Pichwai painting is a traditional art form originating from Nathdwara, Rajasthan. It involves painting religious scenes from Hindu scriptures depicting Lord Krishna on cloth hangings that are used as backgrounds for the idol of God Shreenathji. The paintings use natural dyes and pigments. Creating a traditional Pichwai is a time-intensive process that can take weeks and involves preparing the cloth, sketching the design, applying colors layer by layer, and sometimes adding gold or embroidery. Common themes in Pichwai paintings include scenes from Krishna's life and different festivals.
Pichwai painting is a traditional fabric painting style originating in Rajasthan, India. It developed as decorative backdrops used in the Shrinathji temple in Nathdwara. Pichwais depict scenes from Krishna's life and are painted in rich colors on handspun cotton cloth. They can be created through painting, block printing, embroidery, or applique. Each Pichwai is designed to set the mood for different religious festivals and seasons. Nathdwara and Udaipur are important centers for Pichwai painting, with strict techniques followed for portraying figures like Krishna and decorative elements.
Phulkari is a traditional embroidery art from Punjab involving intricate needlework on odhni (head drapes or shawls). It originated with the migrant Jat people from Central Asia and was transmitted orally, resulting in regional variations. Phulkari is linked to important events in a woman's life and signifies more than just clothing. There are two main types - Bagh, where embroidery is so dense the base color disappears, and Chope which involves embroidery along borders. Motifs draw from everyday life and include flowers, fruits, and animals. The art continues to evolve today in its patterns, products, and techniques.
The document provides information about Madhubani painting, a folk art from Bihar, India. It discusses the origins of Madhubani painting dating back to Sita's wedding. Traditionally done by women in villages on freshly plastered mud walls of huts, it now also uses cloth, paper, and canvas. Madhubani paintings mostly depict nature and Hindu deities through vibrant colors and geometric patterns. Different traditions - Kayastha, Brahmin, and Tattoo - use varying techniques and themes. Natural colors are derived from plants and minerals, while newer acrylic colors are also now used. Madhubani painting has gained international recognition and is adopted by the State Bank of India on debit cards.
Phulkari is a traditional embroidery art form from the Punjab region of India and Pakistan. It involves using silk thread to embroider colorful patterns and motifs on cotton fabric using darning stitches on the reverse side of the fabric. Complex embroidery works that cover the entire fabric surface are called baghs, while simpler works with embroidery only on edges are called chobes. Phulkari was traditionally done by women and featured in trousseaus and ceremonial clothing. Common motifs included flowers, animals, and objects from daily life. Over time the craft has evolved in terms of materials used and applications to items like clothing, home decor and more.
how did fashion in India evolve? in this presentation i have covered costume history of India.
Reach Me at priyalthakkar96@gmail.com
Also Check rainbowmonkey.in for my work
Applique is a technique where pieces of fabric are sewn on to a base fabric to create patterns or images. Pipli, India is well known for its intricate applique work, traditionally used to decorate canopies, quilts, and chariot covers. Modern applique artisans in Pipli and other parts of Orissa and India experiment with new fabrics, colors, and applique techniques to produce a variety of decorative home goods and clothing that have growing popularity as tourist souvenirs and inspirations for designers.
Pichwai painting is a traditional fabric painting style originating in Rajasthan, India. It developed as decorative backdrops used in the Shrinathji temple in Nathdwara. Pichwais depict scenes from Krishna's life and are painted in rich colors on handspun cotton cloth. They can be created through painting, block printing, embroidery, or applique. Each Pichwai is designed to set the mood for different religious festivals and seasons. Nathdwara and Udaipur are important centers for Pichwai painting, with strict techniques followed for portraying figures like Krishna and decorative elements.
Phulkari is a traditional embroidery art from Punjab involving intricate needlework on odhni (head drapes or shawls). It originated with the migrant Jat people from Central Asia and was transmitted orally, resulting in regional variations. Phulkari is linked to important events in a woman's life and signifies more than just clothing. There are two main types - Bagh, where embroidery is so dense the base color disappears, and Chope which involves embroidery along borders. Motifs draw from everyday life and include flowers, fruits, and animals. The art continues to evolve today in its patterns, products, and techniques.
