An Elaborate Study of Motifs & Elements in Pichhwai Painting of Nathdwara
Krishna Raj, P.V. Anmol Jaswal, Rishabh Singh
National Institute of Fashion Technology, New Delhi
An Elaborate Study of Motifs & Elements In Pichhwai Painting of Nathdwara Krishna Raj, P.V. Anmol Jaswal, Rishabh Singh
Abstract—Pichhwai are devotional pictures found on cloth or paper which portray Lord Krishna. They originated in the Deccan, India, and the villages of Aurangabad and Nathdwara in Rajasthan state. The purpose of Pichhwais, other than artistic appeal, is to narrate tales of Krishna to the illiterate. This research elaborates on all the motifs and elements in Pichhwai Painting of Nathdwara.Tracing back the relevance of these elements by studying the leelas of Krishna also understanding the undertone of these leelas and hence, the elements. The research studies two different types of Pichhwai 1.Pichhwai without Lord Krishna (As the concept of Pichhwai was not to hang a painting but a decorative cloth behind the idol which might, might not have leelas of Krishna and any painting at all.) 2. Pichhwai with the deity (From mere cloth to Krishna leelas painted backdrop) Gathering firsthand information by interviewing Pichhwai painters, Pandits and other sewak in the temple at Nathdwara and referring to the books on the city, temples and the craft. Conducting visual research by visiting the temple and studying the architectural style which influence the Pichhwai painting. Understanding the painting beyond its visuals.
Keywords-Motifs, Elements, Pichwai, colors
I. INTRODUCTION The lavish and diverse heritage of India reflects in the varied art and craft forms prevailing throughout the states each unique to its own. Distinctly vivid are the Indian painting styles which represent the ideologies and traditions of their origins. Indian paintings yield an aesthetic continuum that stretches out from the early civilization to the current days. From initially being religious in purpose, Indian paintings have evolved over the years to become a blend of various cultures and traditions. Most of them started out as murals and paintings on walls but then grew on to become a style of their own. One such painting which evolved significantly is Pichwai painting of Nathdwara.
The name Pichwai can be traced back to Sanskrit where ‘Pichh’ means back and ‘Wais’ means hanging. These paintings originally were the pieces of cloth hung behind an idol of God Shreenathji (the mountain lifting form of Lord Krishna). They were dark in colour with a few or no motifs. Gradually, with the passage of time more motifs and figures were introduced which had a significance in the deities’ life. Lord Shreenathji was eventually brought into the painting itself, with him being in the Centre and making this ritual the signature of a Pichwai painting. Like every Indian art form, Pichwai too has an interesting history to it. One of the priests at the Shrinathji temple in Nathdwara, Vallabh Das, fondly narrated the story. It is believed, around 1409 AD, an idol of Lord Shreenathji was unearthed in Mathura where a cow was worshipping the lord with offerings of milk. Later on, a temple was erected there which acclaimed high reverence. In the year 1671 AD, in order to avoid the intrusions and oppressions of the Mughal emperor, Aurangzeb, the temple was then shifted and instated in Rajasthan by the priest of Mathura, where it would be under the safety of the Rajput. Maharana Raj Singh decided to provide refuge. With the shift of the idol of Shreenathji from Mathura, the sevaks of Lord (the priest, halwais, cows, their caretakers and the Pichwai painters) accompanied him there. They stopped at Eklingji in Rajasthan, where there was a momentous temple of Shiva, but since two temples of great importance cannot exist in the same 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”. With this the Path of Grace or “Pushti Marg” was shifted to Nathdwara from Mathura. The determination of when Pichwais were first used in the temples of the sect is uncertain. Two early references to the hangings were found in the time of Vitthalnath. 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. The origin of Pichwai paintings dates back from the time when the sect of Vallabhaicharaya created 24 illustrating pictures at the backdrop of Lord Krishna’s image at Nathdwara. Each and every picture depicted some specific illustrations which were associated with different festivals, moods or celebrations.
II. THE PLACE OF PICHWAI The people of Nathdwara are immensely proud to call this painting style their own. The elderly crowd of the place gladly narrate stories of Shrinathji and encourage the younger ones to pursue his worship. Many people who are artists in the city have their livelihood out of painting Pichwai. Their lives revolve around the making of brushes and colours, sketching on cloth and then painting on it. Most of them live in Chitrakaron ka Mohallah or Chitron ki gali. There are at least 10-15 original Pichwai painters in Nathdwara and they offer training to many new ones. Mr. Shyam Lal Ji Sharma, a 76 year old painter recollects his artworks and boasts about the six generations of artists who are carrying forward the tradition of Pichwai painting in their family. Pichwai for them, is not just a style of painting but an outlet for the flow of calmness, positivity, devotion, skill and meditation. There are many temples in Nathdwara bearing many forms of Lord Krishna, the most important one of which, there, is the Shrinathji temple. People are highly religious and devoted to Lord Shrinathji. They offer prayers regularly and strongly believe in devotion to Shrinathji. Cows can also be seen wandering throughout the city decorated with paint and ornaments and are also regarded auspicious.
