The Traditional Shreenathji Nathdwara Painting

1. Downloaded from: justpaste.it/shreenathji-nathdwara-painting The Traditional Shreenathji Nathdwara Painting Nathdwara is a small town some 40 kilometres north of the Udaipur city in Rajasthan. In Nathdwara, Udaipur, Rajsamand district and the places around, most of the buildings have their doorways flanked by paintings of elephants with mahauts, tigers, peacocks and bejewelled females. Shrinathji, the principle deity of Nathadwara is a living deity for the devotees and therefore the place where Shrinathji resides is called haveli. The structure of the haveli consists of various rooms linked by verandas, passages and courtyards, which is very different from temple architecture. Pichwai paintings of Nathdwara due to its cultural heritage have been gaining a lot of popularity in the recent times amongst art lovers. What are Sreenathji Nathadwara Paintings ? Nathadwara, known as the present headquarters of the Pushti Margiya Vaishnavite culture, is popular for its art practice that includes haveli-painting traditions like Pichwai Paintings of Nathdwara—textile wall hangings as the backdrop of Srinathji, and other embroidered designs and murals, where hundreds of artists work under a mukhiya (chief painter) to decorate temple rooms. The painting tradition of the Vallabha Sampradaya (Pushti Margiya Vaishnav Sampradaya propagated by Vallabhacharya) can be traced back to the Krishna Lila mural in Vallabhacharya’s father’s house. Before Diwali or annakuta festival, different entrances of different havelis of Nathadwara are whitewashed and repainted. The havelipainting tradition emerged in the 19th century as the ‘Nathadwara school’ which flourished and developed mostly through the influences of Rajasthani schools, especially Mewar and Kishangarh. In response to various rituals, several categories of pathways, paintings and murals evolved under the patronage of Tilkayats- Goswamis (chief priests of havelis) and individuals who offered creative freedom to the artist within the limitations set on different genres of icon paintings, mythological paintings, manoratha, Krishnalila, portraits, landscapes and other secular subjects. Painted pichwais usually show whisks on either side of a kadamba tree; in such cases the tree symbolises Krishna when he disappeared from Vrindavana, leaving the gopis alone. But it is the image of Shrinathji, which is popular among devotees and clients.

2. The Pchwai paintings usually showcase daily darshanas, festival shringaras, chhappanbhogetc. Nathdwara paintings display a high degree of skill in draughtsman ship, portraiture and in composition. In manoratha paintings, the Shrinathji idol is always shown with goswamis and often patronised by a wealthy devotee who takes care of the expenses of a particular darshana and seva. The devotee also commissions a painting to commemorate this event, which usually depicts the devotee and family members on both sides of Shrinathji. Krishna Leela paintings depict Krishna’s childhood and scenes from his early life in Gokul such as playing in Yashoda’s lap, stealing butter, Ras Leela with Radha and other gopis, lifting Govardhana mountain etc. Pichwai The word Pichwai derives from the Sanskrit word “Pich” means Back and “wais” means hanging. Pichwai paintings are the big sized paintings on cotton cloth(Sometimes on different types of clothes are used) used to describe the life events of the lord in the temples, behind the idol. These paintings are the result of utmost devotion and dedication of the painters. Pichwai paintings are having religious importance in Vallabhacharaya Sect. The central theme of these paintings is “ShriNath Ji” and his Leelas. The information came in light when the Sect Vallabhacharya made 24 iconographic for Krishna’s image backdrops at Nathdwara . The intergral part remains that each and every pichwai painting is connected with a

3. specific festival. Every painting showcasing the work of art has a connection to a specific celebration of the festival. ‘Pichwai’ tradition developed during the period (1700B.C to 1800B.C). The Vallabhkul-Acharayas patronized various painters who painted Pichwais of various utsavs like Annakuta, Janamashtami, Holi, etc. As the riches of Nathdwara increased, Pichwais were getting painted on precious clothes with liquid gold and silver being used as ink. The traditional artwork of Pichwai paintings are created in distinctive ways by various techniques like painting, printing, weaving and sometime embroidering as well. The Pushtimarg shrines use Pichwais usually is the biggest (3.0x1.8) meter. The part of the painting that comes just behind the icon is either left blank or is cut out. Pichwais of all shrines can be seen from a distance. The miniature methods of intervention for the modern use of Pichvai paintings nathdwara are done on the large sized cloths to paint Nathdwara’s world-famous pichwais. Colourful borders to all the four sides attached on heavy cotton based cloth. Sometimes these are painted on silk as well. These paintings make use of original gold and silver. These Shreenathji Nathdwara paintings represent hand-painted scenes of well-known Leelas or pastimes of Hindu God Lord Krishna. Some artists create pichwais by dyeing the cloth too with local earthen colors and or print; others use embroidery with various knots and specific kind of stitches and material like mirrors, pearls or gems. Pichwai paintings explain the scenes of Leelas from Lord Krishna’s life. These are wonderful and made with lots of love and devotion. One can find the dark blue Krishna standing on a lotus flower and his flute beckons all. His flute beckons cows too. He usually can be seen in golden yellow robes but Lord Krishna may be seen in various garments too.