The document provides information about Madhubani painting, a folk art from Bihar, India. It discusses the origins of Madhubani painting dating back to Sita's wedding. Traditionally done by women in villages on freshly plastered mud walls of huts, it now also uses cloth, paper, and canvas. Madhubani paintings mostly depict nature and Hindu deities through vibrant colors and geometric patterns. Different traditions - Kayastha, Brahmin, and Tattoo - use varying techniques and themes. Natural colors are derived from plants and minerals, while newer acrylic colors are also now used. Madhubani painting has gained international recognition and is adopted by the State Bank of India on debit cards.
Phulkari is a traditional embroidery art form from the Punjab region of India and Pakistan. It involves using silk thread to embroider colorful patterns and motifs on cotton fabric using darning stitches on the reverse side of the fabric. Complex embroidery works that cover the entire fabric surface are called baghs, while simpler works with embroidery only on edges are called chobes. Phulkari was traditionally done by women and featured in trousseaus and ceremonial clothing. Common motifs included flowers, animals, and objects from daily life. Over time the craft has evolved in terms of materials used and applications to items like clothing, home decor and more.
how did fashion in India evolve? in this presentation i have covered costume history of India.
Reach Me at priyalthakkar96@gmail.com
Also Check rainbowmonkey.in for my work
Applique is a technique where pieces of fabric are sewn on to a base fabric to create patterns or images. Pipli, India is well known for its intricate applique work, traditionally used to decorate canopies, quilts, and chariot covers. Modern applique artisans in Pipli and other parts of Orissa and India experiment with new fabrics, colors, and applique techniques to produce a variety of decorative home goods and clothing that have growing popularity as tourist souvenirs and inspirations for designers.
This document summarizes a summer project about the present state of artists and art in the region of Ranti, Bihar, India. The project involved surveys, interviews, and research to understand the status of art and artists. It describes traditional Mithila painting techniques and major organizations supporting artisans, including the Gram Vikas Parishad NGO. The document also profiles three female artists - Sudha Devi, Rani Jha, and Ratna Kumari - and recognizes the achievements of the renowned artist Godavari Dutt. It highlights issues faced by artists like lack of awareness of support schemes and need for sustainable income and employment opportunities.
The Chamba Rumal is a form of embroidery that originated in the Chamba region of Himachal Pradesh. [1] It involved outlining designs in charcoal which women would then embroider using untwisted silk thread in the double satin stitch. [2] Common motifs included religious scenes, characters from epics like the Ramayana and Mahabharata, and animals. [3] The craft has declined but efforts are being made to revive traditional techniques and promote the unique embroidery.
Kantha is a type of embroidered quilt that originated in Bengal as a way to reuse old cloth. It has evolved into an art form where women embroider motifs like trees, lotuses, and fish onto fabrics using running stitch. There are many types of Kantha distinguished by the stitch used - types include Lep Kantha, Sujni Kantha, and Baytan Kantha. Traditionally made by village women, Kantha is now being incorporated into high fashion. It remains an important folk art of Bengal representing the lives and traditions of Bengali women.
The document discusses the embroideries of Kutch, an area in western India. It outlines the various tribes that live in Kutch, such as the Rabari, Jat, Harijan, Ahir, and Mutwa communities. Each tribe has its own distinctive embroidery style, featuring unique motifs, stitches, and colors. The embroidery is traditionally used to decorate items like clothing, but is now also being commercialized into product lines to sell to a wider market. However, artisans face challenges like low pay that threaten the viability of continuing these traditional crafts.
Bagh prints originate from the town of Bagh in Madhya Pradesh. The intricate printing process can take over 3 weeks and involves stamping fabric with carved wooden blocks using natural dyes. Motifs include floral and geometric patterns inspired by nature. Though the techniques are old, the prints retain contemporary appeal in products like saris, dresses, and home furnishings. The manual process is painstaking but has kept the traditional Bagh print style prominent.
This document provides information on various types of embroidery techniques found in Asia, including mirror work, soof embroidery, kharek embroidery, pakko embroidery, rabari embroidery, jats embroidery, and mutwas embroidery. The summary highlights that these embroidery styles originate from communities in places like Gujarat, Rajasthan, Sindh, and Kutch and involve the use of mirrors, geometric patterns, and motifs inspired by nature, mythology, and daily life. The embroidery is used to create various products like clothes, bags, caps, and home decor items.
