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Celebrating Little Krishna – A Pichwai Tradition

Long before he could recite book-length treatises on war, Krishna could move mountains. In one of the well-known myths that surround his legend, a seven-year-old Krishna had turned the floor of Mount Govardhan (close to Vrindavan) into a roof, to protect the locals from relentless rain and thunder. Known as Shrinathji, this avatar’s spiritual home is in Nathdwara today, close to Udaipur. While devotees throng the temple town for darshan eight times a day, it requires mob control during festivals such as Janmashtami, Sharad Purnima and Holi. Along with blessings, the disciples tend to leave with another special souvenir: a Pichwai painting.

Pichwai: Shrinathji, Attributed to the workshop of Gulshan, 20th century
Embroidery on cloth

Shrinathji is the presiding deity of the Vaishnava sect called the Pushtimarg, and his worship is centred in the temple at Nathdwara in Rajasthan. He is an incarnation of Krishna as a seven-year-old boy; the iconography seen in this pichwai is the classic characterisation of the deity. Pichwais are textile embroideries or paintings that were initially meant to hang behind the shrine of Lord Krishna in the sanctum sanctorum, though they have since been recognised as works of art in themselves. In this embroidered work, the image of Shrinathji stands with one arm raised. He is wearing a large peacock feather in his hair and is heavily bejewelled. On the right, he holds his flute and two lotus flowers, while offerings are placed at the base of the pichwai near his feet.

Pichwai: Raas Leela, Unknown, 2016
Painting on Cloth

A raas leela pichwai of Shrinathji on a full moon night. At the top of the frame, the moon is prominently displayed along with a clear star-speckled sky. Outside among the banana and mango trees, Shrinathji plays the raas leela with his gopis. Multiple forms of Krishna are found among the gopis, holding hands and making a circle in the centre of which Krishna dances with his favourite gopi, Radha (whose divine status is underscored by a halo). Other singers and musicians stand in two groups on either side of the pair.

Pichwai: Janmasthami, Narendra Singh, 21st Century, Stone colour on cloth

Pichwais, like this one by artist Narendra Singh, are made using mineral pigments, metallics such as pure gold and silver, and organics such as red lac, procured from trees, and a deep yellow strained from cow urine known as goguli—modern artists don't use this anymore and the method of processing goguli is now lost to time.

Pichwai: Gwal Gopi, Unknown, 20th Century, Gouache on cloth

Pichwais borrow their narratives from the Dasham Skand, the 10th canto of the Bhagavata Purana, all of which are related to Krishna. For instance, a Pichhwai celebrating Janmashtami would feature Yashoda, his adopted mother, rocking his cradle, as he ruled over the world. In ones of Raas-Leela, gopis would cavort around the young Krishna. In this canvas, Gwal Gopi, Krishna is presented as the leader of the gwalas or cowherds and charmer of the gopis.

Pichwai: Sharad Purnima, Unknown, 20th Century, Gouache on cotton cloth

This 20th-century canvas celebrates Sharad Purnima or the full moon. Typically, these paintings feature a leaden grey moon and a landscape below crammed with cadmium reds, oranges and yellows.

Pichwai: Gopashtami, Unknown, Undated, Gouache on cotton cloth

Says art historian Sonika Soni, "In Pichwai, there was a beautiful amalgamation of European traditions. When Raja Ravi Verma visited Mewar, Nathdwara painters were influenced. Even photography had a deep impact on them, as they started playing with perspectives and realism. They shaped the pre-modern traditions of Pichwai.”