CRAFT DOCUMENT EVOLUTION OF PICHWAI PAINTING
GROUP MEMBERS: AKANKSHA PRIYA, EKTA SINGH, GARIMA TATER, PADMA RAJ KESHRI & SANDIP JAISWAL PROGRAMME:
Masters in Design (Textile Design)
GUIDE :
VIJAI SINGH KATIYAR
2015 TEXTILE DESIGN
National Institute of Design Ahmedabad 1
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colors of devotion 3
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Manokamna Khidki: A window which is help to fulfil the wish of devotee. According to temple authority once your wish get fulfilled then you can offer coconut to Shrinathji. The structure of this temple is simple, but the aesthetic appeal of this temple is ceaseless.
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ACKNOWLEDGMENT We would like to express our sincere gratitude to our guide Vijai Singh Katiyar for his continuous support, exemplary guidance, patience, motivation, enthusiasm and constant encouragement throughout this project. His guidance helped us in all the time of research, writing and editing of the document. we also take this opportunity to express a deep sense of gratitude to Mr. V. B Paul, Consultant DCH(Development of Commissioner, Handicrafts), New Delhi for his guidance, cordial support, valuable information, which helped us in completing the project at final stage. Our completion of this project could not have been accomplished without the support of the entire team of artists of Nathdwara especially Mr. Raja Ram Sharma Mr. Pramanand Sharma, Mr. Dinesh Sharma, Mr. Ghanshyam ji Sharma and Mr. Deepak Sharma. We owe them our deepest thanks for the valuable information provided by them. I am grateful for their co-operation, time and patience during the period of our field visit. We deeply appreciate the open generosity of all the artists for sharing their knowledge and experiences and also to those whose paths we have passed, who are not represented here for practical reasons because of lack of space but who will most certainly be included in out journey and experience. We owe our sincere thanks to all the staff members and the IT centre, resource centre at NID for their encouragement, insightful comments and for letting me their invaluable time and supporting in documenting the project. These acknowledgment would be incomplete if we did not thank each other who have accompanied to this extra ordinary journey. We could not have gone through this project without the underlying support of our parents, who stood by us when we needed them. Thank You.
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This is the arrangement of different types of brushes. The artists of Nathdwara are very particular about the quality of brush they use. They generally prefer brushes made from squirrel hair . 8
CONTENTS
Acknowledgment
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7. Transition of design elements
74-75
1. Location and Maps
10-11
8. Traditional pieces of artists
76-77
2. Socio cultural aspects
12-13
9. Comparative analysis of the artists
78-79
14-15 16-17 18-19 20-25 26-27 28-29
10. Design Methodology
80-85
11. Evolution of Pichwai from traditional practices to modern contemporary look
86-89
2.1 Gaushala of Nathdwara 2.2 Food & Prasad of Nathdwara 2.3 Nathdwara Market 2.4 Artists colony of Nathdwara 2.5 People of Nathdwara 2.6 Costume and Jewellery 3. Pichwai painting 3.1 About Pichwai 3.2 Workspace of the artisan
12. Bibliography
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13. Image References
91
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4. Materials, tools & Techniques 4.1 Materials and its application 4.2 Color Pallette 4.3 Painting layouts 4.4 Preparation of Color 4.5 Tools & Techniques 4.6 Brush Making Process 4.7 Tools for Finishing 4.8 Painting Layouts 4.9 Technique of Painting
34-35 36-37 38-39 40-41 42-43 44-45 46-47 48-49 50-55
5. Artists of Pichwai Painting 5.1 Artists of Nathdwara 5.2 Raja Ram Sharma 5.3 Work of Artists of Nathdwara 6. Contemporary state of Pichwa
56-59 60-69 70-71 72-73 9
Fig 1.1 Route map of Ahmedabad to Nathdwara via Udaipur. The distance is approximately 307 kms which is about 6 hours from Ahmedabad. One can take a bus from Ahmedabad as many direct buses are available. 10
LOCATION & MAPS
Fig 1.2
Fig 1.3
Location of Nathdwara & Udaipur. The distance is approximately 45 kms which is about an hour . One can take a bus from any destination, Since, many local conveyance are available. 11
Social Cultural Aspects Nathdwara town is also famous as the Apollo of Mewar. In the town of Nathdwara, Shrinathji temple is the centre of attraction, but the town is also famous for its ‘pichwai’ paintings, handmade terracotta, ivory articles and milk-made sweets. During the times of Holi, Diwali and Janmashtmi, people throng in large numbers. Apart from festivals like Holi and Janmashtmi, Annakutta (Linked to Krishna lifting Govardhana Hill) is a major festival that is celebrated in the temple. Nathdwara is known for Pichwais (Large paintings on cloth depicting legends from the life of Lord Krishna )
Fig 2.1 This is a view of Giriraj Hill located near Nathdwara Town. Vaishnavas community consider a walk around mount Giriraj very sacred. These undulating rocky surfaces with traces of vegetation can be seen in many tactile motifs of mountains depicted in Pichwai paintings.
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Fig 2.2 Direction posts were noticed throughout the city which helps the tourists to locate the places in Nathdwara thus making the travel convenient. 13
Fig 2.1.1 A glimpse of Shri Nathji Gaushala situated about 3kms from his Haveli.The milk from the gaushalas is used to make bhog and prashaad for Shreenathji. There more than thousand cows,bulls,female and male buffaloes. They are well fed and kept in clean surrounding .People provide free service at the Gaushala by cleaning the place in the service of Cows as per their belief of earning punya. They get grains and cow dung cake in return for their livelihood.
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Fig 2.1.2 The cows from Nandvansh are found in this Gaushala. Lord Shrinathji’s cows graze at various Bidaas(grass fields) situated near Nathdwara. 15
Fig 2.2.1 Apart from the temple and Pichwai Paintings, the town is also famous for its mouth watering sweets specially the milk sweets. One can enjoy Rasmalai, peda, Gulabjamun, Rabri,Jalebi,Malpua and other local sweets. 16
Fig 2.2.2 It is the “thali of Prashad� which consists of variety of delicacies such as bundi laddoo, sev laddoo, magad, manmanor laddoo, sattu laddoo, sagar, mesu, thhor(layer of sugar and ghee), mohanthal(made of besan), faliyari and various types of pakodas. After offering bhog to Shrinathji, devotees have the prashad.
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Fig 2.3.2 View of Shreenathji temple(Moti Mahal) from market place.The lane left t pichwai artists’ family resides and practice this art.
Fig 2.3.1 A shop at Nathdwara near Shrinathji Haveli displaying costumes and jewellery of Laalaan (Shri Krishna). Many people keep an idol of “Lalan ji” who is adorned with these costumes and jewellery that comes in various sizes. 18
to the temple is the way to Chitrakaro ki gali where the
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Fig 2.4.1 Most of the houses at Chitrakaro ki Gali was made of mud (kaccha house) and was painted with safeda and neel (white mixed with indigo). It is regarded as a mark of cleanliness. 20
Fig 2.4.2 The lane to Chitrakaro ki Gali went through the steep slopes cut into stairs. 21
Fig 2.4.322Manokamna Khidki: A window which is help to fulfil the wish of devotee. According to temple authority once your wish get fulfilled then you can offer coconut to Shrinathji.The structure of this temple is simple, but the aesthetic appeal of this temple is ceaseless.