The document discusses the handicraft industry in Jammu and Kashmir. It notes that the handicraft sector provides employment for about 3.78 lakh workers and had production of Rs. 1650.30 crores in 2012-13. A major export, handicraft goods worth Rs. 1080.80 crore were exported in 2012-13. Shawl making is a prominent handicraft in the region, with the traditional process involving harvesting, sorting, spinning, weaving, and finishing. The industry has potential for employment and exports but faces challenges like underdeveloped infrastructure, lack of modernization, and impact of political instability on production.
The document provides information on various topics related to Kutch, India:
1. It introduces the region of Kutch and discusses its famous embroideries created by local women.
2. It provides a map showing Kutch's geographical location and surrounding areas.
3. It describes the many tribes and communities that have settled in Kutch over centuries and maintained their traditions, including Jats, Harijans, Ahirs, Rabaris, and others.
4. It gives details on foods, costumes, culture, and crafts including embroidery, wood carving, and silver engraving practiced in Kutch by different communities.
This document provides instructions for creating a traditional Kasuti embroidery pattern using basic Kasuti stitches. It includes 14 figures that demonstrate how to trace the pattern onto fabric, always return to the starting point, finish patterns on the left side before moving right, and complete the design by finishing diamonds on the return journey. The goal is to follow a simple logical process to avoid confusion and completely fill in the patterned design.
This document provides an overview of applique craftwork from various regions in India. It begins with acknowledging those who supported the research. The index outlines the topics covered which include the history, techniques, motifs, products and markets of applique in states like Gujarat, Bihar, Odisha, UP, and Tamil Nadu. A plan of action is presented that divides the document creation tasks among the group members. In under 3 sentences, this document surveys the traditional applique craft found across India and the collaborative effort undertaken to research and present this information.
- Maheshwari sarees originated in the 18th century in the town of Maheshwar, Madhya Pradesh and were commissioned by Queen Ahilyabai Holkar for the royal family and guests.
- They are traditionally made of cotton or silk with zari borders and designs inspired by patterns on the Maheshwar fort. Natural dyes were originally used.
- Today the sarees are produced using both natural and chemical dyes and sold nationally and internationally, helping to preserve the weaving tradition in Maheshwar. Proper care involves dry cleaning.
This document describes the different types and styles of Phulkari embroidery from Punjab, categorized by region, design, and motifs. Phulkari can be distinguished based on whether it uses scattered motifs or fully covered "Bagh" designs. Eastern Punjab is known for Bagh styles using motifs repeated to cover the entire shawl, often in red, orange, or brown, whereas western Punjab features scattered motifs combined with other techniques like mirror work in brighter colors. The document outlines many specific Phulkari styles defined by their motifs, patterns, sizes, colors, and regional origins within Punjab.
Ikat is a resist dyeing technique used in weaving that binds areas of yarn before dyeing to create patterns and designs. It is believed ikat textiles developed in coastal Indian states through ancient trade with Indonesia. Ikat can be produced in warp ikat (dyed warp threads), weft ikat (dyed weft threads), and double ikat (dyed both warp and weft threads). The intricate production process involves skillfully binding yarns with dyes, then weaving the dyed threads to produce vibrant, unique textile designs.
Paithani saris are finely woven silk saris from the town of Paithan in Maharashtra, India. They have intricate brocaded designs woven using silk threads and real gold and silver. Weaving a Paithani sari is an intricate artisanal process that can take over two months and sometimes up to a year to complete. They are considered heirlooms and are passed down through generations. Paithani saris originated during the Satvahana dynasty and were later popularized during Mughal and Nizam rule in the region. They feature elaborate motifs inspired by nature and architecture.
PRESENTATION ON BALUCHARI SAREE OF WEST BENGALAARTI WADHWA
THERE IS THIS SAYING ABOUT BALUCHARI SAREE "Makur tane kabbyo gaatha baluchari juri kotha";MEANING: weaving poetry and lore with the shuttle, the baluchari is beyond compare. (AND I COMPLETELY AGREE).
The Baluchari Sari has also been granted the status of Geographical indication in India.
Baluchari sarees are preferred for their soft and luxurious hand feel, the richness of the silks used, their fine weave and stylish looks.
The Baluchari sari has won the Presidential award on two occasions for its weaving style and has been prominently displayed in international trade fairs.