III. COLOURS USED In the ancient times, the cloth of Pichwai paintings were dipped in the colours which were made with the help of vegetables and minerals. The main theme of these paintings is Lord Krishna with which it narrates the tales of Shreenathji and these paintings were used as backdrops in the Shreenathji temple at Nathdwara and in other temples of Lord Krishna. Pichwais can be remembered for their vibrant blues and greens and brilliant reds and oranges; the entire range of colour is used. Mostly, colors 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 color is to be used, the pieces and ground and the powder is dissolved in water and thickened with a gum resin. The colors used by Pichwai painters are: 1. Safeda- White 2. Nil - Indigo 3. Asmani (also known as Lazvardi) - lapis lazuli 4. Lilo - Bottle green 5. Suva Pankhi- parrot green 6. Selu - emerald green 7. Jangali Ghero - greenish grey 8. Rav sena- yellow ochre 9. Pilo - yellow 10. Gavgoli or Pyori - yellow made from cow urine 11. Gulabi - pink 12. Lal- dark red 13. Geru - red ochre 14. Hadmacha (also known as Hirmichi) - reddish brown 15. Kati - light slate 16. Zangal - copper acetate 17. Khasni (Jambani) - plum 18. Sendur - orange 19. Kesari - saffron 20. Hinglu - vermillion made from sulphide of mercury 21. Sai (also known as Syahi) - black from lamp black
IV. LORD KRISHNA AND HIS LEELAS His enchanting form with flute in hand is worshipped in the myriad homes of India - The devotion for Lord Krishna prevails throughout the country in different forms of him and is poured out through indigenous art forms. Every Pichwai painting is a collection of elements that have a significance in the life of Lord Krishna. They tell a story in themselves. The paintings often depict a particular scene or phase from his life or a ‘leela’.
Govardhan leela -www.artisera.com
The leela that started the concept of Pichwai was the Govardhan Leela. Once when Lord Krishna was a little boy he questioned the elders of the village while they were preparing for an annual puja to impress Lord Indra. On being explained that it is Indra who blesses them with yearly showers to help them grow crops, he revolted and argued that farmers should not waste their time preparing for a useless ritual praying for something that occurs naturally. The village people agreed and dropped the ritual that year which resulted in Lord Indra being furious and cursing them with tremendous rain and thunderstorms. Such was the extent that the village flooded and the villagers panicked. This is when the little Lord lifted up the Govardhan parvat (mountain) and balanced it on his little finger like an umbrella. Lord Indra along with the villagers was astounded and decided to call back the rain clouds making the sky clear and blue again. This was the form of Lord Krishna that the Pichwai painting depicted. He was called Lord Shrinathji in Rajasthan. Many Pichwai paintings now depict the Gowardhan leela - they have a mountain in the background, villagers of all age groups and a cow with a feeding calf to remind the viewers of this fascinating story. Another leela which is portrayed many a times in Pichwai is the Rasa Leela. It is usually depicted by Krishna and Radha in the Centre encircled with Radha’s sakhis, all dancing devotedly together. The term ‘rasa’ means aesthetic and ‘Lila’ means act which roughly translates to ‘The act of aesthetics’ or broadly speaking, ‘The Dance of Divine Love’. The act of Rasa Lila is believed to have taken place one night in Vrindavan when Lord Krishna started playing his flute in the forest. Bewitched by this sound, all the Gopis and Radha snuck out of their houses and went to Krishna in the woods. He then, supernaturally, stretched that night into a Night of Brahma, which in Hindu scriptures was 4.32 billion years. This act is regarded as one of Krishna’s most supreme and esoteric pastimes. Rasa Lila paintings always have a river in them, the Yamuna River on the banks of which Vrindavan is situated. They also have a lot of trees and bushes with peacocks dancing.
Dana leela is one of the lesser known leelas which is depicted in Pichwai paintings. In this, the Gopis and Krishna’s beloved cows offer ‘dana’ or toll to Lord Krishna. It depicts Krishna’s dearest followers looking up to him and worshipping him in ardent admiration. The scenery is filled with foliage and in lush green. The pichwai is completed with a floral border. This leela teaches sacrifice and charity.
V. CHANGES WITH SEASONS Although the majority of Pichwais are associated with particular festivals or leelas, 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 the scenes of shady groves and cool streams are used in the shrine. Shrinathji 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.