Fig 2.4.4 Shreenathji Temple is also known as ‘Haveli of Shreenathji’. The Shreenathji of Nathdwara is situated at a distance of 48km in the north-east of Udaipur. Main entry gate of the shrinathji temple.
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Fig 2.4.5Almost every home at Chitrakaro ki Gali had paintings made in white on red on the stairs at the entrance of every house.
Fig 2.4.6 This is the interior of artisans home at Nathdwara. Walls are generally pa also chaukhat is decorated with traditional motifs during diwali . 24
Fig 2.4.7 Females of Raikas and Rabaris adorn with beautiful silver jewelleries. A number of designs are related to natural elements such as moon, leaves, sun and flowers.
ainted in neel which keeps the house cool in summers. It is proper ventilated. Every year the house is painted and 25
Fig 2.5.1 Women of Rajasthan wear a long skirt called Ghaghra,Choli or Kurti (blouses and tops) with an Odhini. The Ghaghra reaches above the ankle that has a narrow waist increasing the flared and width to the base. 26
Fig 2.5.2 This is a market area where one can see varied range of costumes worn by people in Nathdwara.Pyjamas, Angar kha, Dhoti, Waistband (Patka), headgear (pagadhi) and Kamarbandh along with shirts and trousers are integral clothing of men in the town.
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Fig 2.6.1 Local Vendor selling Prasand from Nathdwara Temple
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Fig 2.6.2 Local at Tea shop near temple.
Fig 2.6.3 Pagri (turban) is an important part of men’s costume in Rajasthan. The way turban is worn comprises a unique significance to men as it is a symbol of the region and caste from where the individual belongs. Turbans can be found in different colors, shapes and sizes.
Fig 2.6.4 Men also wear earrings with a pearl necklace or gold chain, a thick and big bracelet is also worn around their neck. 29
ABOUT PICHWAI
Fig 3.1.1 The detailed and intricate work in the foreground and background be it Shreenathji , Gopis, temple architecture , flora and fauna can be well noticed. 30
The word Pichwai is derived from the Sanskrit word ‘pich’ meaning back and ‘wai’ meaning hanging. Pichwai are intricate paintings, done mostly on cloth or paper, portraying Lord Krishna. This art form has its roots in the holy town of Nathdwara in Rajasthan. Krishna is shown in different moods, body postures and attire. It is a very ancient form of art passed on from generation to generation. The purpose of Pichwais, other than its artistic appeal, is to narrate tales of Krishna to the illiterate. These 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. Pichwai paintings are works of art that are used to adorn the walls of temples, behind the idol. 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. While the paintings depicting summer have pink lotuses, the paintings depicting ‘Sharad Purnima’ comprise a night scene with the bright full moon. Festivals such as Raas Leela and Holi are also themes that are often depicted. Enclosed in a dark border, rich colors like red, green, yellow, white and black are used with a lot of gold decorating the figures. On a starched cloth, the painter first makes a rough sketch and then fills in the colors. Traditionally natural colors and brushes made of horse, goat or squirrel hair were used. The use of pure gold in the paintings adds to their value and charm and it may take 3-4 days to just prepare colour from pure gold. These came into light when the
Sect Vallabhacharya fashioned 24 iconographic for Krishna’s image backdrops at Nathdwara (A small town in Rajasthan, India). Every Pichwai painting is connected with a specific festival. Every image of this work has connection to a specific celebration of the festival. It is during the period (1700B.C to 1800B.C) that the ‘Pichwai’ tradition developed. The Vallabhkul-Acharayas patronized various painters who painted Pichwais of various utsavs like Annakuta, Janamashtami, Holi etc. As the riches of Nathdwara increased, Pichwais were getting painted on precious clothes with liquid gold and silver being used as ink.
blue Krishna standing on a lotus flower and his flute beckons all. His flute beckons cows too. He usually can be seen in golden yellow robes but Lord Krishna may be seen in various garments too.
The Pichwais are created in many ways and by various techniques like painted, printed, woven and sometime embroider too. The Pushtimarg shrines use Pichwais usually are the biggest (3.0x1.0 meter. The portion which comes just behind the icon left either blank or is cut. Pichwais of all shrines can be seen from a distance. The miniature methods are done on the large sized cloths to paint Nathdwara’s world famous pichwais. Colorful borders to all the four sides attached on a heavy cotton based cloth. Sometimes these are painted on silk as well. Original gold and silver being used in these paintings. These paintings represent hand-painted scenes of well known Leelas or pastimes of Hindu God Lord Krishna. Some artists create pichwais by dyeing the cloth too with local earthen colors and or print, others use embroidery with various knots and specific kind of stitches and material like mirrors, pearls or gems. ‘Pichwais’ paintings explain the scenes of Leelas from Lord Krishna’s life. These are wonderful and made with lots of love and devotion. One can find the dark
Fig 3.1.2 The detailed and intricate work in the foreground and background be it Shreenathji , Gopis, temple architecture , flora and fauna in colored form with the small detailing possible.
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Work Space for Artisan:
Fig 3.2.1 The master of the studio may indicate the colour to be used by swatches, which are placed within each section to be filled. Both master and senior craftsman, as illustrated using colors from the colour scheme of pichwai.
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Fig 3.2.2 Murlidhar Sharma, Pichwai artist working in his studio. He prefers painting pichwai pasted on a cardboard rather than hanging it.
Studio Painting: Fig 3.2.3 The image shows the layout and planning done by him before starting the detailing.
Fig 3.2.4 All completed paintings are traced so that the studio develops a stock of images that will be used as teaching aid, or to generate new painting. Painter paints the temple walls at Nathdwara too. 33
which were ground by hand and applied with gum or resin. However, today all artist have switched to commercially available colors. The basic palette used in the genuine pichwai comprised of the colors given below: Sindoor / Sendur, that is an orange acquired from the ‘sendur stone’. Kesaria / Kesari,that is slightly reddish saffron obtained from ‘Kesar’. Chero / Cheharai,that is flesh colour (preparation not found). Hinglu / Ingur / Shangraf, that is vermilion made from ‘sulphide of mercury’. Raw sena is yellow ochre or gamboges. Kati is light slate. Fig 4.1.1 Arrangement of marble mortar with pestles which are used for preparation of color that involves grinding of color stones, adding “gond” (gum) and water.
Materials and its application Rang (Colour) The palette of Nathdwara artist spans the colour spectrum. Although pichwais are perhaps best known for their vibrant blues and greens or the brilliant reds and oranges, the complete range of colors is used.
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Originally, most artist used to prepare their own colors, coloured minerals, semi-precious stone, plan leaves, cow’s urine were all sources of colour,
Zangal / Zangali, verdigris that is copper acetate. Suba Pankhi ‘suba’ means parrot and ‘pankhi’ means leaf, that is parrot green. Selu is emrald green. Pilo is yellow. Gavgoli / Pyavdi is a yellow from cow’s urine. The cow is fed mangoes leaves for a month and then the urine collected, is boiled. This special yellow is generally used to paint the Halo behind the deity’s image.
