Famous traditional painting of India

1. PICHWAI PAINTING
RUSHITA PATEL EN.NO. – 193521050012 B.ARCH YEAR – III SEM - VI

2. RUSHITA PATEL EN.NO. – 193521050012 B.ARCH YEAR – III SEM - VI
TRADITIONAL ARTFORM
The indigenous art and culture of India are recognized worldwide. Indian Subcontinent has
a countless number of Folk Arts and Crafts. One such Art is the captivating art of Nathdwara
Rajasthan, called Pichwai. Nathdwara is a holy town in the Udaipur district of the Indian
state of Rajasthan. Recognized internationally, Nathdwara has devotees from across the
globe. Pichwai catches the devotees' eyes instantly. The word Pichwai is derived from the
Sanskrit words where Pich means back and Wai means hanging. These artworks are done
on cloth hangings used in the background of the main idol of God Shreenathji. Every art
form of India has its own history and is followed by some tales.

3. PICHWAI PAINTINGS
Pichwai paintings is an art form of traditional fabric painting which portrays Hindu God Shreenathji (Lord Krishna).
The word Pichwai is derived from the Sanskrit words where Pich means back and Wai means hanging. These
artworks are done on cloth hangings used in the background of the main idol of God Shreenathji. Every art form of
India has its own history and is followed by some tales. It is believed that around 1409 AD, an idol of lord Shreenathji
(the mountain lifting form of Lord Krishna) was unearthed in Mathura, in which a cow was worshipping the lord with
offerings of milk. Later on, a temple was established there which had acclaimed high reverence
• In the year 1670 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 Rajput’s. With this the Path of Grace or “Pushti Marg” was shifted to Nathdwara from Mathura.
• With the shift of the idol of Shreenathji from Mathura to Nathdwara, the sevaks of Lord (the priests, halwais,
cowsand the Pichwai painters) accompanied him there.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 pictures depicted some specific illustrations which were associated with different
festivals,moods or celebrations.

4. • In ancient time, the cloths of Pichwai paintings were dipped in the colours which weremade with the help of vegetables
and minerals. The main theme of these paintings is Lord Krishna with which it narrates the tales of Shreenathji (the
mountain lifting form of Lord Krishna) and these paintings were used as backdrops in the Shreenathji templeat Nathdwara
and in other temples of Lord Krishna. The tale of Shreenathji which is narrated by these Pichwai paintings is: Once when
Indra, the Lord of rains showed his rage on the people of Vrindavan with violent thunder and continuous rain, Lord Krishna
upraised or lifted the Govardhan Mountainas an umbrella to protect the inhabitants of Vrindavan from the fury of Indra.
Later, Indra was humbled and then everyone started worshipping Govardhan Mountain and thus the lifting form of Lord
Krishna was named as Shreenathji.
• Presently Pichwais are printed with handblock, painted, embroidered, woven or decorated with ornamental needle work
on the fabric. This art form is done on the rough hand spun cloth with the dark rich colour tones. These paintings are
painted in Nathdwara and Udaipur and are executed with the utmost dedication and devotion as it has deep religious
roots.
• Each pichwai’s theme varies as per the season and its moods. The summer pichwai has pink lotuses in the background
while the winter pichwai has detailed jamawar patter depicting the warmth needed for the season and many other
showing the day of after Diwali when Lord Krishna lifted the Govardhan Mountain.
• The themes used for Pichwai are mostly from various Krishna Leela. There are different Pichhwai for all 365 days. Special
ones are made for festivals.
• To paint natural colors are used on cotton cloth and artists make it according to the description given in the Vedas.
• Pichhwai painting has evolved with the time. Artists are now making small sized paintings which even individual customers
can buy. Raja Ram Sharma is a National Award winner in Pichhwai Painting

5. CHARACTERISTIC OF PICHWAI PAINTING
• 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.
• Sometimes rich embroidery or appliqué work is used on the paintings. Enclosed in
a dark border, rich colours like red, green, yellow, white and black are used with a
lot of gold decorating the figures.
• 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.
• Pichwais come in a variety of styles and themes
• This art form has become very popular with fashion designers and home décor
brands. From the walls of temples and homes, it has transcended to our clothing as
well. This is a step to instill artistic consciousness in the minds of the people and
also a way to understand the various folk and tribal forms of India.

