DIVINITY RADIATING FROM PICHHWAI ART

By Sonal Madan Johar

Pichhwai(pichvai) is a style of painting that originated over 400 years ago, in the town of Nathdwara near Udaipur in Rajasthan, India. Intricate and visually stunning, Pichhwai paintings, made on cloth, or on the wall are created by depicting the story of Shrinathji, another form of Lord Krishna holding the hill Govardhan. The story contains a beautiful history which represents the power of one of the most significant incarnations of Lord Vishnu.

When Indra, the lord of rains, showed his wrath on the people of Vrindavan, Lord Krishna lifted the Govardhan Mountain like an umbrella and saved the inhabitants – the cows and cowherds, from Indra’s fury. Indra was humbled and the people started worshipping Govardhan, the giver of rains and green pastures.

"The unique word Pichhwai comes from the Sanskrit words, ‘pitch’ meaning back and ‘wais’ meaning hanging."

Legend has it that in 1409 AD, an image of Shrinathji, the mountain lifting form of Krishna, was discovered when a cow worshipped the lord with offerings of milk. A temple was established there and was held in high reverence.

In the year 1671 AD, in anticipation of the Mughal king Aurangzeb’s raids, the temple was shifted to Rajasthan, where it could be safe in the hands of the Rajputs. Maharana Raj Singh decided to provide refuge. Along with Shrinathji, the lord’s sevaks – the priests, confectioners, cows and their caretakers and the Pichwai painters also went along. They stopped in 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”. This laid the foundation of The Shrinathji Temple in  Nathdwara , Rajasthan, in 1672.

PICHHWAI & BEYOND

The unique word Pichhwai comes from the Sanskrit words, ‘pitch’ meaning back and ‘wais’ meaning hanging. It refers to a unique form of pictorial textiles made specifically for use as backdrops in the shrines of Shrinathji (Shrinathji ki Haveli) in Nathdwara, hung behind the deity to celebrate different seasons, festivals and events in Lord Krishna's life. The central theme depicted in Pichhwais is Shrinathji for Lord Krishna which is the deity manifest as a seven-year-old child. Symbolic expressions are involved in various Shringars of Shrinathji.  There is a significant focus on large eyes, big nose and fat belly The U-shape tilak on the forehead represents the impression of Radha’s foot and the lotus garland is symbolic of Radha’s heart which Shrinathji keeps close to his own heart as an acknowledgement of love and dedication. The small Yamuna water container placed on the pedestal represents mother Yashoda and the throne on which the image rests is Yashoda’s lap. The lotus-shaped eyes of Shrinathji are also compared with Kamadeva’s bow.

Other common subjects found in Pichhwai paintings are Radha, gopis, cows and lotuses. Festivals and celebrations such as Sharad Purnima, Raas Leela, Annakoot or Govardhan Puja, Janmashtami, Gopashtami, Nand Mahotsav, Diwali and Holi are frequently depicted in Pichhwais. The most exciting part about this contemporary wall art is that they can be modified easily depending on the occasion.

Constituting an essential part of Pushti Marg worship, Pichhwais are exuberant outpourings of adoration of Krishna that add visual dimension to the already elaborate service to the deity. The Pichhwais are multilayered with respect to the Pushti Marg worship, constituting on the one hand the day-to-day adornment of the sanctorum of the shrine, while on the other hand they are deeply symbolic – artistic expressions of deep religious faith and devotion of the devotees. Part theatrical backdrop, part religious icons, they are made manifest by the celebratory spirit and desire to surround Krishna with all the luxuries and comforts available, rooted in the tenets of the sect. The purpose of Pichhwais, other than artistic appeal, is to narrate tales of Krishna to the illiterate. Temples have sets with different images, which are changed according to the calendar of festivals celebrating the deity. 