Geru is a red ochre stone.
artists prepare these colors in coconut shells.
Jangali Ghero is greenish grey.
This is because all the colors need very effective grinding before application, and the nathdwara artist believe that the use of any other material will adversely affect the same. Unlike metal or plastic containers, the inner surface of the coconut shells is rough. Thus it does not allow the powder to slip in turn enabling very fine grinding.
Safeda is white obtained from zinc oxide. Neel is blue from indigo. Lilo is bottle green and is obtained from a green stone (hara patthar) which has spots of this colour. These spots are collected and grinded to obtain this colour. Gulabi is pink (preparation not found). Lal is a dark red obtained from the flower ‘Palash’. Khasni / Jambani is a plum colour. Haramacha / Hirmichi is a reddish brown. Sahi / Syahi / Kajal / Kala is black and is obtained by litting a lamp ‘diya’ with a lng flame ‘ badi bati’. Then a small earthen pot called ‘ tikari’ is kept upside down over it, in which the black of the lamp is collected. Asmani / Lazvardi is sky blue made from the stone ‘ Laps Lazuli’. Henna shades of yellow. All these colors are kept in the dry form. Only when a colour is to be used, the piece is ground and then the powder is dissolved in water and the pure colour obtained by siphoning. This is then used with gum or resin. Instead of a palette, these
In addition silver and gold leafs are also used by a very special method. There are in fact two processes for making these colors, one is the old method used before the Mughal influence and the other after.
Making of Gold In order to make the gold colour, pure gold leafs are used. For one preparation a minimum of 20 leafs are used. First one drop of ‘saresh gum’ is put in a flat plate and rubbed by hand in circular fashion. Then, when the hand is sticky enough, the fingertips are just touched upon the gold foil. The gold dust thus transferred, is rubbed into the gum in the plate in a similar circular manner. This grinds the gold dust into very fine powder and the whole process takes around 3hrs, during which only 2-3 drops of water may be added. After the grinding is done the hand is washed into the plate itself to avoid wastage of gold. This is done with hot water and then left to settle for about 2 hrs. After the powder and the entire process is repeated 2 more times. After this, the final gold acquired is carefully filtered into a bowl with the help of a cloth. The gold thus collected is added a drop of
‘dhavadi gum’ and heated on a flame by constantly moving the container. By doing this whatever small amount of water left during the above processes, get evaporated leaving a dry gold powder ready to use. The powder is stuck in the final container and can be carried into the brush with the help of water, as in the case of any normal colour during painting.
Process followed before the Mughal influence: The ‘saresh gum’ is first liquefied with water and then ‘misri’ (an uncut from sugar) is added to it. Instead of ‘misri’ a little jiggery can also be added. This keeps the glue moist and the mixture is made of the right viscosity for painting. The mixture is then applied in all the areas where the gold is to be filled. Then, the artist picks up a bit of gold from the foil on his fingertips and touches upon the area painted with this mixture. The gold dust is automatically transferred and get fixed on these due to the gum. If the gum has dried in some areas that part can again be made moist by blowing warm air with the mouth. Since the areas are already painted with the shapes and sizes of the decorative elements, only those areas will take up the gold and the designs are visible in golden colour. The colors thus prepared never turn black and are extremely easy to use. However, if the addition of glue is not perfect then the colour cracks or damages, which would otherwise remain unaffected for a very long time.
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Fig 4.2.1 This is the arrangement of “seep� (sea shells) used as color palette by the artisans. Each color is stored in a different shell. Every artist has its own range of color palette. 36
Fig 4.2.2 This is the arrangement of clay bowls used as color palette stored in a different bowl. Every artist has its own range of color pale
Fig 4.2.3 “Sares� which is used in the making of golden color. It is added with gold barak to make it soluble in water and glue solution. It is tedious process as it involves boiling of sone ki hilkari upto six to eight hours. Fig 4.2.4 Natural gum (babool ki gohd) is extracted from acacia tree (Babool tree) and is available in the market as crystalline form. Fig 4.2.5 Gum Extract These are then dissolve in water for a few days and is strained throughh muslin cloth.The filtered gum is mixed with water and powdered colour (pigment).
e by the artisans. Each color is ette. 37
Fig 4.3.1 Safed Khadiya used for white color in the paintings.
Fig 4.3.5 Ultramarine blue used as a substitute for natural indigo blue which is locally available at cheap rates. 38
Fig 4.3.2 Green color which is chemical based available in the local market. It is now used as a substitute for “hara patthar”.
“ Fig 4.3.6 Hara patthar” (Green stone) which is used for green color in the pichwai paintings but now it has become extinct. So people have switched over to its substitute available in poster, acrylic or water color.
Fig 4.3.3 “Singraf” (Red stone) which is used for red color in the pichwai paintings. It is a very thick color which is extracted from “Paras patthar”.
Fig 4.3.7 “Mensel” (Orange stone)
Fig 4.3.4 “Harthaal” (Yellow stone) which is used for sheen in yellow color. It is extracted from “abrak” (Mica ore).
Fig 4.3.8 “Kattha” used as dark brown color. It is also used in preparation of paan (Beetel leaf) 39
PREPARATION OF COLOUR
INDIGO CAKES
COCONUT SHELL
POWDERED INDIGO NATURAL GUM
COLOUR POWDER+WATER+NATURAL GUM Fig 4.4.1 Indigo cakes are crushed in powdered form and and grinded in the dry coconut shells .Natural gum(babool ki gohd) is extracted from acacia tree (Babool tree) and is available in the market as crystalline form.These are then dissolve in water for a few days and is strained throughh muslin cloth.The filtered gum is mixed with water and powdered colour (pigment) .This is then tested and
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Fig 4.4.2 “Kathir” (Mettalic grey stone ) which is used for grey color. It is extracted from N
Nickel.
Fig 4.4.3 Arrowroot powder is mixed with water and is kept overnight. The paste is then used as a coat on the fabric twice or thrice to stiffen it. Then the fabric is ready to paint. 41
lakadi’ (bamboo stick), the handle is made of the rear part of a pigeon feather and the tip is made of goat or squirrel tail hair. The Nathdwara artists work with two types of brushes. The broad brush is called ‘jara’ and is made from goat hair. The detailed work is done with a much thinner brush called the ‘jhina’ and is made from squirrel tail hair. In the past the artists themselves used to make these brushes, but now most of them use commercially made brushes. Although both the varieties are made by using squirrel hair, the artists still prefer to use the old brushes. The difference lies in the fact that in the past, the squirrel was simply trapped, the required amount of hair was cut from its tail while it is alive and then let go. But now, the commercially produced brushes are made from dead squirrel hair. This practice is not only unethical and cruel to the animal but also compromises the quality of the brush. A common man may not be able to tell the difference, but the Nathdwara artists who have worked with both the varieties can easily notice the loss of strength in the dead squirrel brushes. However, due to ready availability, all artists have started using these commercial brushes. Charcoal is used for sketching, and is made by burning twigs of the tamarind tree ‘Emily ki lakadi’. Fig 4.5.1 This is the arrangement of different types of brushes. The artists of Nathdwara are very particular about the quality of brush they use. They generally prefer brushes made from squirrel hair .
