CTD-201-L-9

LESSON 9 PICHHAVAI

STRUCTURE

9.0 OBJECTIVES

9.1 INTRODUCTION

9.2 HISTORICAL BACKGROUND

9.3 TYPES OF PICHHAVAI PAINTINGS

9.4 TECHNIQUES

9.4.1 STEPS INVOLVED IN MAKING PICHHAVAIS 9.4.2 COLOURS 9.4.3 BRUSHES

9.5 INFLUENCE OF OTHER STYLES

9.6 ASSIGNMENTS

9.6.1 CLASS ASSIGNMENTS 9.6.2 HOME ASSIGNMENTS

9.7 SUMMING UP

9.8 POSSIBLE ANSWERS TO SELF-CHECK QUESTIONS

9.9 TERMINAL QUESTIONS

9.10 REFERENCES AND SUGGESTED FURTHER READING

9.11 GLOSSARY

9. PICHHAVAI

In the previous lesson we had learnt about the beautiful hand painted art of Kalamkari.

In this lesson we will learn about the exquisite pigment paintings on cloth known as Pichhavais. They originated in Rajasthan and were used as back drops in temples.

9.0 Objectives

After going through this lesson you will be able to:

• Know about the origins of Pichhavai paintings.

• Learn about different types of Pichhavai paintings.

• Appreciate the creativity of the painters and the techniques they used.

9.1 Introduction

Among the most beautiful pigment paintings on cloth in India are the temple hangings of the Vallabhacharya sampradaya, a Krishna sect, found in the late 15th century (Fig. 9.1). These bright-coloured works adorn the walls and furnishings of a temple's inner chamber where Lord Krishna resided. They are based on themes and designed to create the appropriate atmosphere for a particular festival or season.

Fig. 9.2 A Jangidas painting Pichhavai

Fig. 9.3 A Adi Gaura painting Pichhavai

Fig. 9.1 Temple hanging of Vallabhacharya sampradaya

The principal hanging which is suspended behind the image or idol and acts as a stage backdrop for the ceremony is called the Pichhavai. The term Pichhavai is a Hindi word, literally meaning “of behind” (pichha-back and vai-of).

Nathdwara, which is known for its tradition of painting and visual culture, is the centre of Pichhavai paintings. Hundreds of artists live in Nathdwara and paint for their living. The Pichhavai artists belong to two communities, the Jangidas (Fig. 9.2) and the Adi Gauras (Fig. 9.3) and live, mostly, in Chitron ki gali (Street of paintings) and Chitrakaron ka mohallah (colony of painters). Each home here is like a work of art. The artists are a close community and interact freely. The large hangings with vivid depictions of incidents in Krishna's childhood or interesting accounts of events in the history of the sect are extremely appealing. No description about Pichhavai would be complete without a reference to the embroidered (Fig. 9.4), brocaded (Fig. 9.5), the block-printed and Kalamkari pieces (Fig. 9.6) that are used in the shrines.

The act of surrounding Krishna with luxurious hangings is considered to be an expression of love for him. At the same time, the hangings serve to heighten the emotional impact of the devotee's encounter with the incarnated image or idol of Lord Krishna. The great importance placed upon the visual aspect of the worship, and the hangings played an important role in the rituals (Fig. 9.7).

9.2 Historical Background

Vallabhacharya, a devotee of Lord Krishna was the founder of the Vallabhacharya Sampradaya. He settled down in Nathdwara, in Rajasthan which became the headquarters of the Vallabhachari sect. Here, Lord Kirshna was worshipped by the name of Shree Nath Ji. Vallabhacharya was of modern thinking and that is why he started Mughal style attire for Shree Nath Ji.

It is difficult to determine when Pichhavais were first used in the temples of the sect. Two early references to the hangings were found in the time of Vitthalnath. The words Pichhavai, Pichhavari 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

Fig. 9.5 Fig. 9.4 Fig. 9.6

Fig. 9.7

has been a part of the ritual since the time of Vitthalnath. Whether Pichhavai’s were used earlier, during Vallabhacharya’s time, is questionable. The size and shape of the Pichhavai was dictated by the dimensions of the shrine and the type of image for which it was made.

Self-check Questions

1. What is Pichhavai?

2. Fill in the blanks:

Nathdwara, which is known for its tradition of _________ and visual _________, is the centre of ___________ paintings. Hundreds of artists live in ____________ and paint for their living. The Pichhavai artists belong to two communities, the __________ and the ______ ________ and live, mostly, in _________ ki gali (Street of paintings) and ____________ ka mohallah (colony of painters).