VI. PAINTINGS ACCORDING TO FESTIVALS Rasa leela –www.irrishome.in/ Bal Leela or the incidents from Lord Krishna’s childhood also hold an important place in the paintings. These are scenarios ranging from the birth of Krishna, and how Vasudev sneaked out of prison to leave Krishna at Gokul, to the many asuras (demons) sent by Kansa that Krishna defeated when he was a child. These paintings also include the river Yamuna as Vasudeva had carried him in its flooding waters. Many a times Bal leela paintings can be seen having earthen pots and a heap of butter indicating the pranks Lord Krishna played on the Gopis by stealing their milk pots or eating their butter.
● Janmashtami: Here, the birth of Lord Krishna is celebrated by bathing him in honey, milk and curd. Lord Krishna was born on a stormy night in the prison oh Kansa but was then rescued to Gokul by his father Vasudeva. People bow down to this depiction of Shrinathji’s idol in the Centre, dressed up in saffron and a crown with peacocks on it. Crowded gatherings and offerings to Lord Krishna in a cradle with toys is also depicted to show this festival in some of the Pichwai paintings.
Shrinath ji Janmasthami -- lordkrishna-handicrafts.com
Daan leela- lordkrishna-handicrafts.com
● Sharad Purnima: The onset of Sharad or the autumn season is marked by the first full moon night after Krishna was born, also called Purnima. In a Pichwai of this occasion, Shrinathji embellished
with brocade and jewelry is the central figure with people dancing around him. A full moon in a dark sky is always painted.
● Holi: The festival of colours and the announcer of the arrival of spring season, Holi is celebrated with a lot of ardour across India. Pichwai paintings depict this festival with Shrinathji’s idol dressed in a white robe with colorful spots on it. In some Pichwais, the powdered colour or gulal is placed in heaps in utensils in front of his idol.
Shrinath ji Sharad Pornima - lordkrishna-handicrafts.com ● Annakut: Celebrated on the 4th day of Diwali, it depicts Krishna as a savior by marking the day when he saved the villagers from wrath of thunderstorms brought on by the rain God, Indra. Annakut is one of the most important festivals for Krishna worshippers. Shrinathji with a raised left hand, dresses in elaborate clothes and a peacock feather crown is the central image in a Pichwai painting of Annakut. ● Gopashtami: Gopashtami marks the day Krishna became a ‘Gauwala’, rearing and taking care of the cattle. It celebrates the naming of Krishna with the title ‘Govinda’ on the same day. Pichwais depicting Gopashtami have the figure of a Shrinathji dressed in grand red, yellow and green attires and embellished with a lot of silver and gold ornaments as the central figure. There are a lot of cows surrounding him in honour of the festival.
Holi- lordkrishna-handicrafts.com
VII. MOTIFS AND THEIR SIGNIFICANCE Arriving at the elements in a Pichwai and the style of illustrations, these paintings have a lot of distinct motifs that have a significant meaning to the story or phase depicted or in the life of Lord Krishna. 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. Listed below are some of the motifs regularly used in Pichwai? ● The Lotus: The Kamalan ki Pichwai, or the lotus pichwais, is used during the summer months to create a cool and gentle atmosphere in the sanctum of Shrinathji. The repetitive lotus motif of these pichwais denotes expansive lotus ponds and the banks of the river Yamuna, where the young Krishna spent much of his time with his beloved gopis. The painted lotus pichwais were introduced in the 18th century and are typically displayed during the Gangadashmi festival. In some lotus pichwais, Gokulchandramaji, a swaroop of Krishna plays his flute under a pavilion of roses, in the middle of the river Yamuna. Curling lotus stems and fanlike leaves with numerous bees swarming around surround the image of Gokulchandramaji in the Centre. The visual presented in this pichwai uses the popular metaphor from the ashtachhapa poems, where Krishna is compared to a bee and his beloved gopis to lotuses. ● Cows: Cows are considered holy in Hindu religion and Krishna was well known for his companionship with cows. Some stories say cows started lactating just at the sound of his flute. Playing the flute while cow-herding is one of the first images that come to mind upon
Gopashtami- lordkrishna-handicrafts.com
hearing the name of Lord Krishna. Cows are also important in Pichwai as the painting discovered where the Shrinathji temple was established, had a cow offering milk to the deity. ● Gopis or Sakhis of Radha: The women of the vraja that are in love with Krishna or are devoted to him. One of his more popular leelas is that of ‘Raasa’ where he is shown multiplying himself to dance with all of his devoted lovers during Sharad Purnima. The Gopis in Rasa Lila are sometimes perceived as shadows of Krishna himself dancing as his reflection. The Gopis surround either Radha and Krishna or just Krishna in majority of paintings. The also symbolize how widely Krishna was liked and worshipped by everyone around. ● Peacocks: Peacocks in the life of Krishna have to qualities of both the Gopis and cows. Krishna’s equal affection for both humans and animals alike is shown by the peacocks dancing around him along with the Gopis. Peacocks love dancing more so to the tune of Krishna’s flute because of its enchanting melody and because Krishna appears black as the clouds that bring rain. He also wears a peacock feather on his head as it is said to have all the 7 colours of nature and appears