HOPE MY SLIDE WILL HELP YOU UNDERSTAND THIS PARTICULAR TEXTILE OF INDIA
Rajasthan is known for its unique art and culture that is reflected in its architecture such as ornate palaces, forts, and intricately carved temples. The region has many traditional art forms that include paintings, carvings, and handicrafts. Some of the major art forms discussed are Rajput paintings, Gond paintings, Mandana wall paintings, Thapa hand prints, and Blue pottery. Sanjhi art originated in Mathura as a folk tradition of making stencil-based rangoli designs, especially depicting scenes from Krishna's life. It is considered a refined spiritual art form but the number of practicing artisans was declining until recent conservation efforts.
The document discusses several folk painting styles found in India including Warli, Phad, Kalamkari, Patachitra, Patua, Kalighat, Madhubani, Rajasthani, Mysore, and Tanjore paintings. It also summarizes some important cave paintings sites in India such as Ajanta Caves, Bagh Caves, and Jain Caves, describing their key characteristics, themes, and historical context.
This document summarizes a summer project about the present state of artists and art in the region of Ranti, Bihar, India. The project involved surveys, interviews, and research to understand the status of art and artists. It describes traditional Mithila painting techniques and major organizations supporting artisans, including the Gram Vikas Parishad NGO. The document also profiles three female artists - Sudha Devi, Rani Jha, and Ratna Kumari - and recognizes the achievements of the renowned artist Godavari Dutt. It highlights issues faced by artists like lack of awareness of support schemes and need for sustainable income and employment opportunities.
The Chamba Rumal is a form of embroidery that originated in the Chamba region of Himachal Pradesh. [1] It involved outlining designs in charcoal which women would then embroider using untwisted silk thread in the double satin stitch. [2] Common motifs included religious scenes, characters from epics like the Ramayana and Mahabharata, and animals. [3] The craft has declined but efforts are being made to revive traditional techniques and promote the unique embroidery.
Kantha is a type of embroidered quilt that originated in Bengal as a way to reuse old cloth. It has evolved into an art form where women embroider motifs like trees, lotuses, and fish onto fabrics using running stitch. There are many types of Kantha distinguished by the stitch used - types include Lep Kantha, Sujni Kantha, and Baytan Kantha. Traditionally made by village women, Kantha is now being incorporated into high fashion. It remains an important folk art of Bengal representing the lives and traditions of Bengali women.
The document discusses the embroideries of Kutch, an area in western India. It outlines the various tribes that live in Kutch, such as the Rabari, Jat, Harijan, Ahir, and Mutwa communities. Each tribe has its own distinctive embroidery style, featuring unique motifs, stitches, and colors. The embroidery is traditionally used to decorate items like clothing, but is now also being commercialized into product lines to sell to a wider market. However, artisans face challenges like low pay that threaten the viability of continuing these traditional crafts.
Bagh prints originate from the town of Bagh in Madhya Pradesh. The intricate printing process can take over 3 weeks and involves stamping fabric with carved wooden blocks using natural dyes. Motifs include floral and geometric patterns inspired by nature. Though the techniques are old, the prints retain contemporary appeal in products like saris, dresses, and home furnishings. The manual process is painstaking but has kept the traditional Bagh print style prominent.
This document provides information on various types of embroidery techniques found in Asia, including mirror work, soof embroidery, kharek embroidery, pakko embroidery, rabari embroidery, jats embroidery, and mutwas embroidery. The summary highlights that these embroidery styles originate from communities in places like Gujarat, Rajasthan, Sindh, and Kutch and involve the use of mirrors, geometric patterns, and motifs inspired by nature, mythology, and daily life. The embroidery is used to create various products like clothes, bags, caps, and home decor items.
The document discusses the handicraft industry in Jammu and Kashmir. It notes that the handicraft sector provides employment for about 3.78 lakh workers and had production of Rs. 1650.30 crores in 2012-13. A major export, handicraft goods worth Rs. 1080.80 crore were exported in 2012-13. Shawl making is a prominent handicraft in the region, with the traditional process involving harvesting, sorting, spinning, weaving, and finishing. The industry has potential for employment and exports but faces challenges like underdeveloped infrastructure, lack of modernization, and impact of political instability on production.
The document provides information on various topics related to Kutch, India:
1. It introduces the region of Kutch and discusses its famous embroideries created by local women.
2. It provides a map showing Kutch's geographical location and surrounding areas.
3. It describes the many tribes and communities that have settled in Kutch over centuries and maintained their traditions, including Jats, Harijans, Ahirs, Rabaris, and others.