Tools & Techniques KALAM (Brushes used) The brushes basically comprise of three parts. The body of the brush is made of wood ‘bas ki
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GHONTA Ghonta is a special tool used to rub the back side of the pichawai cloth. It is basically made of wood, and is designed such that a flat round stone of about 3-4” can be fitted in the centre.
Also, it has handles at the sides to provide easy grip and even application of pressure. The stone used is ‘agate stone’ or ‘hakik ka pathar’ and the technique is known as ‘ghoontai’. Ophani is again a special tool made of agate stone, but is comparatively smaller. The stone is elliptical in shape and has a metallic cap like cover at its rear end, provided for grip. It is held like a colour crayon but is slightly thicker in diameter. It is slightly pointed towards the open end and is used to rub the gold painted portions of the pichwai. By rubbing with this ophani or ‘chota patthar’ the gold suddenly acquires much more shine and gloss. The making of Pichwai Previously, pichawais were painted on thick hand woven material, but now the artists have shifted to a thinner mill variety that is available in the market. The grey cloth is known as ‘Lattha’ and has to be 100% cotton to ensure absorption of colour. The cloth to be painted is folded and stitched on both sides width wise in order to insert a wooden or iron rod called the ‘Nepha’ through it. A pair of strong double ropes is looped equally into several knots and nailed on either sides of the wall where the pichhawais would hang. The cloth with the rod inserted on both sides then hangs on this wall supported by the loops. It is therefore important that distance of the knots on both sides is equal or else the pichhwais will not remain straight. This arrangement allows the pichhwais to be rolled up and down according to the artists convenience thus maintaining comfortable height while painting.
The canvas is prepared by evenly starching the cloth with ‘Mandi’ paste. Materials required are flour, water and a stainless steel pot. The method can be used for any size of cloth. Generally the same technique is used for pasting paper, although the moghul reciepe involves mixing the paste with copper sulphate, which acts as a deterrent for insects. First fill the pot with lukewarm water, then add little flour. Keep adding flour until it reaches milky consistency. Put the pot on the fire. The mixture must be stirred at all times, otherwise it will solidify. After a few minutes the liquid should start to solidify, the colour becoming more transparent than white. At this stage the liquid will start to solidify, so stirring is vital. Remove from the flame. The consistency should be that of thick milk, the colour a transparent white. To remove any lumps that occur, strain the entire mixture through a cloth into a larger separate bowl. Then add a small amount of glue. The glue must not fix the cloth to the board permanently, the idea is to hold the cloth until the painting is complete, it is then removed from the board. Test the strength of the glue by pasting a few strips on to a board and allowing them to dry in the sun. Once, dried, if the strip peels off the board with a little friction, the paste is ready. If the strips does not peel and the cloth is fixed, add
more water and glue to the paste and repeat the above. Should the consistency be correct, a second test is required. Burnish the cloth with an agate stone. If the surface shines and becomes smooth, the paste is ready. If the cloth comes away from the board, more glue is required, so repeat the above procedure again. The test strips are vital to establish the right proportion of glue and the painting will stick, too little and the cloth will simply peel off the board. For pichwai, place the paste in a bucket. Then place the cloth inside the bucket until the cloth is immersed in paste. Remove, the cloth and place it on the board. Begin with the middle and carefully spread the cloth across the board. The idea is to paste the cloth without any lumps. Once the board is covered, return to the centre and again iron out the air bubbles that have been caught between cloth and board. Repeat this process stating from the centre and working to the edges until all the bubbles have been removed. The cloth has to cover all the edges with at least six inches overlap. This ensure that the board will not buckle as the cloth dries. Pasting has to be done swiftly as the mixture begins to dry immediately. The aim is to have a flat smooth surface free of bubbles. The cloth is left overnight to dry. 43
Brush Making Process
brush making process
Fig 4.6.2 These images refer to the process of brush making using squirrel’s tail.
Fig 4.6.1 Squirrels are trapped and for their tail .They are sometimes hurt in this process. Hair are sorted according to the length of hair and then are arranged .The sorted tuft of hair is then curved pointing in the same direction.The shaft of pigeon feather one inch in length is used to place the hair and is fixed with glue.It is then affixed with a woodden handle which completes the process of brush making. Fig 4.6.5 Ready Brushes fromt the market. 44
Fig 4.6.3 Figure a. and b. shows the segregated parts of the brush: wooden stick, shaft made from pigeon feather and tuft of squirrel’s hair.
Fig 4.6.4 Figure c. shows the segregated squirrel hair according to the thickness of the brush needed by the artist.
Fig 4.6.6 In earlier days , mongoose hair was used for flat brushes. Now it has been replaced by synthetic brush.
Fig 4.6.7 Collection of brushes used by the artists. 45
Tools for Finishing
Fig 4.7.1 Hakik ka patthar found in Narmada river is rubbed on the painting for polishing the golden color which imparts the shine to it. 46
Fig 4.7.2 Dinesh Sharma, Pichwai artist unrolling the pichwai painting in image 1. while second image shows him rubbing the “Hakik ka patthar� on the painting to enhance the shine of gold color.
