Pichwai Painting www.craftcanvas.com
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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 CraftCanvas is a link between rural artisan communities and the urban customer, translating an ages old craft into something that is relevant today. It is based on the idea of contemporizing Indian Handicrafts through a common platform and canvas where stake holders of the craft community like artisans, designers, craft practitioners, etc can come together to create unique products and experiences suited to modern day living. India has a rich handicraft heritage and we owe this to generations of artisans who have blended tradition, religion, social norms and functionality to bring craft where it is today. However, there has been a significant shift in sensibilities of present-day craft patrons thereby highlighting a need for Handicrafts to adapt to these changes. We believe that there is a place for India’s traditional crafts even in the most modern of spaces and this process of evolution is what CraftCanvas facilitates. Handicraft patrons like you can express your requirements ranging from wall murals, soft furnishings, paintings, furniture and lighting among many others. Our team will assist you in transforming their ideas and aesthetic preferences to final products with a high level of artistry. On the other end, we are constantly forming collaborations between the craft and design community through which an interesting blend of experiences and products are developed. Working with designers, traditional artisans are trained to adapt to this new design scenario. For designers, it gives them an opportunity to create solutions that embody the essence of the craft. Subsequently, these innovations are marketed by CraftCanvas through channels like online store, workshops, exhibitions etc. Please feel free to browse through our site for specific information on our various initiatives and we look forward to welcoming you to our world of crafts.
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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. www.craftcanvas.com
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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. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
Sendur-Orange Safeda-white Kesari-Saffron Nil-indigo Hinglu-vermillion made from sulphide of mercury Lilo-bottle green Rav sena-yellow ochre Gulabi-pink Kati-light slate Lal-dark red Zangal-copper acetate Khasni (Jambani)-plum Suva Pankhi-parrot green Geru-red ochre
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15. 16. 17. 18. 19. 20. 21.
Selu-emerald green Hadmacha (also known as Hirmichi)- reddish brown Pilo-yellow Sai (also known as Syahi)black from lamp black Gavgoli or Pyoriyellow made from cow urine Asmani (also known as Lazvardi) -lapis lazuli 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 twentyfour 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 www.craftcanvas.com Craft Manual by
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 www.craftcanvas.com Craft Manual by
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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 www.craftcanvas.com
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Contemporary Adaptations
Use of Pichwai in Pre-wedding dĂŠcor 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-09december-2016/pichwai-painting/ • https://en.wikipedia.org/wiki/Nathdwara_Painting • https://www.artisera.com/blogs/expressions/173393223-pichwaisrediscovering-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-apichwai.jpg • https://blog.jaypore.com/2014/07/28/pichwais-of-nathdwara/ • https://www.artisera.com/blogs/expressions/173393223-pichwaisrediscovering-the-beauty-of-a-traditional-indian-art-form • https://s-media-cacheak0.pinimg.com/564x/4b/8c/96/4b8c96f9c5fc33bbb92372889281d38c.jpg • https://s-media-cacheak0.pinimg.com/236x/47/22/6b/47226bdc84493ee8d7e9b6bbd984dc2c.jpg?no index=1 • http://shop.gaatha.com/image/catalog/data/Gaatha/Paintings/Pichwai/Pichwai888.jpg • http://www.eventfaqs.com/news/ef-13793/sandeep-khosla-abu-jani-designdivine-mumbai-pre-wedding-decor-executed-by-celebrations
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