bluish in the day and black at night. The sky which covers all of us also appears blue by day and black by nighttime. Lord Krishna, also called the dark skinned one is represented by both these colours. Thus, the peacock symbolizes the entire range of colours humans are made of and that each one of us a part of the almighty. As God, he is formless but to mortals, he appears Blue by day and Black by night, making him just like a peacock feather. They are auspicious symbols of beauty who are present in many Pichwai compositions. ● Parrot: The parrot has a distinct significance in Hindu mythology. Shukadeva, believed to be a parrot in his previous life narrated the Bhagvad Gita to Parikshit who was cursed to die by a snake bite but after listening to the Gita, attained moksha. Shukadeva was actually a dead parrot in a cave where it heard Lord Shiva imparting the ultimate wisdom to Goddess Parvati and came back to life. It flew away with Shiva chasing it for a long time an entered a woman as a fly and went away to meditate as soon as he was born in a human body and eventually met Therefore the parrot is the reminder of the presence of Shukadeva and hence the Bhagvad Gita and the role Krishna played in it. Parrots are also religious birds and can be often seen chanting Lord Krishna’s name in many households. ● Lion: A lion is the symbol of regal authority. Just like Krishna was one of the incarnations of Lord Vishnu, a half lion-half human form was also attained by him, the famous Narasimha. It is also known as the ‘Lion God’ and worshipped widely in India. The Lion may also be a major influence by the Rajputs in Rajasthan who acquired titles of ‘Singh’ to represent courage, strength and poise. ● Banana leaves: Krishna once tricked Duryodhan into covering his groin and thighs with banana leaves when he went to meet his mother Gandhari who was wearing a blindfold since many years. When she opened her eyes, the blessings of her vision fell on his entire body except for the part covered with the leaf. During the war, when Duryodhan was undefeated, Krishna signaled Bhima to aim at his thigh and that is how Duryodhan died. This may symbolize the defeat of evil. They can also be a representation of the greenery in Gokul when Krishna lived there as a child. ● Yamuna river: The river Yamuna can be seen prevailing many of the Pichwai paintings either in to bottom or as a stream flowing by in the back. It is often adorned with lotuses. Vrindavan was situated on the banks of Yamuna river and that is where Krishna played out the Rasa Lila. He would often sit by the river with his cows and play his flute
VIII. PICHWAI BEFORE THE INTRODUCTION OF KRISHNA During the eighteenth and nineteenth centuries, the Mewar paintings imbibing the Brij and Mughal influences, continued to manifest its rise and fall through epic painting, wall painting and miniature painting. A distinct Mewar style of painting is termed Nathdwara substyle. After the shift of Shrinathji from Govardhan to Rajasthan, many artists endowed with great religious fervour came here and created many beautiful paintings of Lord Shrinathji. Depiction of natural scenery and elements of nature has been a distinct feature of the Nathdwara style. This style is what the Pichwai painting comes under. Pichwai painting as mentioned before was the cloth hanging behind the Lord’s idol thus leading to its name. In ancient times, the cloth of the Pichwais were dipped and dyed in colors made of vegetables and minerals. If painted with motifs, permanent natural colors were used which did not lighten for years. The cloth used as the background of Shrinathji idol in his shrine was painted to provide a wholesome effect to the milieu. The motifs had a relation to Shrinathji’s life and were the portrayal of the artists love for God.
Pichwai- Artzolo.com
IX. PICHWAI AFTER INTRODUCTION OF KRISHNA Eventually, the artists started introducing the figurine of Lord Shrinathji himself in the paintings and created stories revolving around his life incidents. True to its literal meaning, traditional Pichwais were painted on cotton cloth but over the time artists started using paper as a base. They started off with just the image of Shrinathji, the Govardhan Mountain bearing form of Lord Krishna but then spread out the painting themes to stories of the general idea of Lord Krishna. (The figure of Shrinathji was demonstrated as a seven year old child. In most Pichwai paintings, the image of Shrinathji with left hand raised, is shown to represent the event where he protected the villagers by holding up the Govardhan hill for all of them to take shelter - to protect them from the thunderstorm brought on the village by the God of Rain, Indra.) This is when different leelas of Krishna, seasons and festivals were depicted. Different attires, moods and body postures of Krishna came into the paintings. They served to tell the tales of Krishna to the illiterate masses. The devotees of Shrinathji believed in worshipping God to be joyous experience and thus the paintings of him are made to evoke feelings of positivity through fascinating stories from his life. A typical Pichwai then contained 24 boxes each with gopis, cows a Krishnaji. Pichwais started getting more and more intricate, filled with little but important details. Block prints, embroidery, weaving
and studding of jewels came into the picture. Emphasis on the material of cloth used, vibrancy of the colors and precision of work started to spread. Some artists even used color made with gold to paint and stuck pieces of gemstones on the Lord’s figure.