4. It gives details on foods, costumes, culture, and crafts including embroidery, wood carving, and silver engraving practiced in Kutch by different communities.
This document provides instructions for creating a traditional Kasuti embroidery pattern using basic Kasuti stitches. It includes 14 figures that demonstrate how to trace the pattern onto fabric, always return to the starting point, finish patterns on the left side before moving right, and complete the design by finishing diamonds on the return journey. The goal is to follow a simple logical process to avoid confusion and completely fill in the patterned design.
This document provides an overview of applique craftwork from various regions in India. It begins with acknowledging those who supported the research. The index outlines the topics covered which include the history, techniques, motifs, products and markets of applique in states like Gujarat, Bihar, Odisha, UP, and Tamil Nadu. A plan of action is presented that divides the document creation tasks among the group members. In under 3 sentences, this document surveys the traditional applique craft found across India and the collaborative effort undertaken to research and present this information.
- Maheshwari sarees originated in the 18th century in the town of Maheshwar, Madhya Pradesh and were commissioned by Queen Ahilyabai Holkar for the royal family and guests.
- They are traditionally made of cotton or silk with zari borders and designs inspired by patterns on the Maheshwar fort. Natural dyes were originally used.
- Today the sarees are produced using both natural and chemical dyes and sold nationally and internationally, helping to preserve the weaving tradition in Maheshwar. Proper care involves dry cleaning.
This document describes the different types and styles of Phulkari embroidery from Punjab, categorized by region, design, and motifs. Phulkari can be distinguished based on whether it uses scattered motifs or fully covered "Bagh" designs. Eastern Punjab is known for Bagh styles using motifs repeated to cover the entire shawl, often in red, orange, or brown, whereas western Punjab features scattered motifs combined with other techniques like mirror work in brighter colors. The document outlines many specific Phulkari styles defined by their motifs, patterns, sizes, colors, and regional origins within Punjab.
Ikat is a resist dyeing technique used in weaving that binds areas of yarn before dyeing to create patterns and designs. It is believed ikat textiles developed in coastal Indian states through ancient trade with Indonesia. Ikat can be produced in warp ikat (dyed warp threads), weft ikat (dyed weft threads), and double ikat (dyed both warp and weft threads). The intricate production process involves skillfully binding yarns with dyes, then weaving the dyed threads to produce vibrant, unique textile designs.
Paithani saris are finely woven silk saris from the town of Paithan in Maharashtra, India. They have intricate brocaded designs woven using silk threads and real gold and silver. Weaving a Paithani sari is an intricate artisanal process that can take over two months and sometimes up to a year to complete. They are considered heirlooms and are passed down through generations. Paithani saris originated during the Satvahana dynasty and were later popularized during Mughal and Nizam rule in the region. They feature elaborate motifs inspired by nature and architecture.
PRESENTATION ON BALUCHARI SAREE OF WEST BENGALAARTI WADHWA
THERE IS THIS SAYING ABOUT BALUCHARI SAREE "Makur tane kabbyo gaatha baluchari juri kotha";MEANING: weaving poetry and lore with the shuttle, the baluchari is beyond compare. (AND I COMPLETELY AGREE).
The Baluchari Sari has also been granted the status of Geographical indication in India.
Baluchari sarees are preferred for their soft and luxurious hand feel, the richness of the silks used, their fine weave and stylish looks.
The Baluchari sari has won the Presidential award on two occasions for its weaving style and has been prominently displayed in international trade fairs.
HOPE MY SLIDE WILL HELP YOU UNDERSTAND THIS PARTICULAR TEXTILE OF INDIA
Rajasthan is known for its unique art and culture that is reflected in its architecture such as ornate palaces, forts, and intricately carved temples. The region has many traditional art forms that include paintings, carvings, and handicrafts. Some of the major art forms discussed are Rajput paintings, Gond paintings, Mandana wall paintings, Thapa hand prints, and Blue pottery. Sanjhi art originated in Mathura as a folk tradition of making stencil-based rangoli designs, especially depicting scenes from Krishna's life. It is considered a refined spiritual art form but the number of practicing artisans was declining until recent conservation efforts.
The document discusses several folk painting styles found in India including Warli, Phad, Kalamkari, Patachitra, Patua, Kalighat, Madhubani, Rajasthani, Mysore, and Tanjore paintings. It also summarizes some important cave paintings sites in India such as Ajanta Caves, Bagh Caves, and Jain Caves, describing their key characteristics, themes, and historical context.