Method of direct burnishing: Fig 4.7.3 In this method the front of the painting is burnished using butter paper to protect the paint surface. Direct burnishing is used for small delicate areas of the painting for individual section of the painting. 47
Fig 4.8.1 This is an old sketchbook of a master painter Parmanand ji’s grandfather . All the motifs are hand sketched. All the bhaav of Shreenath ji are there. This is a kind of treasure for us . It is well preserved .The excellence of his works can be well understood through this. 48
PAINTING LAYOUTS
Fig 4.8.2 The detailed and intricate work in the foreground and background be it Shreenathji , Gopis, temple architecture , flora and fauna can be well noticed. 49
Technique of painting The base colors of the body and skirt are applied first. The body colors is made from indigo, Prussian blue, syama, red lac, dhumsa and black ink. The choice of dark blue alternates between Prussian, azurite: each is then mixed with black ink and red lac so the resulting blue black colour has a reddish-purple hue. The gherdar vaga, skirt is divided into two parts, which are painted with ranga and hinglu. The scarf or shawl is also painted with hinglu. Once the base colors have been applied and burnished, the senior craftman begins to paint the dress, pants and scarf. The technique is similar to those previously illustrated where the lines of the folds are drawn with pencil, then set with red lac. The lines for each of the folds begin at the waist and cover the length of the skirt. The under-paint washes are applied to both parts of the skirt as one continuous shadow that runs through each fold. The same technique and colors are then used for the scarf. The lining of both skirt and scarf are then covered with ramraj in preparation for the later gold decoration. The master will paint the decoration, at this stage only the basic dress shading is prepared. Ramraj is first applied to the design of the pagh and chandrika, which is then followed by the gold paint. The diamond shape patterns is first made in pencil over the gold paint, which is then set with red lac. Each phul, flower is then painted over it with kharia and lined again with red lac. The upper morchandrika, peacock feather are made over a dark green base colour, made from 50
harabhata, ramraj, dhumsa and Prussian blue. The lines of the feather are then painted over the top with ink and dhumsa. The eyes in the feathers are painted are reverse hearts using three colour, which are laid over each other, dhumsa mixed with black ink, harabhata and Prussian blue. Once peacock feathers have been completed, the design is outlined with red lac and black ink. The first layer of pearls is also applied at this stage around the gold design. Technique of painting the face of Shrinathji The craftsman begins by making a trace from the original drawing. A stencil is made from the trace by pinpricking the outline. A line is then drawn down the centre of the face and body to guide the placement of the stencil. The line is also used for the jewels that are painted down the centre of the body. The stencil is placed over the face and pouncing the trace with kharia, white chalk powder, transfers the lines. The master uses powder, rather than pencil, as it transfers a more accurate line that can be repeated many times. With pencil, the line can only be transferred once. The master will use the stencil for each of the eight faces of shrinathji in the maharasa lila. The white powdered line is then set with black ink, fixing the eye, eyebrow, nose, mouth, circular jewel at the chin and the facial outline. Where necessary, lines are redefined with pencil before setting. When all lines are completed, the pounced white powder is dusted off. The base colour and gold paint of the earrings are then applied. The gold is painted before, rather than after, the prataj shading once it has been
completed. Prataj shading: unlike with other faces, the prataj shading is first made with the squirrel-hair brush, then washed over with a large round and diluted colour. The reversal of technique ensures that the shading is much finer at the initial stage of painting. The brush moves with speed and accuracy, delivering minute fractions of colour. The shading passes over the eyes, toward the nostrils and tip of the nose and mouth. Once the transitions of light and dark soften the face, the outline of all features are redefined with stronger colour. Then the larger brush washes the diluted colour over the prataj areas, especially around the jaw line. The white outline of the eyes is then redefined with red lac and black ink. The master may return to this outline Many times during the course of painting so that it becomes clearer and more refined. The eye ball then drawn with pencil and set with dhumsa, no pupil is painted in the eyes of the Shrinathji deity, and the eyes appear black, made from black ink.
Decoration of the face The craftsman then paints the tilak mark across the forehead. In terms of painting order, the master begins and ends with the painting of the eyes, both literal and symbolic. The final act aesthetically consecrates the deity, as the tilak symbolizes the opening of shiva’s third eye, the agnichakra. The mark is made with one vertical line painted with hinglu and horizontal lines painted with gold.
Jewellery The vesar, nose decoration, is painted in three parts, as a mango or tear-shaped jewel with two large pearls on either side. The nose jewel is always placed on the right side of the face and made from the kharia impasto paste and then lined with gold paint. The pearl decoration also extends to the chandrika on the right side of the pagh, cap. Second stage of painting the deity of Shrinathji Once the face and facial jewellery are painted, the master begins the second stage of painting, the veil of pearls and body decoration. The under paint body washes are applied first with a large round brush and diluted black ink and indigo. Although the body is not seen, the shading softens the figure, giving it a more rounded appearance, over which the veil of pearls is later painted. The body jewellery is painted first, as designs are made on the arms, hands and neck, which the veil of pearls and mala pass over. The gold base colour, ramraj, is applied to the design, which is drawn with pencil. Gold paint is then applied over it and the design itself is set and lightly shaded with red lac and dhumsa. Ranga is used as a substitute for silver, which appears in many of the designs. Once this is complete, pearl are made on the outer edges of the design. The hair is painted next, the hair design symbolizes the naga snake deity often associated with shrinathji. Naga deities were origionally worshiped upon mount govardhan before the advent of shrinathji and later absorbed into his
mythology. The hair design therefore resembles a snaking black line that taper off to a tail, with a series of tassels attached to the end. The hair is made from balck ink with gold paint laid over the top and decorated with pearls. The venu, flute: the flute of Krishna is also painted before the veil of pearls as a thick golden line. After the under-paint and gold have been applied, the master draws the lines of the flute with the aid of a ruler of straight edge. The holes of the flute are made with a wash of black ink at regular intervals. The veil of pearls and mala painted together. The symmetrical line that runs down the centre of the figure is used as a guide to position of jewels, which are set in the middle of the veil. The jewels are made from geometric shapes, and are painted as separate or combined designs.
The pearl nearer the face are small, gradually becoming larger toward the bottom of the figure. Both the pearl and the length of line increase at same time. The mala painted once the pearls are finished as the final part of the decoration. The petals of the mala are made with red lac, sindur and ranga. The inside of the base colour (kharia) is first washed with light dhumsa. The squirrel hair brush using red lac and black ink. The rows of flowers in the garland are painted as transparent washes applied with the squirrel-hair brush. The technique drags the colour horizontally across the mala so that the line actually breaks up, leaving thick and thin fragmented lines. When painted closely the lines appear as layers of flattened petals that altenate in colour.
Each shape corresponds with a different elements: the circle (heaven), semi-circle (ether), rectangle or square (earth), triangle (fire), crescent (water), bindu (air), octagon (eightpointed star), and hexagon (six-pointed star). The shapes are painted separately for different design. At the beginning, the base colour of the mala is painted with kharia mixed with safeda. Large round dots are then made inside the mala with sindur and ranga. The jewels at the centre of the evil are then drawn with pencil and fixed with red lac. Pencil lines are drawn from the top necklace to each jewel on the left and right side. The pearls, or dots, are made in quick succession, the line guides the master’s hand. A large round brush is used to make the dots from kharia impasto paste.
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Fig 4.9.1 Learning the proportion of Srinathji Face: Squaring the circle produces an 8 fold division or octagon. It symbolizes 8 states of matter represented as 2 interactive squares in their static & dynamic form. Dynamic square forms 4 ways directions or the four elements : fire, water, air and earth. This artwork is developed by Sandip Jaiswal during the field work, The learning of this proportion was a great understanding of Pichwai Painting with Master artisan Parmanand Sharma. Fig 4.9.2 Construction method of drawing: Artisans first mark off the border which contains the motif of the face and the image is then generated from the central point by stretching from one corner to another.
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Fig 4.9.3 From the innermost squared circle artisans obtain 3 primary circles. The central circle then generates the figure of Srinathji. Geometric construction of the Srinathji with the full proportion in the artwork. This artwork is developed by Sandip Jaiswal during the field work, The learning of this proportion was a great understanding of Pichwai Painting with Master artisan Parmanand Mishra.
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Geometric Construction of the Srinathji deity in the Maaharasa Lila Pichhvai. Fig 4.9.4 From the primary circle , the proportion of the central figure is generated through a series of Diminishing circles by halving the circle each time. This eventually produces seven smaller circle within the primary circle. The center of the figure is determined by moving down the figure and taking the distance of one small circle from the heart to the naval chakra. After the center of the figure is found, a second large circle is inscribed within the primary circle. This measurement is use to generate the length of the figure of Srinathji at the cardial points.At the end the spacing for the 5 Srinathjis is complete, artisans begin to draw the remaining figures within the circular dance, the human forms of Srinathji and the gopis.