The making of a traditional painting takes a considerable amount of time, ranging from a couple of weeks to months and requires immense skill, as the smallest details need to be painted with precision. Great artists first sketch this conventional art on hand spun starched cloth, and then the beautiful image is created, painted and printed in brilliant colours or woven with hand blocks.

Steeped in Tradition: "Creating a Pichhwai can take several months" - Sonal Johar

A good Pichwai is distinct by the divinity radiating from the bhav of the deity’s face, which is said to evoke pleasant feelings in the onlooker. Other things to note are the vibrancy of the colours, the intricacy of the miniature work, and quality of the cloth/paper used. Pichhwais are meant to set the scene and invoke the mood for worship, and are changed according to time of day, different seasons, and festivals that hold significance in Krishna’s life. The Lord is often depicted as Shrinathji in Pichhwai paintings, which is his manifestation as a 7-year-old child.

The classic styles are generally made with natural colors and even natural brushes. The base is mostly red cotton cloth woven with yellow or any other bright colored embroidery. The focus is mainly on using intense and bright colors such as red, yellow, green, black along with a border beautified with a gota, dabka work or Swarovski. The most beautiful ones are mainly made of brocade and heavy silk; embroidered; painted and dyed; tinsel printed; block printed; machine made lace, even filled with pure gold – they all constitute a resplendent addition to the unique textile arts of India. The popularity of the elegant style is defined by its unique color palette and fine details.

Not only is this textile art held sacred, but the process of creating it is a form of devotion for the Nathdwara chitrakars or artists. The artists live in Chitron ki gali (Street of paintings) and Chitrakaron ka mohallah (colony of painters) and make a close community with constant interaction. Often a Pichwai painting is a group effort, where several skillful painters work together under the supervision of a master artist. Pichwai have become the main export of Nathdwara and are in much demand among foreign visitors.

Over time, Pichwais also found a place in the homes of art connoisseurs, owing to their visual appeal. The ‘not-so-famous’ art form is therefore not only found in temples but also in homes and across the world. The best part about these paintings is they there are no rigid rules on hanging them on the wall. Besides adorning the backdrop of the walls of the temple, these paintings do not carry any religious beliefs. Over the years, artists have started making comparatively smaller versions of the pictures than the larger ones. And now these newly created versions can be bought by art lovers as home decor or for an art museum. This beautiful journey from temples to homes shows the love of people for Indian art, history and culture.

CONVERSATION WITH SONAL

Q1. Can u explain a little bit about your journey as an artist? You call yourself a self- taught artist, right?

A1. Yes, I am a self-taught artist. It all started when I saw a friend doing Lippan art. The original method seemed too strenuous, but the inspiration was huge, so I developed my own way of making it. The applause from friends motivated me to carry on this passion forward.

Q2. Tell me a bit about your muse, your inspiration and your thought process.

A2. Madhubani Artist Bharti Dayal’s works have inspired me the most. The traditional motifs and patterns of India, the rich culture and heritage, traditional art forms from different parts of the country stimulate my thought process. A glimpse of a beautiful pattern sets my mind rolling and does not settle until I create something out of it.

Q3. Can u explain more about the traditional way you create the process in your works?

A3. For me the concept is traditional, but it is transformed into artistic yet contemporary modern art through novel methods. The traditional ways use natural and organic dyes and colors, specially treated cotton cloth, special nibs, natural brushes, twigs, kalams, etc. But I use normal brushes, canvas and acrylics to translate my ideas into a piece of art. The process starts from sketching, coloring, giving surface texture effects and finishing with stonework and then varnishing.

Q4. What inspires u? Where do u find ideas for your work?

A4. For me the source of inspiration is infinite universe. Sometimes a design on a roadside hoarding is enough, at other times, detailed research on motifs and patterns help.

Q5. Are there any artists u admires?

A5. Bharti Dayal for Madhubani is my idol.

Q6. What was the first artwork u sold? How did it make u feel?

