Unknown
Indian, Rajasthan, Kishangarh(?)

Temple Hanging (Pichhvai) Depicting Water Festival (Jal Vihara), with Floating Shrine in a Lotus-filled Lake, 20th c. CE early
ink and color on cotton
91 x 78 in.

Lent by Julia Emerson

RESEARCH PAPER

Pichhavai comes from the Sanskrit and literally means “displayed at the back”. This decorative cloth would be displayed behind the small statue of Krishna in temples of the Vallabhaites or carried behind the statue in their processions.

Jal in Sanskrit means water; Vihar is a recreation, a diversion, an excursion, or pleasure. Jal Vihar means Water Festival.

It is important to note that the statue of Krishna is the living Vishnu in His avatar role of Krishna sent to protect the world from the cruelly evil King of Mathura, King Kamsa. The worshipers in these temples relate to the metallic Krishna as living, not as a visual symbol. When Deities with attributes are worshiped in human form it is called Saguna in Hindi.

At the Vallabhaites Temples, the pichhavai hangings are changed every day according to the season and the theme of the day’s celebration. Pichhavai with lots of lotus flowers are usually used during the summer months, post monsoon season. Jal Vihar is an example of this type.

The soft blue waters are covered with an array of pastel lotus and buds. Fauna typical of summer such as black bees, dragonflies, fish, butterflies and birds are quietly interspersed with the lotus. All of this promotes a cooling, serene atmosphere.

In the prominent central position we see a terracotta pavilion with Krishna standing on the altar. Krishna is wearing a white rectangular wrap from his waist to his ankles (dhoti). We can see his blue skin under the white pearl necklaces, lei and headdress. This whiteness further adds to the cool, sereneness of the painting. Large cylindrical pillows representing the arms of his foster mother, Yasoda, are at the ends of the altar. Just as any mother would not leave her 7 year old alone, Yasoda is around him all the time.

There is a blue skinned woman holding lotus flowers in front of the pavilion. Her feet are in the water (Yamuna River) and her skin is blue like Krishna’s. She is the River Yamuna (the Yamuna parted so that Krishna’s father could carry him across to the safety of his foster mother Yasoda. Yamuna also supports the villagers and the cows of the Vrindavan area hence another explanation of why Krishna is blue). Yamuna is so much a part of His life that there is a small stool and three steps in front of Him. Krishna can go to her or she can go to him if either desires. The stool is covered by a decorative cloth. Additionally on the altar there is a betel nut container to His right and a gourd for water to His left.

The black bees might be more than just part of the summer scene. Like Radha, the most beloved of the gopis and His consort, the bee is attracted to the lotus. When evening comes the lotus closes up and holds the bee inside. Krishna can replicate Himself as many times as necessary; each devotee can have their own unique relationship with Him.

The lotus flower has always been much loved in India. The roots of the lotus are in muddy, murky water but the flower rises out of this dirt to live where nothing can soil or adhere to it. That may be why so many Gods and Goddesses are often shown standing or sitting on a lotus. Like lotus flowers they are unaffected by worldly temptations and the impure. Note the stylized lotus shapes carved on the edges of the platform and pavilion.

The “message” is in central position. Krishna is the smaller figure and at center stage within the platform. Because we are meant to be looking up at the pichhavai we know that he is the focus. His 1/5 body ratio conforms to pichhavai convention. SBMA Greco-Roman, Lansdowne Hermes has a 1/8 body ratio which conforms to another style. In either case, we know that this is a God. Yamuna is larger than Krishna but she is placed below and of center. Her blue skin is a devotional echo of Krishna. She is looking up to Him a tribute of lotus flowers.

Perspective is shown is several ways. The lotus are stacked vertically and superimposed upon the a background of blue water much like a Chinese painting, the steps and platform are angled and give a three dimensional effect. Lastly Krishna’s feet come forward as if He were truly dimensional. This convention was not seen until the late 19th century.

Who could walk by Jal Vihar and not react to the pleasure of the glowing pastel colors of the lotus? Monet couldn’t nor can we.

Prepared by SBMA Docents Jean McKibben Smith and Sneh Singh, September 2012

POSTSCRIPT

LOTUS

The lotus flower was always much loved in India. The popularity of the rose came much later. The roots of the lotus are in muddy water but the flower thrives to come up towards the sunlight. Once it is above the water, it remains above the water and nothing can soil it, nothing adheres to it. Maybe that is why all the deities and gods and goddesses are often shown sitting or standing on a lotus pedestal. Like lotus flowers, they are unaffected by the worldly temptations and environments.

In yoga, the best pose for meditation is called “Lotus Pose”. Buddha and many yogis are often shown meditating in this posture.

COMMENTS

Background information for Pichhavais

Hinduism is a monotheist religion in which Brahman is the supreme soul/spirit without form. Brahman is everywhere, in everything and all enduring. The various gods and goddesses of Hinduism are manifestations of Brahman’s attributes. The three main Gods are Brahma the Creator of the universe and wisdom; Shiva the Transformer/Destroyer who dances and treads on the dwarf of ignorance; and Vishnu the Protector of the world who appears in any form necessary (avatar) whenever evil threatens to overpower good. A Hindu may worship all, some or none of these Gods.