9.3 Types of Pichhavai Paintings

All the furnishings of a shrine as well as the walls and ceilings are draped with decorative cloth hangings. Besides the main piece that hangs at the back of the image, there are other pieces, each deriving its name from the items it covers.

A complete set (Saja) includes Simhasana (throne), Siri (steps), Chaukis (stools) Paata (platform for the minor deities), two Khandapaatas (lower tables for minor deities) and Pichhavai (rear wall). In addition, during certain festivals, the ceiling (chandava) and sidewalls (diwalagiri) may be covered with matching hangings. Pichhavai is the main component of the set. The entire set is harmonized in colour and pattern and fashioned in accordance with the requirement of a particular festival or season. The hangings may be figural or abstract in design and range from painted or printed cotton works to the richest brocades and intricate embroideries on satin and velvet.

The type of Pichhavai which is to be used on any occasion is governed by tradition. Generally they are pictorial and illustrate the incident or event on which a particular festival is based. There are at least twenty-four main celebrations, which are important to all the temples. The designs are commonly illustrated in the border scenes of painted pichhavais. These include the major Krishna festivals based on the well-known stories of the Bhagavata Purana and the verses of the bhakti poets as well as the anniversaries of historical events. In the case of the Krishna lilas these are idealized representations. However, these hangings, which depict actual events, are historical records complete with portraits of the participants.

Although the majority of pichhavais are associated with particular festivals, a large number of hangings have seasonal themes and are not assigned to special days.

These capture the mood of the season and provide relief from the scorching heat or piercing cold. They may be hung at any time during the appropriate season.

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 pichhavais with scenes of shady groves and cool streams are used in the shrine, Shri Nathji is surrounded with scenes of dense shaded, leaves in abundance with water or lotus ponds. With the coming of the monsoon season the pichhava is represent with peacocks joyfully dancing beneath the cloudy skies. During the winter season, the shrine is hung with richly embroidered cloth, heavy brocades and velvets.

There are a lot of similarities with design works. Usually, Krishna is shown standing beneath a blooming Kadamba tree with three or four gopis on either side of him. In addition to the Kadamba, there is a full or half mango tree behind each group of gopis. More commonly, Krishna's presence among the milkmaids is merely suggested by a creeper, which twines around the trunk of the Kadamba.

The designs of the hanging are set by the posture of the gopis. They may dance for the Sharada Purnima or carry milk pots for the Dana lila. When the background has raindrops and the sky is thick with clouds, it is the rainy season or a Varsha pichhavai. Each scene has a band of cows at the bottom of the hanging. The Morakuti pichhavai is filled with dancing peacocks. It is associated with the rainy season because at the first sound of thunder, the peacock spreads his magnificent feathers. Some of the varieties of pichhavai based on the occasions and seasons are: (Fig. 9.8)

• Ramnavami Pichhavai

Fig. 9.8a Dana Ekadasi

• Nandmahotsava Pichhavai

• Dana Ekadashi Pichhavai (Fig. 9.8a)

• Braj Yatra Pichhavai

• Sharad Purnima Pichhavai (Fig. 9.8b)

• Annakuta Pichhavai

• Govardhana Dharana Pichhavai

• Gopashtami Pichhavai (Fig. 9.8c)

• Morakuti (monsoon) Pichhavai (Fig. 9.8d)

• Varsha Pichhavai (Fig. 9.8e) and

• Winter Pichhavai

Self-check Questions

3. Name any five types of Pichhavais.

4. Fill in the blanks:

The entire set is harmonized in ________ and _________ and fashioned in accordance with the ___________ of a particular _________ or season.

9.4 Techniques

There is a wide range of techniques used in making temple hangings. Although the most common and best known Pichhavai examples are paintings on cloth, the works may also be an appliqué, a combination of paintings and appliqué, printed, embroidered or brocade (Fig. 9.9). Earlier, Pichhavais were painted on thick hand-woven material, but now a thinner machine made material is also used. Generally the cloth used is white but it is not unusual to use black, blue or red fabric. In case of coloured fabric, gold and silver are predominant colours (Fig. 9.10).