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Fig 4.9.5 With the excitement of learning the hand postureby Sandip Jaiswal during the field work, The learning of this proportion was a great understanding of Pichwai Painting with Master artisan Parmanand Mishra. These learning helped us to understand the proportion and movement of a body during the ras lila dance by gopis.The posture are mainly the movement of their moving body and holding the hands and showing a feel of togetherness. 55
ARTISTS OF NATHDWARA Nathdwara and its artists are renowned for having preserved painting traditions in an unbroken legacy for more than four centuries. At half past five in the temple town of Nathdwara, cows amble down the streets in the morning breeze and park themselves at doorsteps as they await their morning meal. The sounds of cowbells, occasional passersby and milkmen tinkling away on bicycles mingle with the ringing of temple bells.
Fig 5.1.1 The cow is in direct lineage of the original herd of the Nand-vansh. This cow also recognized Gopal and would go on the top of the Govardhan daily and feed her milk to shrinathji.
Among the numerous narrow lanes that sprout from the periphery of the Lord Shrinath temple, up left is the relatively understated Chitrakaron ki gali (the artists’ street). There are only ten to twelve original Pichwai artists in Nathdwara now, all of whom also paint the newer forms which are in demand. Even with the few artists who continue to keep it alive, much has changed in how Pichwai is made. The natural colors used earlier have been replaced with commercially available ones. Since the makers of the natural colors did not pass down the knowhow, they have been lost in time.
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Fig 5.1.2 Painting of god shrinathji on cow body ; horn decorated with peacock feather ; Hindu belief to worship cow here in Nathdwara.
Fig 5.1.3 57
Parmanand Ji’s family has been aligned to Nathdwara Pichwai Art since ancient times. Ancestors of his family had descended to Nathdwara with the arising of Shrinathji at Nathdwara. Since then, family ancestors have been working in Miniature painting and Pichwai making. His father Mr. Shyam Lal ji Sharma, has worked on Pichwai making and many other art works. Father of Shyam Lal ji, Shri Champa Lal ji was a renowned artist of his time. He learnt art of painting from his uncle Mr. Vithal das ji. He had spent much of his life span in Mumbai. There he created many pichhwai’s and paintings at Mota-mandir (Shri Balkrishna, temple). These art-galleries are still preserved. His miniature paintings is preserved with famous Artist Mr. Amit Amba lal at Ahmedabad . Mr. Amit ji has also admired and appreciated for the art of Mr. Champa Lal Sharma. On the rooftop of one of its houses painted blue and white, Parmanand S Sharma, a sixth generation Pichwai artist, offers water to the Sun as he chants his daily prayers. Much like the altering skyline of the 17th century temple town visible from Sharma’s 300-year-old rooftop, winds of change have in a myriad ways swept into the lives of artists like him and his two brothers who serve the Lord through art. Parmanand and his brothers grew up listening to the story that their forefathers were part of a handful of Pichwai artist families who came to Nathdwara with Lord Shrinathji from Braj, three centuries ago. “We have records of six generations. Since then our lives revolve around the Lord,” says Sharma.
Fig 5.1.4 58
Literally, Pichwai means a backdrop. But for the artists of the temple town living the tradition, it is a form of art, which often flows seamlessly between the realms of imagination, skill and meditation.
Nowadays, artists like Parmanand fall back heavily on the legacy handed down to them. The old scrapbooks also have photographs of highpriests and affluent pilgrims to Nathdwara who commissioned them to paint their portraits. None of these artists can sustain themselves by painting Pichwais alone. A good Pichwai can take the artists three to nine months, or even a year, to complete and comes at a price of Rs 50,000 or more. The older ones, which are part of private collections, are rarely available for sale and could cost a few lakh rupees. The buyers of original Pichwais are just a few big business houses, mostly from Gujarat and Maharashtra, or art collectors who sell the paintings in the international art market. Pichwai is an integral part of the raag-bhog-shringar (music, food and ornamentation offered to the deity) tradition of an intimate social grouping called Vallabhas. While Shrinath temple has a priceless collection, in a climate conducive to change, louder artworks that are easy to make and sell are quickly pushing Pichwais out of the market, irretrievably. One of the best-known Pichwai artists of Nathdwara, Raghunandan Sharma, has an immense sense of pride showing off the Pichwais made by his father and grandfather which are now part of the family heirloom. The difference is clearly visible. “They painted with a lot of patience, almost meditatively,� he says. Nathdwara now has just about the same number of original Pichwai artists as are believed to have accompanied Lord Shrinathji on his journey from Braj to Mewar. These artists hope they do not have to witness the impending journey of Pichwai paintings - from the organic, colour-splattered floors of their studios, where sparrows fly around all day, to an existence in glass-covered museums.
Fig 5.1.5 59
Raja Ram Sharma : Pichwai artist at Udaipur Shri Rajaram Sharma started painting in 1976 at ‘Guru-Shishya Parampara’ Nathdwara under the guidance of Shri Tuzlsidas Chitrakar. Gaining recognition from world over for his paintings, he still continues to work in his quaint workshop in Nathdwara. Awards: 2004- All India award of traditional art, Kalidas Academyn. 2002- Gold medal in traditional painting at All India Art Exhibition, Jangaon. 2001- All India award of traditional art, T.A.H.S. Karnataka. 2001- All India award of traditional art, SZCC Nagpur. 1998- Honored by Education Minister on Independence day for his contribution in the field of Painting. Exhibitions: 2009- Victoria Monroe fine art gallery, Boston 2009- Harmony art exhibition, Mumbai 2007- Nathdwara Pichwai painting exhibition , Ahmedabad 2006- Victoria Monroe fine art gallery, Boston 2005- Kirti Art Gallery, Varanasi 2005- Chitramai art Gallery, Hyderabad (2001-07)- Shilpgram utsav, Udaipur 2003- Kala mela Vankatappa art gallery, Bangalore 2002- Sanskar Bharti, Udaipur 2002- L.K.A. Ravinder BHawan, New Delhi 1997- Urusvati centre for art, Delhi Fig 5.2.1 60
Raja Ram Sharma is one of the renowned artist in the field of Pichwai paintings. Along with the existing traditional style of Pichwai painting he has also contemporized the painting in his own style. His paintings are abstract but detailed enough to give a realistic look. Instead of detailing the full form of Shrinathji, he has composed the elements to give the true feeling of the “bhaav” of pichwai. He has even worked on different angles, proportions, perspective and postures which adds life to his paintings and makes it unique. He also has different style of colouring the background of pichawai paintings. He uses solid red , black colour and overall detailed with flower motifs. His aptitude for painting was obvious that by the age of 7 he was sent to live with a renowned Indian painter.There he studied the traditions of the Nathdwara school and learned to paint pichwai, the cloth paintings that hang behind the Krishna statue in Hindu temples. He paints in the tradition of the Indian miniature typical of works developed in the Mughal empire as well. He applies hand ground mineral pigments to recycled paper. While not giving up his practice of pichwai, Sharma adapted the teachings of Nathdwara painting to suit his own artistic expression, taking a departure from figures of Hindu deities in favor of landscapes that oftentimes include rivers, temples, animals, and boats; fusing nature with what is man-made and ancient with present day. What is striking about this group of paintings is that while the process would be, to me, painstaking to say the least, there is an air of
lightness to them, as if the artist himself was truly enjoying each precise and microscopic application of paint. Raja Ram Sharma is an artist. Raja Ram Sharma has had several gallery and museum exhibitions, including at The Drawing Room, New York. The motif of the lotus leaf in Pichwai paintings is half open. However, the orientation of half open leaves is unique in Raja ram Sharma’s motifs. (Refer to the Fig 5.2.2) He uses a particular significance in the structure of composition from which the audience can derive deep understanding of his painting. This directs the path to transcendent expression. He has precision in detail and formalised expressions in his paintings which delivers both the beauty and significance of the vision he has. (Fig 5.2.3.) This beautiful art of Pichwai has been passed from generation to generation. Continuing this tradition Raja Ram Sharma is also training his son, Rajat Sharma. Here are some sketches developed by Rajat Sharma.