X. STUDYING THE ELEMENTS IN THE PAINTING Before Lord Shrinathji was introduced into the paintings, they used to be just dark in colour with borders of a lighter colour so as to make it easy for the viewers’ eyes to emphasize on the idol for which it acted as a backdrop. Then some motifs were introduced which symbolized something related to Shrinathji. Their motifs were usually lotuses or cows which were arranged in a uniform format. For instance, a summer Pichwai back then had twenty Lotuses painted in a grid like form of four by five, equally distanced from each other. As the image of Lord Shrinathji started being painted, the entire format of Pichwai changed. The painted face of Shrinathji was based on a likeliness to the original deity that is housed in the central shrine of Nathdwara. This depiction is the most commonly used iconic representation in pichwai paintings. The frontal face position is always painted in symmetry, a method that ensures the facial feature on the left and the right side are proportionally correct. The hair design symbolizes the naga snake deity often associated with Shrinathji. Naga snake deities were originally worshipped upon mount Govardhan before the advent of Shrinathji and later absorbed into his mythology. The hair design therefore resembles a black line that tapers off to a tail with a series of tassels attached to the end. The tilak on the forehead of Shrinathji is painted at the end as a mark of respect as it is believed to be the symbol of Shiva’s third eye, the Agnichakra. Shrinathji’s figure with the right hand up as if holding the Govardhan hill was painted in the Centre. A dark blue or maroon was typically used for the background and the lotuses started being used as an element for the border along with lotus leaves and twirling stems. Sometimes lotuses were spread out in the back ground and cows were used in the border. Then other human figures started being introduced like the villagers and gopis and Radha and they were always painted in a side profile with distinctively large noses. Villagers were painted in scenes of Govardhan leela and Janmashtami and were usually placed below Lord Krishna or made of a bigger or smaller size to differentiate between the common people and the deity. In such cases Lord Krishna was placed on a pedestal or on a lotus to remind of him being an avatar of Vishnu. However, in a painting depicting Rasa Lila Lord Krishna was one among the others. He was placed in the Centre of all the Gopis along with Radha on the same level and the sky was painted dark blue or black to show night time with little white dots to show stars. In Rasa Lila paintings, there were typically banana and banyan trees in the background and a river (The Yamuna) with lotuses on it. There were peacocks dancing around too. Some paintings also have chariots in the sky to symbolize the Gods visiting Earth to witness the magical act of Rasa Lila, so mystically bewitching it was. Few of these paintings depict Krishna and Radha in the middle surrounded by multiple pairs of Krishnas and Radhas showing the multiplicity of the Lord’s body. Many of the Bal leela paintings have Krishna in the middle of a row of Gopis with earthen pots on their heads, some of them leaking with a stream of milk pouring out. Some Pichwais were painted versions of a map of Nathdwara. They had small boxes in them with houses and streets, some with painting
of Shrinathji in the Centre to depict he is the heart of the city. The residence of the deity is believed to be a haveli or mansion, instead of a mandir or temple. The Pichwais of Shrinathji’s mansion featured the visual representation of the town of Nathdwara. The haveli comprised of a maze of streets and architecture and their internal and external environments. This genre is widely popular among devotees as these paintings recreate the experience of Shrinathji’s darshan. The haveli Pichwais were not maps in the conventional sense. They were envisioned to serve as reminders of the miraculous events and sacred objects associated with the life of Krishna. It is believed among the devotees of the Pushtimarg sect that the viewer can experience parikrama, holy circumambulation of a sacred spot, by a darshan of these haveli Pichwais, particularly during the festival of Govardhan Puja, which is typically depicted in them. Artists then introduced contemporary themes and objects into Pichwai without losing track of the traditional Pichwai feel. A painting depicted two devotees wearing white dhotis, a black coat and red topis praying to the idol of Shrinathji in a chandan ka bangla or silver pavillion in a European landscape setting. The idol was being worshipped by a priest in clad in white. There was a fountain in front of the temple to show summer season and a cloth of Pichwai painting with cow motifs behind the idol of Shrinathji. The painting could easily be understood as Pichwai by the style in which their faces were drawn. This adaptation with the time retaining the essence of tradition is the versatility of a painting style like Pichwai. The colours used in Pichwai painting were very vibrant because of the use of natural dyes and carried on to be even brighter as synthetic dyes were mixed. Lord Krishna was dressed up in printed robes of all colours. Eventually, the use of gold and silver started increasing and the ornamentation on Krishna became more extravagant. More accessories on the head and arms and layers of necklaces and garlands were introduced. Sometimes the robe of Lord Krishnaji was barely visible because of the loaded embellishments on his body. Colour schemes started swaying more towards golden and silver not only in accessories but in the entire painting. The borders started to be filled with top views of fully blossomed lotuses in pink or white or regular five petal flowers in blue and red. The lotuses drawn, however, remained a gradient of pink to white since the starting. The cows were very ornamented, with red dots or prints of palms over their bodies and red legs, they usually wore a neck strap with a bell wearing a peacock feather on either of their horns and were drawn in a side profile. The cows and lotuses blended inside the painting with ordinary flowers or geometrical patterns in gold and silver at the border.