6. THE MAKING OF PICHWAI PAINTING
• The making of a traditional Pichwai consumes a couple of weeks that can even stretch to months.
• Originally Pichwai was painted on the handspun starched cotton fabric.
• The artisans would then sketch the art on that starched cloth.
• The painter first makes a rough sketch and then fills in the colours.
• Then the decorative and beautiful images were created.
• Traditionally natural colours 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.
• The images were then ready to be painted with completely organic and natural colors, paints and even natural
brushes.
PICHWAIS COME IN A VARIETY OF STYLES AND THEMES.
SOME OF THEM ARE AS FOLLOWS:
• The Rasleela depicts Lord Krishna's dancing with the Gopis.
• The Giriraja Pichwai depicts Lord Krishna carrying the mountain
• Govardhana on his little finger to protect the people from severe rains.
• The Morbuti portrays 12 peacocks dancing for the attention of a flock of peahens.
• The Gopashtami shows Lord Krishna playing his flute and enjoying himself surrounded by his cattle.
The tradition of painting on cloth with vegetable dyes, mineral compounds is unique in many aspects. This art form
has become very popular with fashion designers and home décor brands. From the walls of temples and homes, it
has transcended to our clothing as well. This is a step to instill artistic consciousness in the minds of the people and
also a way to understand the various folk and tribal forms of India.

7. THE MAKING OF PICHWAI PAINTING
Mahaprasad for Shreenathji
Pan ka Beeda
Banana tree and
Banyan tree
Decorative cow
Abstract of
krishna
Sweet water inside
bronze glass
Lotus motif
Shading of Shreenathji face
The painted face of Shreenathji 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 painting. The frontal face
position is always painted in symmetry, a
method that ensures facial features on
the left and the right side are
proportionally correct.
Technique of painting the
Chandrika and dress by the
craftmen
The upper morchandrka,
peacock feathers, are made
over a dark green base
colour, made from
harabhata, ramraj dhumsa
and purssian blue.
The line of the feathers are
then painted over the top
with ink and dhumsa.
Technique of painting the peacock
Peacock feather are painted in two
stages. The base colour of harabhata
and dhumsa is first applied, then the
eyes are made over the top. The
oval shaped eyes are made from
three colour sindur, danafarang and
purssian blue. The lines are made
with single strokes of the squirrel
hair brush.

8. THE MAKING OF PICHWAI PAINTING
Jewellery design
As the jewellery is so delicate and tiny, the craftmen
work directly onto the painting by sketching the
design with pencile. First the under paint is applied,
followed by the gold paint. Second the design re-
drawn over the top of the golden paint, with
dhumsa using a squirrel-hair brush.
Fine jewellery like nose-ring, hairline, earings, and
neckline is then applied once the face is completed.

9. THE MAKING OF CLOTH FOR PICHWAI PAINTING
• 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 recipe 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 bestirred 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.

10. THE MAKING OF CLOTH FOR PICHWAI PAINTING
• 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 testis 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.

11. COW PICHWAI PAINTING
Pichwais essentially depict the Lord in various ‘leelas’ with the moon, lotus blooms, peacocks, parrots or cows; and are set in
the lush vegetation the artists find aplenty in their surroundings.
Cows are an important part of Hindu mythology and play a significant role in the story of Krishna (worshipped as Srinathji in
Nathdwara in Rajasthan) and they therefore form an integral part of many Pichwai Paintings
LOTUS PICHWAI PAINTING
Pichwai's essentially depict the Lord in various 'leelas' with the moon, lotus blooms, peacocks, parrots or cows; and are set in
the lush vegetation the artists find aplenty in their surroundings.
Pichwai paintings and the Lotus flower are almost synonymous with each other- The lotus flower was so loved by Lord
Krishna
(worshipped as Srinathji in Nathdwara in Rajasthan) that other than holding one lotus in his right hand and wearing a
Garland of lotuses, even his bed was decorated with lotus flowers. Hence the importance of the
lotus in Pichwai paintings.

12. 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.
• Originally, most artist used to prepare their own colours, coloured minerals, semi-precious stone, plan leaves, cow's urine
were all sources of colour, which were ground by hand and applied with gum or resin.
• However, today all artist have switched to commercially available colours.
The basic palette used in the pichwai comprised of the colours
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.
• 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.
• Jangali Ghero is greenish grey.
• Safeda is white obtained from zinc oxide.
• Neel is blue from indigo.

