Pichwai Painting

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 Table of Contents
• About Us
• Introduction
• Mythology
• Material Used
• Process of Pichwai Painting
• Motifs
• Contemporary Adaptations
• Additional References
• Image Source

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 About Us
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We believe that there is a place for India’s traditional crafts even in the most
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Please feel free to browse through our site for specific information on our various
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 Introduction

Pichwai painting of Raas-Leela

Among the most beautiful pigment paintings on cloth in India are the temple
hangings of the Vallabhacharya sampradaya, a Krishna sect, found in the late 15th
century. These bright-coloured works adorn the walls and furnishings of a
temple's inner chamber where Lord Krishna resided. They are based on themes
and are designed to create the appropriate atmosphere for a particular festival or
season.

The principal hanging which is suspended behind the image or idol and acts as a
stage backdrop for the ceremony is called the Pichwai. The term Pichwai is a
Hindi word, literally meaning “of behind” (pich-back and wai-of).

Nathdwara, which is known for its tradition of painting and visual culture, is the
centre of Pichwai paintings. Hundreds of artists live in Nathdwara and paint for
their living. The Pichwai artists belong to two communities, the Jangidas and the
Adi Gauras.

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 Mythology

Traditional Pichwai painting of Shri Nathji

In the year 1671 AD, in anticipation of the Mughal king Aurangzeb’s raids, the
temple was shifted to Rajasthan, where it would be safe in the hands of the
Rajputs. Maharana Raj Singh decided to provide refuge. Along with the idol of
Shrinathji, the lord’s sevaks – the priests, halwais (confectioners), cows and their
care takers and the Pichwai painters (painters of temple background art) also went
along.

They stopped at Eklingji in Rajasthan, where there was a momentous temple of

Shiva, but since two temples of great importance cannot exist in one city, they
moved on further. At one point, the bullock cart got stuck in the ground and
would not budge. So it was decided to establish the temple of Shrinathji there in
the city of Nathdwara, (Nath – Lord, dwara – gate) meaning “the gates of the
lord”.

It is difficult to determine when Pichwais were first used in the temples of the
sect. Two early references to the hangings were found in the time of Vitthalnath.

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The words Pichwai, Pichwari as well as simhasana were used in describing the
decoration for varsha or rainy season and Phula mandali or flower gathering
festival. These references indicate that the custom of decorating the shrine with
cloth hangings has been a part of the ritual since the time of Vitthalnath. Whether
Pichwais were used earlier, during Vallabhacharya’s time, is questionable. The
size and shape of the Pichwai was dictated by the dimensions of the shrine and
the type of image for which it was made.
 Materials Used

Materials Used

Colours

Pichwais are best remembered for their vibrant blues and greens and brilliant reds
and oranges; the complete range of colour is used. Mostly, colours are made from
the traditional mineral compound and vegetable extracts, but nowadays
commercial synthetic paints are being used. The natural dyes are kept by the artist
in a dry, rock-like form. When a colour is to be used, the pieces are ground and
the powder is dissolved in water and thickened with a gum resin. The colours
used by these artists are:

1. Sendur-Orange
2. Safeda-white
3. Kesari-Saffron
4. Nil-indigo
5. Hinglu-vermillion made from sulphide of mercury
6. Lilo-bottle green
7. Rav sena-yellow ochre
8. Gulabi-pink
9. Kati-light slate
10. Lal-dark red
11. Zangal-copper acetate
12. Khasni (Jambani)-plum
13. Suva Pankhi-parrot green
14. Geru-red ochre
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15. Selu-emerald green
16. Hadmacha (also known as Hirmichi)- reddish brown
17. Pilo-yellow
18. Sai (also known as Syahi)black from lamp black
19. Gavgoli or Pyoriyellow made from cow urine
20. Asmani (also known as Lazvardi) -lapis lazuli
21. Jangali Ghero-greenish grey

Brushes

The Nathdwara artists work with two types of brushes (kalams). The broad jara is
made from goat hair and is used in painting large areas. The detailed work is done
with thin jhina made of squirrel tail.
 Process of Pichwai Paintings

Artisan at work

There is a wide range of techniques used in making temple hangings. Although

the most common and best known Pichawai examples are paintings on cloth, the
works may also be an appliqué, a combination of paintings and appliqué, printed,
embroidered or brocade. Earlier, Pichawais were painted on thick handwoven
material, but now a thinner machine-made material is also used. Generally the
cloth used is white but it is not unusual to use black, blue or red fabric. In case of
coloured fabric, gold and silver are predominant colours.