XI. CONCLUSION Pichwai painting which was born as a mere cloth to be hung behind the idol of Shrinathji has gradually grown into a beautiful art form of its own. It now bears the image the image of the Lord and reflects the stories of his life. The small elements and motifs bordering the painting or in the bottom or even in the back of the characters, hold a distinct significance to Lord Krishna. Each element or part in the painting has a unique story and relevance to the life of Lord Krishna. The color dyed motif bearing cloth piece now has a plethora of intricate details with jewels being studded as the jewelry of the Lord in the painting. Even the size of the painting used to be huge for serving as backdrops of the idol but have now become a form of miniature paintings. The purely organic colors used back then have converted into synthetic ones. The cotton cloth has turned into paper.
Commercialization brought along with urbanization has entirely changed the essential value of the Pichwai paintings. From being solely painted for religious purposes and hung in temples, they are now painted for the sake of their beauty and hung in the houses of art enthusiasts. Pichwai paintings, nowadays are being incorporated in pillow covers, Laptop sleeves, bedsheets and an array of day-to-day objects. The quality paintings, however, are being sold even at prices ranging upto lakhs of rupees. This change has greatly helped Pichwai to prosper and grow as a painting style. Artists have contemporised the paintings without losing their traditional touch, to keep up their prominence. This has helped one of the most brilliant and mesmerizing art forms of India to survive through all these years.
[10] https://www.google.com/url?sa=t&source=web&rct=j&url=http: //www.sundaramtagore.com/attachment/en/575562f5cfaf34762c 8b4568/Press/575563b5cfaf34762c8b7a2d&ved=2ahUKEwjPg6 ik0PPlAhX_7HMBHWYfDAE4HhAWMAB6BAgGEAE&usg =AOvVaw3j5gkJsESqmp3hVNBIFi-L [11] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://craftytalks.craftsventure.com/shreenathji-wall-framepichwaipainting/&ved=2ahUKEwjPg6ik0PPlAhX_7HMBHWYfDAE4 HhAWMAd6BAgFEAE&usg=AOvVaw3HudG0XoOn2dWjgZ au67t7
REFERENCES LINKS
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[12] https://books.google.co.in/books?id=K5LMBAAAQBAJ&pg=P A19&lpg=PA19&dq=pichwai+motifs+and+elements&source=b l&ots=VYICdjS9m9&sig=ACfU3U1IO6MxBHpcVe6W3ZrkV WU1gyxPcA&hl=en&sa=X&ved=2ahUKEwi0gLHV0PPlAhXs 4HMBHfn6Cmo4KBDoATADegQIAxAB [13] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.thehindu.com/arts/crafts/vivid-vignettes-from-krishnaslife/article4294270.ece/amp/&ved=2ahUKEwiCo_q0PPlAhX9xjgGHfPtDagQFjAXegQIBxAB&usg=AOvVaw 31yfasJOurqzJ4zPQ28RsB&ampcf=1 [14] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.amirmohtashemi.com/artworkdetail/780116/0/pichwaiof-krishna-with-cattle&ved=2ahUKEwiCo_q0PPlAhX9xjgGHfPtDagQFjAYegQIBhAB&usg=AOvVaw 0jEaoU5NuPcUcdAKcAGqfd [15] https://www.google.com/url?sa=t&source=web&rct=j&url=http: //irrishome.in/product/pichwai-cows-of-comfort-lightnessfreedomparadise/&ved=2ahUKEwixnOuZ0fPlAhXErI8KHTx6DZk4Ch