting.
Collection in USA, UK, France,
1998: First Prize in District Handicraft Germany, Australia and Pvt. in India and
Contest, Udaipur (Raj.) Abroad.
2001: All India Award of Traditional & His Solo Exhibition on Miniature Painting
Folk Art, SZCC, Nagpur. was held at The Drawing Room Art
2001: All India Special Award of Gallery in 2012 (66Newtown Lane East
Traditional Art, T.A.H.S., Karnataka. Hampton New York)
2002: Gold Medal in Traditional Painting HYPER LINK: “http://drawingroom-

at All India Art Exhibition, Jangaon Dist. galler y.com/contemporar y/raja-ram-
Warangal (A.P.). sharma.shtml” http://drawingroom-gallery.
com/contemporary/raja-ram-sharma.shtml
2004: All India Award of Traditional Art,
Kalidas Academy, Ujjain (M.P.) Bhanwar lal Girdhari lal Sharma (B. G.
Sharma) is an award-winning painter
Here some of HIS from Rajasthan, India. He is famous
WORKS IN COLLECTION is for his miniature devotional paintings
being listed as below: and his rejuvenation and popularization
of classic Rajasthan art, including the
Shrinathji Temple, Nathdwara. Haveli of Mughal, Kishangarh, and Kangra styles.
Shrinathji, Udaipur & Ghasiyar Sharma was born August 5, 1924, in
Nathdwara, a small town near Udaipur.
NCZCC, Allahabad.
Nathdwara is home to the Shri Nath Ji
SCZCC, Nagpur.Gujarat Sidhee Cement Krishna temple complex, which supports
Ltd., Mumbai. Navdeep Pratishthan, the artists community. Sharma’s family
Ahamdabad. had been artists for generations. Sharma
has been exhibited internationally in
101
London, Germany, and the United States. Malcolm Fraser all commissioned portraits
The Shri B. G. Sharma Art Gallery in by Sharma. His various awards include
Udaipur contains an extensive collection of India’s National Art Award for Master
his works. Craftsman.
B. G. Sharma is recognized as the foremost A collection of Sharma’s artwork was

legendary painter of Indian Miniature published in September 2000 titled Form of
Paintings and religious paintings. He Beauty: The Krishna Art of B.G.Sharma.
is famous throughout India and abroad
for his originality in composition, design, Now his son, Mukesh Sharma, is
detail, and ornamentation. He has working independently on Indian
influenced and inspired many other artists Paintings in Traditional Style which
all around the world. B.G. Sharma has includes Miniature, Pichwai, Oil
accomplished in the traditional schools Paintings, Modern Paintings and
of Kangra, Kishangarh, and Mughal National Cultulral paintings. He is
painting and has developed a unique style having 48 Years’ experience in traditional
that has contributed significantly to both, style includes Miniature and Pichhwai
traditional and contemporary Indian art, paintings. He has received Best Artist
which is widely called as “B.G. Sharma of Rajasthan State Award (1986) for
Style” of painting. Painting on Ivory.
Former Indian Prime Minister Indira B.G. Sharma is not with us today but his
Gandhi, British monarch Queen Elizabeth blessings and great art is immortal and will
II, and former Australian Prime Minister be with us forever.
102
Chapter 11
Exclusive paintings
of various artists of
Nathdwara and Udaipur
103
B.G. Sharama is the only artist who was deity Shri Nath Ji at haveli and draw the
permitted by Shri Talikyat Shri Govind sketch on Chappan Bhog manorath.
Lal Ji Maharaj to sit in front of the main
B. G. Sharma (07-11-1985).
104
Gopashtami Pichwai Date: Late 18th–early 19th century

(Painted and printed gold and silver leaf,
The Pichwai on The Festival of Cows is opaque watercolor on indigo-dyed cotton)
preserved in “The Metroplitan Museum
of Art”. Dimensions: 97 5/8 x 103 1/8 in. (248 x
262 cm)
105
Annakoot Utsav Priests worshiping Krishna as Shri

Nath Ji for Mountain of Food festival.
This Pichwai is preserved in the “National Shrine Hanging. 1840 Kota (Kotah),
Gallery of Australia”. Rajasthan, India. Painting, opaque
watercolor, ink, silver and gold on cotton
(188.5 h x 144.5 w) cm
106
‘Playful Gifts and other Gopi Scenes’, ‘Pichwai’

from Golconda (India)
Late 17th century, dyed cotton with polychrome and gold,

”Honolulu Academy of Arts”
107
KRISHNA AS SHRINATH-JI FLUTING

TO THE COWS AND GOPIS PICHWAI TEMPLE PAINTING
This Pichwai is preserved at “Mingei International Museum” San Diego, CA
Dated: 19th Century

Dimensions: 78 in. x 70 in. (198.12 cm x 177.8 cm)
108
Pichwai At The British Museum
Painted hanging, ‘Pichwai’, of the with vermilion, indicative of the auspicious