The procedure for making Pichawai involves various steps:

• Starching: The cloth is first starched using a maida paste. This prevents the
colours from running as well from bleeding through the material. After it
dries, the cloth is ready to be block-printed.
• Spacing: The spacing (khaka jamana) on the fabric is done very
systematically. First, the outer limit for the border (par ki boundary) which
will contain the creeper motif (bel) is marked off with a coloured thread
using a set square (konia). The thread is dusted with charcoal or zinc white
(safeda) and leaves a mark where it is placed. By the same method, the
central portion, which will contain the main scene, is also outlined (pich ki
boundary).
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 • Marking the Spaces: The centre of the inner rectangle space is determined
and marked, this central point governs the distribution of figures.
• Sketching: The selection of sketching material is determined by the colour of
the fabric. Zinc white is used on dark coloured cloth. On the white pieces,
the sketching is done with the charred pointed tip of a twig from a tamarind
tree. This rough sketching was called tipan. All the necessary corrections are
made before the tipan is retraced with a brush dipped in sendur, (orange
lead) or white paint, depending on the colour of the material. The sketch is
lightly dusted with a piece of cloth and starched again before the artists
begin painting.
• Painting: Then comes the painting of the figures and landscapes. When the
initial colouring is finished, the work is polished by laying the cloth face
down on a smooth rock and rubbing it from the reverse side with an agate
stone (ghonta). The shading and detailed work on the figures and landscape
follow. Among Nathdwara artists, this finishing is called Likhai.
• Ornamentation: At this stage, pearls (moti lagana) and rubies (naga chuni)
are added and the gold ornaments are completed and rubbed with agate to
give them a gloss. The final work in the figure is the addition of transparent
garments. A light wash is used so that the undergarment remains visible
(sari odhana). Gold butas are applied (buti banana or chundari banana). The
last step is the completion of the creeper motif in the border.

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 Motifs

Pichwai depicting the Annakut festival , when food id offered to Lord Krishna

The type of Pichwai which is to be used on any occasion is governed by tradition.

The Pichwai style is from the Nathdwara School and is identified by
characteristic features of large eyes, a broad nose and a heavy body similar to the
features on the idol of Shrinathji. Generally they are pictorial and illustrate the
incident or event on which a particular festival is based. There are at least twenty-
four main celebrations, which are important to all the temples. The designs are
commonly illustrated in the border scenes of painted Pichwais. These include the
major Krishna festivals based on the well-known stories of the Bhagavata Purana
and the verses of the bhakti poets as well as the anniversaries of historical events.
In the case of the Krishna lilas these are idealized representations. However, these
hangings, which depict actual events, are historical records complete with
portraits of the participants.

Although the majority of Pichwais are associated with particular festivals, a large
number of hangings have seasonal themes and are not assigned to special days.
These capture the mood of the season and provide relief from the scorching heat
or piercing cold. They may be hung at any time during the appropriate season.
While the paintings depicting summer have pink lotuses, the paintings depicting
‘Sharad Purnima’ comprise a night scene with the bright full moon.

The seasonal restrictions are also closely followed. During the winter months, the
scenes are not painted, but embroidered on heavy fabric or patterned in brocades.
During the hot summer days the lightweight painted Pichwais with scenes of
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 Pichwai depicting scenes from Janmashtmi, with Lord Krishna in Jhula or Swing

shady groves and cool streams are used in the shrine, Shri Nathji is surrounded
with scenes of dense shaded trees, leaves in abundance with water or lotus ponds.
With the coming of the monsoon season, the Pichwai is represented with
peacocks joyfully dancing beneath the cloudy skies.