Fig 5.2.2
Fig 1b. Highlights from the Holy cow painting : Artist Raja Ram ji uses curved brushes to give a 3D look into the painting. This is one of the mater piece created by him. The details are so microscopic that one can’t see from far. This also help the whole composition looks natural and an interest to visualize it. Fig 5.2.3 61
Fig 5.2.4 62
Fig 5.2.5 63
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Holy cow: Fig 5.2.6 This is one of the most used elements used in the pichwai paintings. Artist raja ram ji keep exploring new ways of depicting Pichwai and this helps us to challenge new market which is still keeping the art alive. Fig 5.2.7 In this contemporary painting, artists has taken cow as a central path and depicted the different posture and its movements in the painting. This approach of Pichwai is a creative excellence of modern art. (on the left). Brush movement: Fig 5.2.8 Highlights from the Holy cow painting: The movement of the Curved brush from Squirrel hair is one of the fines example of craftsmanship of detailing. Artist Raja Ram ji uses curved brushes to give a 3D look into the painting. This is one of the mater piece created by him. The details are so microscopic that one can’t see from far. This also help the whole composition looks natural and an interest to visualize it. (on the right)
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Artitst Raja ram ji with his master piece in his studio at Udaipur. His vision of creating Pichwai with a twist of modern approach. His works are internationally famed with lot of exploration in terms of using motif and their placements in the paintings. He won lot of awards and recognition worldwide for his work. He believe is hard work and there is no shortcut to success. He is practicing this art for more than 35 years and his journey has a story to inspire many young artists to do great work. Fig 5.2.9
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Certificate of Excellence from the Reliance Industries recognizing Master artists who has developed a range of paintings for Reliance group in the month of October for the purpose of corporate gifting globally. Artist Raja ram ji was one of the master artisan who has contributed his painting in the collection. Fig 5.2.9 67
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During the Visit to Artist Raja Ram at his Studio Udaipur, The Young artist Rajat sharma who is the only son of Artitst Raja Ram Sharma. He is still in his school and learning Pichwai art in his spare time, This artwork is created by him last Summer.The artwork depict the posture Lord krishna in the courtyard and its one of the Ashana.The medium is Pencil on Yellow Catridge sheet, Size A3. Fig 5.2.10
During the Visit to Artist Raja Ram at his Studio Udaipur, The Young artist Rajat sharma who is the only son of Artitst Raja Ram Sharma. He is still in his school and learning Pichwai art in his spare time, This artwork is created by him last Summer.The artwork depict the posture of Radha. The medium is Pencil on Yellow Catridge sheet, Size A3. Fig 5.2.11
Fig 5.2.12 During the Visit to Artist Raja Ram at his Studio Udaipur, The packaging of Pichwai painting and its safe delivery to the client. Artist uses PVC pipe and closure to deliver the painting safe to the customer. This helps the painting reach safe to customer without any damage. 69
Work of Artists of Nathdwara Fig 5.3.1 Pichwai Painting with different postures of Cows, gopis and Trees. Fig 5.3.2 Ardhnareshwar, Half Male and Half Female, a Contemprory art form of pichwai. Fig 5.3.3 Abstract form of Pichwai, Shreenathji depcited by his leg and Flute.
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CONTEMPORARY STATE OF PICHWAI This is a digitized version of Shreenathji painting that is being used as calendars in houses and offices. These can be easily mass produced and the cost can be cut short so that even low income range families can also afford it . This is a gift box with the lotus motifs found in pichwai paintings. Now a days , stickers of Shreenathji are available that can be used for laptops.
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Fig 6.1
Fig 6.2
Fig 6.3 73
TRANSITION OF DESIGN ELEMENTS
Fig 7.1 Many of the pichwai artists like Ghanshyam Sharma still carry out the traditional method of hanging and painting the pichwai,This technique of painting ensures proper seepage of colour.The back portion of painted fabric remains clean and is non sticky. The sketch is made in pencil first. The process of starting the painting of pichwai from filling of colors to the detailing by famous artist Mr. Ghanshyam Sharma. (right side) 74
Fig 7.2
Fig 7.3
Fig 7.4
Fig 7.5
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TRADITIONAL PIECES OF ARTISTS
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Fig 8.1 80 years old piece of Pichwai from unkown artitst from Nathdwara
Fig 8.2 Artist DInesh Sharma with his master piece for a Client.
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COMPARATIVE ANALYSIS OF THE ARTISTS
Fig 9.1
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RAJA RAM SHARMA (UDAIPUR)
Fig 9.2
DINESH SHARMA (NATHDWARA)
Fig 9.3
PARMANAD SHARMA (NATHDWARA)
ARTISTS OF NATHDWARA
RAJA RAM SHARMA
MOTIFS
• •
Following the tradition Main focus is shreenathjee
• • •
Abstract motifs yet keeping alive the Nathdwara style Detailing Representing shreenathjee in cows
STYLE OF PAINTING
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Traditional
•
Traditional as well as contemporary
COLOURS
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Poster Color
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Natural Color
• • • • •
Syntetic brushes/ Squirrel hair Brush Fabrics: Cotton, silk Arrowroot paste Marble grinder Natural gum
• • • • •
Squirrel hair brush and mongoose hair brush Fabric: 80 s voile, cambric Arrowroot paste Marble grinder Natural gum
•
•
Fixed traditional layout with same border styles
•
Rolled and covered with newspaper
•
•
They hang the paintings and then paint while standing.
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Sit and paint keeping the canvas on the drawing board.
Time duration
•
2 months- 4 months
•
Focusses a lot on detailing hence takes longer time
Culture of work
•
Works with the group
•
Works independently
•
Hereditary
•
Non hereditary
•
Rs.3000 to Rs 50000 per painting depending on the size and time consumed.
•
The smallest size of painting starts from Rs. 1 lac .