This document provides an overview of several traditional Indian art forms: Tanjore paintings known for religious themes and use of gold leaf; Madhubani paintings characterized by bright colors and line drawings; Warli folk paintings done in white with red and yellow dots depicting social events; Pattachitra paintings on canvas with mythological themes and natural pigments; Rajasthani miniature paintings depicting court scenes in fine detail with precious materials; and Kalamezhuthu floor drawings in South Indian temples following religious rules with plant-based colors.
There are different styles of Madhubani painting originating from the Mithila region of Bihar, India, including the Bharni, Katchni, Tantrik, Godna, and Kohbar styles. These paintings traditionally used natural dyes and pigments on walls and floors but now also use paper, cloth, and canvas. They typically feature geometric patterns and depictions of nature, Hindu gods and goddesses, and rituals. Pioneering artists like Sita Devi, Ganga Devi, and Mahasundari Devi helped popularize Madhubani painting both in India and internationally and received several honors for their work promoting this folk art tradition.
Every year our research team travels extensively across India to meet and profile artisans. In December 2013, our team visited Bihar (northern India) to profile artisans practicing Madhubani, Sikki and Sujani crafts. We give you an overview of the different crafts of Bihar- its origin, significance, and the present state of the craft sector.
Madhubani painting originates from villages in Bihar, India. Traditionally done by women on cloth, paper, and canvas, it depicts Hindu religious motifs and deities as well as nature. Though the art form is ancient, it gained recognition in the 1960s when economic hardship forced artists to sell their works. Made using brushes and natural dyes derived from plants, there are different styles - the Brahmin style uses vibrant colors depicting gods, while the Tattoo style of lower castes uses bright colors showing flora and fauna. Modern demand has increased commercialization, but some argue this harms the art form's essence and aesthetics.
India has a rich history of traditional arts and crafts that continue to shape its culture. When incorporated into architecture and interior design, these art forms provide an important link to the past and a strong sense of identity. Some examples that are still popular today include the ornately carved pillars of Chettinad homes in Tamil Nadu and the fresco paintings of Rajasthan that narrate folktales. Using traditional crafts according to modern sensibilities helps keep indigenous skills and obscure crafts relevant. Traditional art forms described in the document include Madhubani painting from Bihar, Warli painting from Maharashtra, Kalamkari printing from Andhra Pradesh, Pattachitra scroll paintings from Odisha and West
The Madhubani paintings originated in the Mithila region of Bihar, India. According to local mythology, they date back to when King Janaka commissioned decorations for his daughter Sita's wedding to Lord Rama. Originally, women would paint divine images on walls and floors as a way to connect with God. Now the paintings are done on cloth, paper, and canvas using natural dyes like turmeric, indigo, and flower juices. Common motifs include deities, nature scenes, the sun, moon, and plants. Styles vary between regions and castes.
Odisha is located on the eastern coast of India. It borders West Bengal, Jharkhand, Chhattisgarh and Andhra Pradesh. The capital and largest city of Odisha is Bhubaneswar. Odisha has a long history and was previously known as Kalinga. It has a rich cultural heritage reflected in traditions like Odissi dance, pata painting, and applique work from Pipili. The Jagannath Temple in Puri is an important pilgrimage site.
This document provides an overview of various traditional art forms from across India, including Madhubani paintings from Bihar, Warli paintings from Maharashtra, miniature paintings from the Mughal era, Rajput paintings from Rajasthan, Kalam kari paintings from Andhra Pradesh, Tanjore paintings from Tamil Nadu, Pattachitra paintings from Orissa, Gond paintings from Madhya Pradesh, Kalighat paintings from Bengal, Phad paintings from Rajasthan, and Cheriyal scrolls from Telangana. For each art form, it describes when and where they originated, what themes and styles are depicted, and materials used.
Madhubani paintings originated in Bihar, India during the time of Ramayana. The paintings use natural dyes and are done without sketches on surfaces like walls and trees. They feature religious themes and geometric patterns. In the 1930s, a British officer discovered and helped spread knowledge of Madhubani art outside the local region. Now there are organizations supporting the art form, which is also used for textile design and has growing international demand.