A6. Krishna in Peacock feather was the first painting I sold. It elated me and gave me the confidence to devote my heart and soul, my mind and energy into my work.

Q7. What can we look forward to from u next?

A7. A series of 25 plus artworks, inspired from the basic motifs which are the foundation of many art forms, textiles, architecture, culture and heritage of India.

Q6. What was the first artwork u sold? How did it make u feel?

A6. Krishna in Peacock feather was the first painting I sold. It elated me and gave me the confidence to devote my heart and soul, my mind and energy into my work.

Q7. What can we look forward to from u next?

A7. A series of 25 plus artworks, inspired from the basic motifs which are the foundation of many art forms, textiles, architecture, culture and heritage of India.

Q8. Tell us about a piece of work u have fond memories of and why? (It can be a show or any specific piece...pls share that image too.)

A8. Shrinathji, is close to my heart as it was spiritually inspired. I could not believe that I could create such a work. I could feel the universal force making it happen through me while creating that piece.

BIOGRAPHY

I am a Dubai based Indian artist, who is fascinated by Indian traditional art forms like Pichwai, Madhubani, Lippan, Warli and Gond art. My philosophy is the famous quote of John Keats: "A thing of beauty is a joy forever. My objective is to make a contemporary attempt on long existing traditional art forms of India and relive them by incorporating them into modern interiors and architecture. 

I aspire to create art whose beauty has the power to remove darkness and negativity around us and give our soul a sense of hope, peace, serenity and tranquility. I use traditional motifs and designs in my creations, which have their own heritage value and are closely linked to natural, cultural,religious and spiritual elements of society. With my visually grandiose intricate artworks, which are traditional and artistic, yet contemporary and modern, I wish to deliver an experience of joy and pleasure to the onlooker.

ABOUT HER: 

Sonnal Johaar is a home-scientist, and a creative person at heart. She has worked as a lecturer in Home Science in India, and as a teacher in Dubai. Originally from the pink city of Jaipur, she presently lives in Dubai. A Doctorate in Clothing and Textiles, she has always been fascinated by the traditional designs and motifs embedded in different art forms of India. She has been experimenting with the motifs from her college days. Back then, she used to design and embroider yokes for her friends. As a self-taught artist, with no formal education and background in fine arts, her keen interest in motifs is the driving force behind her passion for art.

Inspired by the Lippan art of Kutch, India, she started her art journey in the year 2012. Experimenting with different motifs, mirrors, shapes and colors worked as catalyst and gave her murals the present form. She loves to modify and integrate the traditional motifs, into her murals. The balance and harmony in her symmetric designs are a sort of meditative. With her creative ideas, she has developed her own unique style and technique, and given a refreshing dimension to Lippan art which can be incorporated into modern and contemporary interiors and architecture. Working with mirrors is Sonal’s way of contemplating on life’s mysteries. Mirrors in her artwork are stimulating, helping to check one’s inner thoughts and emotions and in turn, stay focused, calm and composed. Her purpose she says is to “evoke the senses of the onlooker and drive them towards serenity”.

A major turn came in her art journey in the year 2015, when she experimented with another Indian traditional art form, Madhubani. Attracted by the bright colors and intricate motifs, she developed a unique style of her own to create Madhubani inspired art. She uses a basic Indian traditional motif and with her intricate designs and surface texturing with gems and stones, she has been up and coming in developing a fine bridge between arts and crafts giving an all-new dimension to her piece of art.  With her visually grandiose intricate artworks, which are traditional and artistic, yet contemporary and modern, she aspires to deliver an experience of joy and pleasure to the onlooker.

A different form of Indian traditional art “Pichwai” has become yet another forte of Sonal. Having made life size paintings of Hindu deity “Shrinathji”, she has found a spiritual connection with Art. Sonal also holds a speciality in creating a fusion of different artforms. As a passionate and driven artist, Sonal has been recognized for her Indian traditional inspired artforms in the field of art in Dubai.