Many of the seasonal celebrations in India mark various pastimes of Lord Krishna or different phases of the agricultural cycle. But within the Vallabhaites cult of Krishna devotees (one of four distinctly different cults devoted to Krishna) there are 24 main festivals, each with its unique theme celebrating an event in Krishna’s life with the gopis and gopas. This sect is centered in the Nathadwara area of Rajasthan in western India.

In pichhavais, Vishnu appears as Krishna the nephew of Kamsa, the cruel king of Mathura. Alerted by a prediction that the 8th child of his cousin Devaki and her husband Vasudeva would kill him, Kamsa preceded to kill each of their offspring at birth. Miraculously, Krishna and his elder half brother Balarama escaped this fate when they were secretly relocated to the cattle raising area of Vrindavan where they spent their youth with the cow herders and milkmaids. During these years Krishna’s Godliness becomes apparent. It is His exploits in these years that are celebrated as the subjects of pichhavais.

Pichhavai, from 2 Sanskrit words meaning back and hanging, is a large cotton painting suspended from a high beam behind the small statue of Krishna in a Vallabhaite temple, (and other temples), or it is held aloft behind the Krishna statue in a procession. It acts much like a big screen TV. The small statue of Krishna displayed in front of the pichhavai is greeted each day by the temple priests, he is awakened, washed, dressed, adorned, fed, rested, given offerings, and put to bed as if He were of flesh and blood.

In addition to the pichhavai, there can be a canopy, coverings for the throne and steps, a stool and an offering table. On the table is a Parcheesi game (Ludo in Hindi).

The pichhavai is a cotton cloth that can be decorated with block printing, embroidery, lace or painted. Some pichhavai were painted using vegetable and mineral pigments in water, mixed with a gum resin binder and applied with a squirrel or goat hairbrush. (The squirrel is not harmed.)

The surface of the cotton is first coated with starch and stretched. When it is dry the center is marked to show where the main design will be. Then the main design elements are sketched with a charcoaled twig of Tamarind. The back is coated with a stabilizing wash to prevent the pigments from bleeding through and permit clean, crisp lines. After the basic parts of the design are painted, the details, i.e., the eyes, jewelry and an almost transparent wash for the gauze-like shawls are added. The border is painted last. The pichhavai is now complete and no additions or retouching can be done.

There are 40-50 families that produce these pichhavais and keep the style alive. This is a collaborative effort with artisans working together. These artists are kept busy as the cloth wears out due to use, natural causes or calamities The Nathadwara style is very angular and follows a traditional format that dictates the placement and presentation of objects. For the most part primary colors are used and there is little attempt at naturalism. The vertical column of symbols in the center of the pichhavai further focuses and clarifies the message. Head to body proportions are exaggerated, they are often 1/5 or 1/6 rather than the anatomical norm of 1/7. Krishna is short, elevated, and has a large head to give Him a sense of importance. It is folk art with simple, large blocks of color and minimal shading.

Much like a mural, they are meant to be seen from afar. To achieve this there is much use of symbolic objects. There is often a dramatic presentation of eyes. Alternating the up and down positions of arms gives a sense of rhythm and the horizontal mirror image bands of figures can indicate an infinite amount. In all, these strategies help the painter to project an easily read message that makes literacy unnecessary. The vertical column of symbols in the center of the pichhavai further focuses the message.

These hangings are commissioned as pious religious gifts to specific temples. They may even be gifted or sold off to raise funds for the temple when they become redundant. Pichhavai that are acquired in this way would be displayed in the home as religious art. There is much repetition of subject as the commissioning donors try to outdo each other. Obviously the amount the donor wishes to spend influences the level of opulence and complexity. The donor may even earn points towards his next life with this act of piety.

This is an expansion of a prior paper prepared by SBMA Docent Helen Tomkins by Docent Jean McKibben Smith, May 2012

REFERENCES

1. Dallapiccola, Anna L, “Dictionary of Hindu Lore and Legend”, Thames and Hudson Ltd, London, 2002
2. Krishna, Kay and Talwar, Kalyan, “In Adoration of KRISHNA; Pichhavais of Shrinathji”, Garden Silk Mills Limited, Surat, India, 2007
3. The New Encyclopedia Britannica, Vol. 7 Micropedia
4. Randhawa, M.S., “The Krishna Legend in Pahari Painting”, Lalit Kala Akadami, Jaipur House, New Delhi, India, 1956
5. The Sampradaya Sun Staff, “Artists of Nathadwara Part 1-6”, http:/www.Haarekrsna.com/sun/features/05-06/features283.htm, Canada, 2006
6. Skelton, Robert, “Rajasthani Temple Hangings of the Krishna Cult from the collection of Karl Mann”, The American Federation of Arts, New York. 1973
7. Talwar, Kay and Krishna, Kalyan, “Indian Pigment Paintings on Cloth”, Historic Textiles of India at the Calico Museum, Ahmadabad, 1979
8. University Art Museum, Santa Barbara, “Images of Krishna, Painted Pichhavais of the Vallabhaites Sect”, 1987
A special thank you to Sneh Singh for the many hours of explanations and background information she so generously provided.