In Mark Twain’s words, “India is the cradle of the human race, the birthplace of human speech, the mother of history, the grandmother of legend and the great grand mother of tradition.”

His statement appears true when one glances at the rich traditional and artistic heritage this country offers, which is not only an object of beauty but also a deep dive into the cultural history of the nation.

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Through many mediums, the tales of Hindu gods and deities have spread to every spiritual corner of the world. If the folklores of Krishna, the legends of Ramayana and the chants of the Sufi saints of the Bhakti era are widespread, a major credit for this goes to the artists, who through their art mediums have carried this rich legacy forward.

Among the many art forms, Pichwai is a meticulously-detailed, hand-painted textile, traditionally hung behind the idol of Shrinathji, an incarnation of Krishna.

Pichhwai paintings is an art form that came into existence to adorn the backdrop of Srinathji of Nathdwara, the subject of eternal and infinite devotion, specially in Rajasthan, Gujarat and Northwest of India.

The word Pichhwai means hanging at the back (Sanskrit word “Pichh” means back and “wais” means hanging). Pichwai paintings are large-sized paintings done on cotton cloth using natural colours, depicting Srinathji’s leelas.

For traditional art forms and practices to resonate with contemporary audiences, the paintings require to be re-interpreted and contextualised for the here and now.

Thus, to bring forward this unique concept in an exhibition titled “Pichwai Tradition and Beyond”, art collector Pooja Singhal aims to give a platform to this dying art form to preserve, revive and sustain the tradition of Pichwai paintings that dates back to the 17th century.

The tourist town of Nathdwara is also home to many artists, who paint the image of the Lord in the middle of these backdrops and these lovely representations are lapped up by the pilgrims and tourists as souvenirs. They’re also a major export item from the town.

The present exhibition brings the alluring art form right to the heart of the city, for the viewing pleasure of the Capital’s art lovers and to generate awareness about an art form still practiced, much in its original form, deep in Rajasthan.

Mumbai show

An exhibition held at the Famous Studio in Mumbai last month brought to the fore traditional Pichwai paintings in a fresh avatar to a wider audience. The primary intent of this art form is the celebration of Krishna’s life episodes, popularly known in mythology as Krishna-Leela.

Each of the sections in the exhibition manifested the spirit of Krishna. The larger than life aura of Krishna and his veneration was projected through different themes highlighted in the exhibition.

The whole initiative re-imagined and reworked the layered historical styles and influences in newer scales, formats and themes for a wider audience.

The project actually targeted to engage and encourage the remaining few master miniaturists while training a fresh group of artists alongside.

The creation of an atelier, agile by the weight of tradition, facilitated supremely-skilled painters to merge traditional techniques with contemporary application and ingenuity.

History of Pichwai

The historical references available in various sources on the Internet suggest that in the 17th century, in anticipation of the Mughal king Aurangzeb’s raids, major Hindu temples were shifted to Rajasthan, where they could be kept safe in the hands of the mighty Rajputs.

One of the Rajput king agreed to provide refuge. Those who were carrying the idol of Shrinathji and Pichwai artists (originally the painters of the background art of the temples) also went along and decided to stop at Eklingji in Rajasthan, which also had a huge temple of Shiva.

But as per tradition, two temples of such great importance can’t exist at one place. The group moved on further and at one point, the bullock cart on which the idol was kept, got stuck in the ground. And then 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”.

The beautiful Haveli of Srinathji and the thriving town of Nathdwara, near Udaipur, sprang up soon. The Lord is worshipped here more as the Thakor ~ the head of the household ~ and love is the pre-eminent aspect of devotions.

Located in the Aravali hills, on the banks of the Banas River in Rajasmand District, just north of Udaipur, Nathdwara is a major pilgrimage destination. The lives of the people, their occupation, all revolves around the temple.

Pichhwais have become the main export of Nathdwara and are in much demand among foreign visitors. The artists live mostly in Chitron ki gali (street of paintings) and Chitrakaron ka mohallah (colony of painters) and form a close community with constant interaction. Often a Pichhwai painting is a group effort, where several skillful painters work together under the supervision of a master artist.

The current picture

Even though the Pichwai paintings hold an important place, especially in Rajasthan, in the staunch battle of keeping an art alive, it is the artists who suffer the most.

Commenting on the current plight of the Pichwai artists, Pooja Singhal said, “Some of the skilled ones are not in touch with the market and are, therefore, unable to thrive.

They have thus taken to painting marble urns and furniture. Some have become vegetable and tea vendors as they are completely out of work.”

She further added, “They are not keen to go through the rigour of training that the older artists go through. They are keen to get quick returns without the years of training required in the guru-shishya parampara.”

For her exhibitions, Singhal said she did not select pieces. “I commission them and see the works at many different stages to ensure that the piece meets the aesthetic requirements,” she said.

“The facial expression of Srinathji, the quality of the jewellery, the colours all go into the making of a good Pichwai. I belong to Udaipur and had an attraction to this art form for a long time. Because I grew up seeing it I also understood it very well.”

Pichwai paintings are not found very easily in Rajasthan. From this it could be deciphered that the art form has not seen any resurgence or revival in recent years.

Surely, this art form is blessed by Shrinathji of Nathdwara but if the devotees keep on ignoring the valuable nuances and elements that tell the story of the Lord, then definitely the dying tradition and the cultural heritage of Nathdwara will suffer the most.