AWMBF6BAgDEAE&usg=AOvVaw2YnBFSmTlOOeC4Ff0G lMRe [16] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.cultcurio.com/product/wall-art8/&ved=2ahUKEwixnOuZ0fPlAhXErI8KHTx6DZk4ChAWM BB6BAgBEAE&usg=AOvVaw2uKu7YyEqsdyx9hrZNhGrh [17] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://fineartamerica.com/art/paintings/pichwai&ved=2ahUKEwiP h9zC0fPlAhUMvI8KHawMBZg4FBAWMAR6BAgBEAE&us g=AOvVaw2gU3S2UfS36nRwx02DeLAK [18] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://trovecraftindia.com/collections/pichwai-painting-instock&ved=2ahUKEwiPh9zC0fPlAhUMvI8KHawMBZg4FBA WMAd6BAgEEAE&usg=AOvVaw32MHfAuDIdZNTQrBp0O 3gi [19] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.vogue.in/content/indias-largest-pichwai-exhibit-finallycomes-tomumbai%3Famp&ved=2ahUKEwiPh9zC0fPlAhUMvI8KHaw MBZg4FBAWMAh6BAgFEAE&usg=AOvVaw3prw0gHBz0n p5AdfOz5QoA [20] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.deccanherald.com/amp/content/429471/pichwairesurgence.html&ved=2ahUKEwjNkJyA0vPlAhUQTI8KHaq6
Cf04HhAWMAN6BAgJEAE&usg=AOvVaw1gJJdDsvHq8tdrxKu9LHo [21] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.cottage9.com/shrinathji-pichwai-for-sale-vrindavancows.html&ved=2ahUKEwjsuqvV0vPlAhXLtI8KHeD_Axk4K BAWMAJ6BAgIEAE&usg=AOvVaw18z_ZsEO1aRONqDgVi hpiA [22] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://telanganatoday.com/painting-pichwaistyle/amp&ved=2ahUKEwijld6q0_PlAhWjguYKHaYYCmY4 MhAWMAB6BAgDEAE&usg=AOvVaw091sz7ZL6Q0XSNOf rbHzps [23] https://books.google.co.in/books?id=RYfaBAAAQBAJ&pg=PT 4&lpg=PT4&dq=pichwai+and+cow&source=bl&ots=naDIKI5kJ&sig=ACfU3U07JfxVIH4cnIvdjidiG_jIBKeVtQ&hl=en& sa=X&ved=2ahUKEwijld6q0_PlAhWjguYKHaYYCmY4MhD oATABegQIBxAB [24] https://books.google.co.in/books?id=RYfaBAAAQBAJ&pg=PT 4&lpg=PT4&dq=pichwai+and+cow&source=bl&ots=naDIKI5kJ&sig=ACfU3U07JfxVIH4cnIvdjidiG_jIBKeVtQ&hl=en& sa=X&ved=2ahUKEwijld6q0_PlAhWjguYKHaYYCmY4MhD oATABegQIBxAB
iDWY4HhAWMAZ6BAgAEAE&usg=AOvVaw0JbfNismltx_ MXIb791NS7 [32] https://www.google.com/url?sa=t&source=web&rct=j&url=http: //13.71.17.103/content/incredible-indiav2/en/destinations/jodhpur/pichwaipaintings.html&ved=2ahUKEwiMpYP61fPlAhVQ7HMBHWzI AF84KBAWMAh6BAgDEAE&usg=AOvVaw1sA5bPFnSqc3Z JAPNIWkco [33] https://www.artzolo.com/blog/festivals-pichwai-art [34] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.artisera.com/blogs/expressions/6-festivals-that-arecommonly-depicted-in-lord-krishnaspichwais&ved=2ahUKEwj58ZaS1vPlAhUHxzgGHfHYDa8QFj ASegQIBBAH&usg=AOvVaw2yDHfTEYE4VXW9a2hfgaie& cshid=1574077159550 [35] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.thehindu.com/features/metroplus/backdrops-takecentrestage/article5922336.ece/amp/&ved=2ahUKEwjbseW91vPlAh VV6nMBHYWvAAE4ChAWMAF6BAgFEAE&usg=AOvVaw 3XCkJgvyT1CtSL2_JrSIuh [36] https://www.darshanamart.com/product/daan-leela-5/