Usually, Krishna is shown standing beneath a blooming Kadamba tree with three
or four gopis on either side of him. In addition to the Kadamba, there is a full or
half mango tree behind each group of gopis. More commonly, Krishna's presence
among the milkmaids is merely suggested by a creeper, which twines around the
trunk of the Kadamba. The posture of the Gopis play a major role in design.

They may dance for the Sharada Purnima or carry milk pots for the Dana lila.
When the background has raindrops and the sky is thick with clouds, it is the
rainy season or a Varsha Pichwai. Each scene has a band of cows at the bottom of
the hanging. The Morakuti Pichwai is filled with dancing peacocks. It is
associated with the rainy season because at the first sound of thunder, the peacock
spreads his magnificent feathers.

Some of the varieties of Pichwai based on the occasions and seasons are:
• Ramnavami Pichwai
• Nandmahotsava Pichwai
• Dana Ekadashi Pichwai
• Braj Yatra Pichwai
• Sharad Purnima Pichwai
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 • Annakuta Pichwai
• Govardhana Dharana Pichwai
• Gopashtami Pichwai
• Morakuti (monsoon) Pichwai
• Varsha Pichwai, and
• Winter Pichwai

Pichwai paintings of different seasons

Influence of Other Styles

Unlike the pigment-painted Pichwai, the other types of hangings such as
embroidered or appliqué pieces were not the products of schools which
specialized in Pichwai. They were the works of craftsmen who excelled in
sewing, weaving or embroidery.

• The appliqué Pichwais were made by tailors employed by temples. On

occasions, the tailor worked in collaboration with an artist who sketched the
pattern for the figures and later added the painted details.
• The Zardozi hangings, which occupied an important position in the main
houses of the Vallabh Sampradaya, were also the works of tailors. Gold or
silver metal threads were stitched to satin or velvet with thin silk threads
giving the works the appearance of true embroidery.
• Brocade hangings are quite popular because they are well-suited to the winter
weather. Such pieces are made by professional weavers on special order
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 Contemporary Adaptations

Use of Pichwai in Pre-wedding décor by Abu Jani and Sandeep Khosla

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 Additional References

• http://paramparikkarigar.com/flipbook/files/assets/common/downloads/page0
026.pdf
• http://gaatha.com/pichwai-paintings/
• http://www.insightsonindia.com/2016/12/09/insights-daily-current-affairs-09-
december-2016/pichwai-painting/
• https://en.wikipedia.org/wiki/Nathdwara_Painting
• https://www.artisera.com/blogs/expressions/173393223-pichwais-
rediscovering-the-beauty-of-a-traditional-indian-art-form

Image Source

• http://gaatha.com/pichwai-paintings/
• https://images.fineartamerica.com/images/artworkimages/mediumlarge/1/pich
wai-139-pichwai-pichvai-pichhavai-pitchwai.jpg
• https://images.fineartamerica.com/images/artworkimages/mediumlarge/1/pich
wai-212-pichwai-pichvai-pichhavai-pitchwai.jpg
• http://static.ibnlive.in.com/pix/ibnhome/news18/pichwai/painting-a-
pichwai.jpg
• https://blog.jaypore.com/2014/07/28/pichwais-of-nathdwara/
• https://www.artisera.com/blogs/expressions/173393223-pichwais-
rediscovering-the-beauty-of-a-traditional-indian-art-form
• https://s-media-cache-
ak0.pinimg.com/564x/4b/8c/96/4b8c96f9c5fc33bbb92372889281d38c.jpg
• https://s-media-cache-
ak0.pinimg.com/236x/47/22/6b/47226bdc84493ee8d7e9b6bbd984dc2c.jpg?no
index=1
• http://shop.gaatha.com/image/catalog/data/Gaatha/Paintings/Pichwai/Pichwai-
888.jpg
• http://www.eventfaqs.com/news/ef-13793/sandeep-khosla-abu-jani-design-
divine-mumbai-pre-wedding-decor-executed-by-celebrations

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Designed by Surpritkaur Dang

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