9.4.1 Steps involved in making Pichhavais

The procedure for making pichhavai involves various steps:

i) Starching: The cloth is first starched using a maida paste. This prevents the colours from running together as well from bleeding through the material. After it dries, the cloth is ready to be block-printed.

ii) Spacing: The spacing (khaka jamana) on the fabric is done very systematically. First, the outer limit for the border (par ki boundary) which will contain the creeper motif (bel) is marked off with a coloured thread using a set square (konia). The thread is dusted with charcoal or zinc white (safeda) and leaves a mark where it is placed. By the same method, the central portion, which will contain the main scene, is also outlined (pich ki boundary).

iii) Marking the Spaces: The centre of the inner rectangle space is determined and marked, this central point governs the distribution of figures.

iv) Sketching: The selection of sketching material is determined by the colour of the fabric. Zinc white is used on dark coloured cloth. On the white pieces, the sketching is done with the charred pointed tip of a twig from a tamarind tree. This rough sketching was called tipan. All the necessary corrections are made before the tipan is retraced with a brush dipped in sendur, (orange lead) or white paint, depending on the colour of the material. The sketch is lightly dusted with a piece of cloth and starched again before the artists begin painting.

v) Painting: Then comes the painting of the figures and landscapes. When the initial colouring is finished, the work is polished by laying the cloth face down on a smooth rock and rubbing it from the reverse side with an agate stone (ghonta). The shading and detailed work on the figures and landscape follow. Among Nathdwara artists, this finishing is called Likhai.

vi) Ornamentation: At this stage pearls (motilagana) and rubies (nagachuni) are added and the gold ornaments are completed and rubbed with agate to give them a gloss. The final work in the figure is the addition of transparent garments. A light wash is used so that the undergarment remains visible (sari odhana). Gold butas are applied (buti banana or chundari banana). The last step is the completion of the creeper motif in the border.

9.4.2 Colours

Pichhvais are best remembered for their vibrant blues and greens and brilliant reds and oranges; the complete range of colour is used (Fig. 9.11). Mostly, colours are made from the traditional mineral compound and vegetable extracts, but now-a-days commercial synthetic paints are being used. The natural dyes are kept by the artist in a dry, rock-like form. When a colour is to be used, the pieces are ground and the powder is dissolved in water and thickened with a gum resin. The colours used by these artists are:

1. Sendur-Orange 12. Safeda-white 2. Kesari-Saffron 13. Nil-indigo 3. Hinglu-vermillion

made from sulphide of mercury

14. Lilo-bottle green

4. Rav sena-yellow ochre

15. Gulabi-pink

5. Kati-light slate 16. Lal-dark red 6. Zangal-copper acetate 17. Khasni (Jambani)-plum 7. Suva Pankhi-parrot

green 18. Geru-red ochre

8. Selu-emerald green 19. Hadmacha (also known as Hirmichi)- reddish brown

9. Pilo-yellow 20. Sai (also known as Syahi)-black from lamp black

10. Gavgoli or Pyori-yellow made from cow urine

21. Asmani (also known as Lazvardi)lapis lazuli

11. Jangali Ghero-greenish grey

At times these terms are written on the sketches or tracings as a colour guide and are used for painting the same composition in future. These are called khaka among the Nathadwara artists.

9.4.3 Brushes

The Nathdwara artists work with two types of brushes (kalams). The broad jara is made from goat hair and is used in painting large areas. The detailed work is done with thin jhina made of squirrel tail.

Self-check Questions

Fig. 9.11 Bright colours of Pichhavais

5. Fill in the blanks:

Pichhavais are best remembered for their vibrant ______ and _______ and brilliant ______ and _______; the complete range of colour is used.

9.5 Influence of Other Styles

Unlike the pigment-painted Pichhavais, the other types of hangings such as embroidered or appliqué pieces were not the products of schools which specialized in Pichhavais. They were the works of craftsmen who excelled in sewing, weaving or embroidery.

The appliqué Pichhavais were made by tailors employed by temples. On occasions, the tailor worked in collaboration with an artist who sketched the pattern for the figures and later added the painted details (Fig. 9.12).

The Zardozi hangings, which occupied an important position in the main houses of the Vallabh Sampradaya, were also the works of tailors. Gold or silver metal threads were stitched to satin or velvet with thin silk threads giving the works the appearance of true embroidery (Fig. 9.13).

Brocade hangings are quite popular because they are well-suited to the winter weather. Such pieces are made by professional weavers on special order (Fig. 9.14).

The Nathdwara School was a melting pot for artists of Rajasthan. The various elements in the Pichwais are derived from styles of Bundi, Kota, Jaipur, Udaipur etc.

9.6 Assignments

9.6.1 Class assignments

Fig. 9.14 Brocade pichhavai

Fig. 9.12 Applique pichhavai

Fig. 9.13 Zardozi pichhavai

i) Make a replica on a drawing sheet of Pichhavai.

ii) Draw and sketch the various motifs used in Pichhavai.