13. The basic palette used in the pichwai comprised of the colours
given below:
• Lilo is bottle green and is obtained from a greenstone (hara patthar) which has spots of this colour. These spots are
collected and grinded to obtainthis 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 Ing 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 thestone ' Laps Lazuli’.
• Henna shades of yellow
• All these colours 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 artists prepare these colours in coconut shells.
• This is because all the colours 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.
• In addition silver and gold leafs are also used by a very special
method. There are in fact two processes for making these
colours, one is the old method used before the Mughal
influence and the other after.

14. MAKING OF GOLD
• In order to make the gold colour, pure gold leaf sare used. For one preparation a minimum of 20leafs 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.

15. TYPES OF BRUSHES
• KALAM (Brushes used)The brushes basically comprise of three parts. The bodd of the brush is made of wood "has ki
lakdi”, the handle is made of 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 hind' and is made from squirrel tail hair.
• In the past the articte them colves used to make these brushes, but now most of them use commercially made
brushes.
• Although both the variieties are made of using squirrel hair. the artist 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 onIv unethical and cruell (he animal our also compromises
the quality of the brushes.
• 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”.
• 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.

17. • 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 'chotapatthar' the gold suddenly acquires much mores
hine and gloss.
CHALLENGES FACED BY PICHWARI ARTISTS
• Natural and organic colors are not available these days.
• In Present senerio artisans are not earning sufficient funds as per their
hardwork the reason being that a large amount of profit is taken by the
middlemen i.e. commission agents and traders
• Pichwai art is very byzantine and requires a lot of time (3-9months). And even
after all those efforts one puts into it, there are very few buyers for it as it
comes at a price not many want to pay. On the contrary, people prefer buying
embossed and digitized work as it comes at a cheaper rate.
• The younger generation of Pichwari painters is losing interest in thus art as it
requires time and dedication but the perks of doing it are very less which
doesn’t support their expenses.
• The government is not providing any support to artisans of Pichwari which
has led to further deterioration of the present condition of Artisans.
• Limited market for Pichwai paintings is making artists leave their traditional
work. It takes almost a month to complete one painting and artists do not get
equal remuneration.
• While there is a perpetual demand for Pichhwai from temples, demand from
individual customer is very low
• There are other options in the market which are cheaper and it is giving a
competition to traditional Pichhwai work.

18. CONTEMPORARY STATE OF PICHWAI
• To make Pichwai prominent for today, the artist has contemporized the artform without compromising its traditional touch.
• Pichwais traditionally was expansive as they were hung behind the deity but as time passed by the size of the paintings
started reducing. Also, the colors are no longer pure organic.
• Due to the budget and time constraints and the unavailability of natural dyes, artists now use either synthetic or the
mixture of synthetic and natural colors.
• Also, the paper is used as an alternative instead of cotton fabric. A Pichwai now belongs everywhere. Because of their
beauty and brilliance.
• Pichwais are now also hung on house walls and other places and are no longer restricted to the temples. Hence, the artists
are now making paintings of smaller proportions, which are apt for the smaller homes of today.
• The digital version of Pichwai painting are being used as calenders in houses and offices. These can easily be mass
produced and the cost can be cut short so that even low income range families can also afford it.
• Pichwais nowadays can be even seen on gift boxes.
• Pichwai in modern era is widely used in textile design i.e sarees, dresses, cusion covers, bedsheets etc.

19. Raja Ram Sharma is one of the renowned artist in the held of Pichwai
paintings. Along with the existing trad tonal 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 tohis
paintings and makes it unique. He also has different style of colouring
the background of pichawai paintings. He uses solid red, black color 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 radition of the Indian miniature typical
of works developed in the Mughal empire as well. He applies hand
ground mineral pigments tore cycled 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 favour 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.
PICHWARI ARTIST

21. PICHWAI PAINTINGS
POSTER
Pichwai paintings is an art form of
traditional fabric painting which
portrays Hindu God Shreenathji (Lord
Krishna). The word Pichwai is derived
from the Sanskrit words where Pich
means back and Wai means hanging.
These artworks are done on cloth
hangings used in the background of
the main idol of God Shreenathji. Every
art form of India has its own history
and is followed by some tales. It is
believed that around 1409 AD, an idol
of lord Shreenathji (the mountain
lifting form of Lord Krishna) was
unearthed in Mathura, in which a cow
was worshipping the lord with
offerings of milk. Later on, a temple
was established there which had
acclaimed high reverence