Vallabhacharya Sampradaya, showing nature of the Gopashtami festival. Designed
cattle and herdsmen. The humps, horns for the sanctum of a Krishna temple. Plain
and lower legs of the cows are coloured weave cotton, painted.
Dated : 19thC-20thC
109
A Miniature Painting of Radha Krishna
Artist: Rewa Shankar Sharma (Udaipur)
110
Procession
Artist: Mukesh Sharma(Udaipur)
111
Annkoot Pichwai
18th Century Pichwai at British Museum
112
Gopashtami Pichwai
18th century Pichwai at British Museum
113
Maharaas Pichwai
Early 20th century Pichwai
114
Sandhya Aarti
Artist: NayanSukh Leeladhar Ji
115
Sehra Shringar
Artist: B.G.Sharma
116
Giri Kandhraa
Artist: B.G.Sharma
117
MahaRasa Leela
Artist: Bhoora Lal Sharma
118
An Antique Pichwai
Artist: Unknown
119
Morakuti
Artist: Bhoora Lal Sharma
120
Makhan Chori (Butter

Stealing)
Artist: Yogesh Sharma
121
Kamal Pichwai
Artist: Dinesh Ghanshyam Gagoria
122
Some Artists Of Nathdwara
123
Krishna is My Best Friend

When I feel happy, delighted with life, Krishna is there to hold me.
When I feel there is some one who understands me, Krishna is there to understand me.
When I feel sad, alone and frustrated with life, Krishna is there to give me company.
When I find myself hopeless and dishearten, Krishna is there to encourage me.
When I feel there is no one else for me, Krishna always stands by me.
When I feel no one is listening to me, Krishna always answers me.
When I get lost on the ways of life, Krishna is there to show the right path to me.
I feel Krishna is always with me
So I can say that Krishna is my best friend.
Anu Julka
124
References
1. Shri Garg Samhita
2. Shrimad Bhagvad Purana
3. Shri Vishnu Purana
4. Krishna (Bhakti Vedanta)
5. Shri Gopi Geet
6. Shrimad Bhagvad Gita
7. Shri Geet Govind
125
126

NathdwaraPichwais AnuJulka 10AugPrint PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

NathdwaraPichwais AnuJulka 10AugPrint PDF

Uploaded by

Copyright:

Available Formats

© Anu Julka 2019

All rights reserved

H. H. Shri Ravi Shankar Ji

“Painting reveal mixed feelings. Painting plays on the instrument of

“Painting is the silence of thought and the music of sight.”

“Painting is the colourful language of culture and religion.”

Hindus discovered many art forms as

The word Pichwai is derived from increased, Pichhwais were getting

Pushtimarg is based on the Vedant philosophy of

Shri Nath Ji Temple Entrance

Artist: Raja Ram Sharma(Udaipur)

Shri Nath Ji is the principle deity in Pushti

Shri Nath Ji is the deity form of Lord

“I am the conscience in the heart of all creatures

This is how Lord Krishna describes God in the holy Gita.

In Hinduism, Krishna is the eighth The stories of Krishna appear across a

He is known as Govinda, “Finder of the great leader, a protector, philosopher,

I adore Krishna, who is bluish-black like a responsibilities as lightly as he is carrying

The Story Behind and placed a feather on his crown. Thus,

Krishna Wanting Moon

“Listen son, come to me

Artist: RajaRam Sharma (Udaipur)

Gangaur Utsav Pichwai

Gangaur festival is held every year in

Gangaur festival also witnesses noisy

Artist : Raja Ram Sharma(Udaipur)

‘In the case of whomsoever that has turned their minds

Artist Raghunandan Sharma (Nathdwara)

Artist: Yogesh Sharma (Nathdwara)

Artist: Yogesh Sharma (Nathdwara)

Shree Dwarikadhish Ji: The 1. Shankh (Conch): Shree Swaminiji’s

Shree Balkrishna Navneetpriya Ji: Shree MadanMohan Ji: Lord playing

Saanjhi Vallabhacharya Sect temples (where Lord

Vanishnav religion has

On the night of Sharad,

Artist: Raja Ram Sharma (Udaipur)

Artist: Sh. Vishnu Sharma (Nathdwara)

Description of the banks of Yamuna in Vrindavan where

Atma (Soul) Rasa-leela. Rasa-leelas are particularly

Story behind lifting Mount Goverdhan By In Shrimad Bhagavadam, Shri Shukdeva

Artist: Yogesh Sharma (Nathdwara)

Annakut Festival form. At night, after pooja, people take

Gopashtami Cow in India is as important as a mother.

Artist: Raja Ram Sharma (Udaipur)

Artist: Dinesh Ghanshyam Gagoria (Nathdwara)

HOLI The Festival of Colors

Artist: Nayan Sukh Leeladhar Ji

NAMES AND CLASSIFICATION OF WHITE PIGMENTS

Indian Name English Name Mineral, Earth, Organic or Alchemical

SAFIDA, ZINC WHITE; KHARIA

PREPARATION OF KHARIA GRINDING

HISTORICAL CONTEXT Red lac or Dhumsa is used for general

NAME AND CLASSIFICATION OF ORANGE PIGMENTS

NAMES AND CLASSIFICATION OF RED PIGMENTS

Historical context from Prussian blue; dhumsa, harabhata

NAMES AND CLASSIFICATION OF GREEN PIGMENTS

HARABHATA: Method of wine vinegar (red) is used and the grape

ZANGAL: Method of Danafarang has an exceptionally luminous

Historical Context (Bilwarai). Mewari artists known the

NAMES AND CLASSIFICATION OF BLUE PIGMENTS

Neel Indigo Organic: Extracted from plant Indigo Tincotoria

Historical Context mixture till the water is reduced to one-

Names and classification of Black Pigments