This document summarizes several traditional Indian painting styles, including Rajasthani, Mysore, Tanjore, Madhubani, Pattachitra, Kalamkari, and Mughal paintings. Rajasthani paintings depict themes from Hindu epics and mythology using mineral and plant-derived colors. Mysore paintings originate from the town of Mysore and feature Hindu gods and goddesses. Tanjore paintings serve as religious icons with vivid colors and compositions. Madhubani paintings feature mythology and nature from the Mithila region of Bihar. Pattachitra paintings are inspired by Hindu mythology from Odisha and use vegetable colors. Kalamkari paintings feature scenes from mythology using
Cultural Heritage of India - Art & CraftGourab Deb
The document provides an overview of various art and craft forms that represent India's cultural heritage. It discusses several art forms such as Kashmiri carpets, Rabari embroidery, Kalamkari painting, Bankura horses, Pattachitra scroll paintings, Thanjavur dolls, Assam's traditional jaapi hats, Sohrai and Khovar paintings from Jharkhand, Kathputli puppetry from Rajasthan, Mysore paintings, Warli folk paintings, Lucknow's Chikan embroidery, and reflects on how these diverse art forms showcase India's rich traditions while blending innovation and tradition. The document cites several online references for the information provided.
The document provides information on the art, architecture, and cultural heritage of Odisha, India. It discusses Odisha's archaeological treasures dating back to pre-historic times. It describes some of Odisha's major art forms like Pattachitra paintings, stone carvings, and the classical Odissi dance. Several important temples are mentioned from the ancient and medieval periods. Odisha's cultural diversity is highlighted through its religious festivals, tribal traditions, and blending of Hinduism, Buddhism, and Jainism in its heritage. Major artisanal crafts developed in the state include filigree work, applique, and handicrafts made from materials like palm leaves, brass, and textiles.
The document discusses Indian paintings, their history, and various styles. It describes craftsmanship as skilled manual work and defines different types of crafts. Indian paintings have a long tradition dating back to 5500 BC, with many styles practiced today including Mughal, mural, Rajput, traditional, Tanjore, Mysore, Kalighat, miniature, Madhubani, canvas, acrylic, oil, Ajanta, marble, landscape and portrait paintings. Each style is briefly characterized by its themes, materials, and origins.
The document provides an overview of various forms of Indian folk art including Warli painting, Madhubani art, Bhil art, Kalamkari art, Pattachitra art, and Gond art. It describes the origins, themes, materials, and techniques used in each art form. Key information includes that Warli painting uses simple geometrical shapes and figures from daily life, Madhubani art depicts Hindu mythology using plant-based colors, and Bhil art uses dots of color filled in with twigs to decorate homes and temples.
A wonderful presentation depicting the beauty of one of the significant attributes of Indian Culture of historical importance- Indian Paintings ;in the best of its hues ..!
Most Indian painting styles historically originated as wall paintings and murals. Gradually, urbanisation eventually led to replicating these styles on paper, canvas, and fabric surfaces.
Here are some well-known Indian folk painting techniques.
https://kokuyocamlin.wordpress.com/2022/11/23/how-many-types-of-indian-paintings-are-there/
Warli painting is a tribal art form originating from Maharashtra and Gujarat in India. It uses simple geometric patterns like circles, triangles, and squares inspired by nature. The paintings depict aspects of village life such as daily activities, festivals, celebrations, marriages, and dances. Traditionally, Warli paintings are created using a sticky paste made of rice and water applied with bamboo sticks. Common themes include folk stories, celebrations, and temple marriages. Characteristic colors include red backgrounds with white, blue, green, brown, black, and orange designs. Modern designers have incorporated Warli painting motifs and styles into contemporary fashion.
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
❼❷⓿❺❻❷❽❷❼❽ Dpboss Matka ! Fix Satta Matka ! Matka Result ! Matka Guessing ! Final Matka ! Matka Result ! Dpboss Matka ! Matka Guessing ! Satta Matta Matka 143 ! Kalyan Matka ! Satta Matka Fast Result ! Kalyan Matka Guessing ! Dpboss Matka Guessing ! Satta 143 ! Kalyan Chart ! Kalyan final ! Satta guessing ! Matka tips ! Matka 143 ! India Matka ! Matka 420 ! matka Mumbai ! Satta chart ! Indian Satta ! Satta King ! Satta 143 ! Satta batta ! Satta मटका ! Satta chart ! Matka 143 ! Matka Satta ! India Matka ! Indian Satta Matka ! Final ank
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
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This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
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.
16.
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
20.
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