9.6.2 Home assignments

i) Collect pictures of Pichhavai work that you can find from magazines, shops, and the internet, representing different styles we have covered in this class. Paste them neatly on clear pages with labels under each photo or picture.

9.7 Summing Up

Pichhavai is the art of painting on cloth used as hangings in the temples behind the Deity. Nathdwara in Rajasthan is the centre of Pichhavai paintings. The oldest reference to Pichhavai paintings are found with reference to the lord Krishna temple of the Vallbhacharya sect in Nathdwara. The type of Pichhavai to be used on any occasion is governed by the tradition. Generally, they are pictorial and illustrate the incidents on which festival is based. Each scene has a band of cows at the bottom of the hanging which was the lord Krishna’s Symbol. Most common pichhavai examples are paintings on cloth. However, the work may also be with appliqué, a combination of paintings and appliqué, printed, embroidered or brocade. Mostly white cloth is used. Pichhavai are best remembered for their vibrant blues, greens and brilliant reds and orange colour. Nathdwara pichhavai artists used two types of kalams or brushes, viz., Broad Jara (made of goat hair) for painting large areas and Thin Jhina (Made of Squirrel tail) for detailed work.

9.8 Possible Answers to Self-Check Questions.

1. Pichhvai is a painting of cloth used as hangings in the temples behind the Deity.

2. Nathdwara, which is known for its tradition of painting and visual culture, is the centre of Pichhavai paintings. Hundreds of artists live in Nathdwara and paint for their living. The Pichhavai artists belong to two communities, the Jangidas and the Adi Gauras and live, mostly, in Chitron ki gali (Street of paintings) and Chitrakaron ka mohallah (colony of painters).

3. The five types of Pichhavai are – Brij Yatra Pichhavai, Gopashtmi Pichhavai, Morakunti Pichhavai, Govardhan Dharna Pichhavai, Sharad Purnima Pichhavai.

4. The entire set is harmonized in colour and pattern and fashioned in accordance with the requirement of a particular festival or season.

5. Pichhavais are best remembered for their vibrant blues and greens and brilliant reds and oranges; the complete range of colour is used.

9.9 Terminal Questions

1. What is tipan?

2. Define likhai.

3. How do the artists of Pichhavai mark off the spaces?

4. What do you mean by burnishing?

5. Enumerate the steps in making Pichhavai.

6. Which types of colours are used in Pichhavai paintings?

7. Name the different items included in a set of Pichhavai.

8. Apart from the pigment painted Pichhavais, what are the other types of hangings being produced?

9. Fill in the blanks:

i) Light wash technique was used to create the ____________________.

ii) Ornaments are rubbed with agate to give them a _________________.

iii) The detailed work is done with thin jhina made of ________________.

iv) Pichhavais are ___________________ of Vallabhacharya Sampradaya.

v) The term Pichhavai literally means ____________________________.

vi) ___________________________ is the centre of Pichhavai paintings.

vii) ______________________________ is a complete set of Pichhavais.

viii) The Pichhavai artists belong to two communities, __________ and ___________________.

ix) Earlier Pichhavais were painted on ____________________ material.

13. Indicate whether the following statements are True / False.

i) Gold and metal threads are also used in Pichhavai paintings. True / False

ii) Zinc white is used on dark coloured cloth for sketching. True / False

iii) Sri Nath Ji temple is in Nathddwara. True / False

iv) Vallabhacharya is the son of Vitthalanath. True / False

v) Pichhavais are printed textiles. True / False

9.10 References and Suggested Further Readings

1. Anonymous. 1984. Masterpieces of Indian Textiles: Hand Spun, Hand Woven, Traditional. D. B. Taraporevala Sons & Co. Pvt. Ltd., Mumbai.

2. Barnes, R and Oth. 2002. Trade Temple and Court. India Book House Pvt. Ltd., Mumbai

3. Bhatnagar, P. 2005. Decorative Design History in Indian Textiles and Costumes. Abhishek Publications, Chandigarh.

4. Mathur, Asha Rani. 2002. Woven Wonder: The Tradition of Indian Textiles. New Delhi. Rupa & Co.

5. Ramani, S. 2002. Sari: The Kalakshetra Tradition. Kalakshetra Foundation, Chennai.

6. Treasures of Indian Textiles, Calico Museum, Ahmedabad.

9.11 Glossary

1. Incarnated God in human form on earth

2. Abundance Plenty

3. Scorching Burning

4. Twines Strong twisted thread

5. Twig Small branch of tree Agate Semiprecious form of quartz with striped colours