MATERIALS
LAYOUT PACKAGING Posture of painting
Costing Location
Nathdwara
Experimental layout depending on style and idea (Square, rectangular) Rolled and packed inside an acrylic pipe cover
Udaipur 79
DESIGN METHODOLOGY
Fig 10.1
Fig 10.4
Fig 10.3
Fig 10.5
The design methodology is based on the motfi used by the artist. Each artitst has its own way of expression. the initial exploration starts with the motif used by them and then these motifs are composed in a layout and coloring with detailing lead to the execution of the final painting. Aritist of Nathdwara has their own way of making pichwai and Raja Ram Sharma has a contemporary style of composition. He follows his own methodology and his interpretation. The images in the sheets are created during the field visit for understanding the style of each artist in Nathdwara.
Fig 10.2
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Fig 10.1 Motif of Utensils
Fig 10.4 Motif of Dresses
Fig 10.7 Motif od Banana Tree
Fig 10.2 Motif of Peacock
Fig 10.5 MOtif of Monkey
Fig 10.8 Motif of Dresses
Fig 10.3 Motif og Tiger
Fig 10.6 Motif of Lotus Flower
Fig 10.9 Motif of Pankha
Fig 10.6
Fig 10.8
Fig 10.7
Fig 10.9
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Shrinathji Face
Fig 10.10 (a)
Fig 10.10 (b)
Fig 10.10 (c)
Illustration of the shading of Shrinathji’s face. The painted face of Shrinathji is based on a likeness to the original deity that is housed in the central shrine at Nathadwara. The depiction is the most commonly used iconic representation in pichwai paintings. The frontal face position is always painted in symmetry, a method that ensures facial features on the left and right side are proportionally correct.
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Fig 10.11 Technique of painting the Chandrika and dress by the craftsmen. The upper morchandrka, peacock feathers, are made over a dark green base colour, made from harabhata, ramraj dhumsa and Prussian blue. The line of the feathers are then painted over the top with ink and dhumsa.
Fig 10.12 Technique of painting the peacock. Peacock feathers are painted in two satges. The base colour of harabhata and dhumsa is first applied, the the eyes are made over the top. The oval shaped eyes are made from three colour sindur, danafarang and Prussian blue. The lines are made with single Strokes of the squirrel hair brush.
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Fig 10.12 Mahaprasad for Shrinathji Fig 10.13 Pan Ka Beeda (Sweet Betel Leaf)
Fig 10.14 Sweet Water inside the bronze glass. 84
Fig 10.15Banana Tree and Banyan Tree
Fig 10.17 Decorative Cows
Fig 10.16 Lotus motif
Fig 10.18 Abstract of Krishna
Fig 10.19 Left side, from initial drawing the peacock feather of Krishna is painted.As the jewellery is so delicate and tiny, craftsmen work directly onto the painting by sketching the design with pencil. First the under paint is applied, followed by gold paint. Second, the design re-drawn over the top of the gold paint, with dhumsa using squirrel-hair brush. Fine jewellery like nose-ring, hairline, earring, and necklace is then applied once the face is completed. Right side, detail of the completed jewellery.
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Evolution of Pichwai from traditional practices to modern contemporary look Fig 11.1 During the Visit to Nathdwara Temple, Apart fro the regular pichwai paintings, the other commercial products were very much in demand with a lot of transformation of 2D art to 3D art forms with lot of exploration with Lights and shiny stuffs. The range starts for these products starts with a price of 250/- INR to 50,000/- INR. The artists practicing these art are the next generation of these artists who were practicing Pichwai Painting. Each stores keep around 50-100 paintings at a time for sale. Apart from paintings they also keep lot of cloths and accessories of Little lord krishna.
Fig 11.2 During the Visit to Nathdwara Temple, Apart from the regular pichwai paintings, the other commercial product with lot of decoration and highlighting the Lord Krishna in this 3D art. The process of making this artwork is faster and very much commercially viable. The details are more highlighted on the God and the background is highlighted with lights and
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Fig 11.3 During the Visit to Nathdwara Temple, Apart from the regular pichwai paintings, the other commercial products which were on high demand. These products are very much highlighted with single color i.e. Gold & silver. Rest other details are highlighted with Ascent color. The highlights are featured on the face. The face is created in such a way that it looks same to everyone from any angle. The product range starts from 1000/- INR to 1,00,000/- INR.
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Fig 11.4 During the Visit to Nathdwara Temple, a artists in his store working on his new product adding the sculpted details of Lord Krishna. These artists are devoted in their work and practicing these art for more than 15 years. The transformation of Pichwai to these 3D forms are the demand of the customers who visit the temple as a devotee.
Fig 11.5 During the Visit to Nathdwara Temple, Apart from the regular pichwai paintings, we visited these studio where they create 3D art with the lord krishna idol centered. These 3D art is created with MDF with a carving of multi layers and then smoothing it and application of synthetic colors and giving it a modern look.
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Bibliography
Books:
Website: http://theartistofnathdwara.org http://www.news18.com/news/ immersive/on-the-pichwai-trail.html http://www.artic.edu/artists-nathdwara http://gaatha.com/pichwai-paintings/ http://www.ethnicpaintings.com/ indian_painting_styles/pichwais/
Shrinath Ji: Pichwais: The Manifestation of Pushtimarg: This book is about the Pichwai paintings, which have been in practice for the last three hundred years in Vallabhacharya Sect temples of Lord Krishna. These paintings portray Lord Krishna. Lord Krishna as a child is shown in different moods, attires, and postures. Painting Pichwai is an ancient form of art passed on from generation to generation, and it has a devotional theme toward Lord Krishna.
Wondrous Images: Krishna seen as Shrinath-ji (Pichhwais of the Vallabha Sampradaya)
Gates of the Lord – The Tradition of Krishna Paintings:
In Adoration of Krishna: Pichhwais of Shrinathji, Tapi Collection:
The Pushtimarg, a Hindu sect established in India in the fifteenth century, possesses a unique culture-reaching back centuries and still vital today-in which art and devotion are deeply intertwined. This important volume, illustrated with more than one hundred vivid images, offers a new, in-depth look at the Pushtimarg and its rich aesthetic traditions, which are largely unknown outside of South Asia.
Illustrated catalog of an exhibition of Pichhwais (devotional textiles that hang behind the image of Hindu God Krishna, worshipped by followers of Pushti Marg, Hindu sect, as Shrinathji) from the collections of TĂĽAPI, held at National Museum of India, New Delhi, from Dec. 8, 2007 to Jan. 20, 2008, and Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai, fromFeb. 8, 2008 to Mar. 2, 2008; with contributions from TAPI Research Team.
https://blog.jaypore.com/2014/07/28/ pichwais-of-nathdwara/ https://en.wikipedia.org/wiki/ Nathdwara_Painting http://www.indianetzone.com/69/ pichwai_paintings.htm http://indiatoday.intoday.in/story/ pichwai-art-form-the-life-ofkrishna/1/483575.html
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Picture Credits:
https://www.google.co.in/ search?q=kalash+.png&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjhm6Dg467TAhVEqI8KHfCtCGYQ_AUIBigB&biw=1708&bih=1208#tbm=isch&q=shubh+labh&imgrc=04ucLzkNVa4iBM:
http://ifaaonline.com/online-art-education/?gclid=CO7hgJDvrtMCFc4WaAod4QIHjg
http://www.hindufaqs.com/wp-content/uploads/2015/03/2000px-HinduSwastika.svg_.png
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