[25] https://www.google.com/url?sa=t&source=web&rct=j&url=http: //urau.legends-of-warcraft.de/krishna-leelastories.html&ved=2ahUKEwjWzrzf0_PlAhXV6XMBHUk_Au w4PBAWMAN6BAgBEAE&usg=AOvVaw0rSHrjZjaG3tZK64 66QY86 [26] https://www.google.com/url?sa=t&source=web&rct=j&url=http: //htch.sport-schukic.de/radha-krishna-upcomingstory.html&ved=2ahUKEwjWzrzf0_PlAhXV6XMBHUk_Auw 4PBAWMAV6BAgCEAE&usg=AOvVaw2ULfAst18aNtSvyoe HvoXU [27] https://sarmaya.in/objects/indigenous-tribal-art/ [28] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.dailymail.co.uk/indiahome/indianews/article3250281/amp/Krishna-tales-come-alive-canvas-Art-aficionadoPooja-Singhal-says-Pichwai-art-not-gettingmainstream.html&ved=2ahUKEwi_yPPN1PPlAhWc63MBHYJ UDhw4ChAWMAJ6BAgDEAE&usg=AOvVaw2LgxDC43YC XFYYKsllgra2
[37] https://www.thehouseofthings.com/daan-leela-12.html [38] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://m.sweetcouch.com/art/14861335-milan-leela-pichwaipaintingsblack&ved=2ahUKEwjWosSe1_PlAhUkheYKHSZYDLs4FBA WMAB6BAgEEAE&usg=AOvVaw08D-T9LN_jCfT47upWxCw [39] https://books.google.co.in/books?id=RYfaBAAAQBAJ&pg=PT 4&lpg=PT4&dq=pichwai+and+leela&source=bl&ots=naDIKJ5pH&sig=ACfU3U3pS6ZBBkRUgUCeEFQ670qEm4tesA& hl=en&sa=X&ved=2ahUKEwjWosSe1_PlAhUkheYKHSZYDL s4FBDoATAFegQICRAB [40] https://www.google.com/url?sa=t&source=web&rct=j&url=http: //www.sushilpichwai.com/in/2014-04-04-08-2721/stories.html&ved=2ahUKEwjWosSe1_PlAhUkheYKHSZY DLs4FBAWMAh6BAgCEAE&usg=AOvVaw0nbMR2UzGH76 cFF0XEFods
[29] https://www.google.com/url?sa=t&source=web&rct=j&url=http: //monideepa.blogspot.com/2012/04/pichwai-paintings-ofnathdwara.html%3Fm%3D1&ved=2ahUKEwi_yPPN1PPlAhW c63MBHYJUDhw4ChAWMAN6BAgIEAE&usg=AOvVaw1l4j oTlcrVC6LiY_cfnY9m
[41] https://www.google.com/url?sa=t&source=web&rct=j&url=http: //industries.rajasthan.gov.in/content/industries/handmadeinrajast handepartment/artandcraft/Painting/pichhwaipainting.html&ved =2ahUKEwjU5NXl2PPlAhVJ73MBHVcmDG44KBAWMAN6 BAgIEAE&usg=AOvVaw22SXraJZziX0JPzZKLy1MZ
[30] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.thehindu.com/features/friday-review/art/vibrantstrokes-ofcreativity/article5635046.ece/amp/&ved=2ahUKEwi_yPPN1PPl AhWc63MBHYJUDhw4ChAWMAV6BAgEEAE&usg=AOvV aw3NH6XM8P9Dn4AlyxAVeBP9
[42] https://www.thehouseofthings.com/daan-leela-12.html
[31] https://www.google.com/url?sa=t&source=web&rct=j&url=http s://www.thejehan.com/about-nathdwara/&ved=2ahUKEwjVuTf1fPlAhWe6XMBHQ-
[43] https://en.wikipedia.org/wiki/Rasa_lila [44] https://vedicfeed.com/birth-of-lord-krishna-and-his-leelas/ [45] https://www.wordzz.com/lord-krishna-leelas-the-birth-ofKrishna/
[46] https://templesinindiainfo.com/sri-krishna-bal-leela-shrikrishna-bal-leela/ [47] https://templesinindiainfo.com/sri-krishna-bal-leela-shrikrishna-bal-leela/ [48] http://www.biodiversityofindia.org/index.php?title=The_Asiatic _Lion_in_Indian_culture [49] https://en.wikipedia.org/wiki/Cultural_depictions_of_lions [50] https://www.darshanamart.com/product/daan-leela-5/ [51] https://www.thehouseofthings.com/daan-leela-12.html [52] https://www.artzolo.com/blog/festivals-pichwai-art [53] http://paramparikkarigar.com/flipbook/files/assets/common/dow nloads/page0026.pdf [54] https://www.artisera.com/blogs/expressions/173393223pichwais-rediscovering-the-beauty-of-a-traditional-indian-artform [55]
http://irrishome.in/product/pichwai-srinathbhagwan-raas-leela/
[56]
https://www.artisera.com/products/govardhanpuja
[57]
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