Unknown
Indian (active Rajasthan)

Temple Hanging (Pichhvai) Showing Food Offering to Shrinathji at the Annakut (Mountain of Food) Festival, 19th c. CE, late to 20th c. CE early
ink and color with gold and silver on cotton
90 x 68 in.

SBMA, Gift of James and Susheila Goodwin and Museum Purchase with funds provided by General Acquisitions Fund
2003.31

RESEARCH PAPER

In the company of a large gathering of Goswamis, the Master of the scene raises his lamp offering Puja to the assembled seven different forms of Srinathji before a massive feast of chappan bhog , comprising fifty-six food offerings, celebrating Krishna's victory over Indra. The mountain of rice in the foreground symbolizes Mount Govardhana which is topped by a gumja or sweet cake, representing the head of Vishnu and is surrounded by four others signifying the four ayudhas, or weapons, of Vishnu. Below, stand cows with red protective hand prints and gopis and a lower register with scenes from the life of Krishna. The surrounding panels represent the seasonal worship of Shrinathji.

This painting depicts Krishna (a divine once appeared on earth) as Srinathji, a living deity, accepting the Arati, lamps on plater, performed by Goswami,(V9) on the day of "Sapta Svarupotsave" Annakuta festival (V5). The festival is associated with Radha, Krishna's favorite consort and is celebrated during the monsoon season (August, September, October), (p.26) in which all the seven images of Pushti Marga, the path of Grace, are brought together at the temple town of Nathvada. (p.66)

Pushti Marga, term applied to the sect founded by Vallabhacharya, a visionary philosopher (1470-1531) who, as a personal preference, introduced Seva, the ritual worship, of infant and young Krishna into the sect. As in this case, many miraculous tales of Krishna came to be associated with Vallabha's early life. (p.42)

Pichhvai, literally, "displayed at the back", a decorative cloth suspended behind the image (p.172). To view a Pachhvai painting, one begins from the bottom, at the lotus ponds where water surrounds the entire Haveli (a mansion to denote a temple of Pushti Marga sect). As you walk in to the thick white brick temple wall , you are set in a garden with senses of the life of Krishna....on the left, Villagers are worshipping Mount Govardhana over Indra, King of the Gods. (Lord's Lilas, p.153)....on the right, Krishna is teasing the gopis, cow-maids (Dana Lila, p.153). The essence of the two stories is on the cow which is decorated with red hand imprints on its body. Red is the color symbolic love and the imprinted hand suggests Krishna lending full protection to the cowherds and cows. (p.33)

Next your eyes lead you to a huge mount of rice which represents mount Govarhana. It weighs 2332kg which is more than enough to feed all the villagers. A gumja or sweet cake, is placed on top of it, representing the head of Krishna. The four yellow sweets on all four sides of the rice mount represent the four weapons of Vishnu as well as to remind us that Krishna Srinathji is "Lord of mountain". (p.33) A Nij Mandir, sanctum of the festival of food offering is the most important of the painting where great sense of peace, joy and fulfillment are depicted. (p.67)

Above the rice mount is a image of newborn Krishna in his cradle in the center and, on the right is Krishna and Radha. On the left, Krishna's upper right hand points at the water pitcher wrapped in red cloth, and left hand direct that pitcher symbolizing his foster mother Yashoda, (p. 53). The other gopi is Radha, since a tiny pitcher can also represent Radha expressing her devotion. His other two hands is playing a flute.....not just a simple melody but calling for His own Divinity.

The largest image, in front of an orange door, is Krishna as Shinathji commemorating the lifting of Mount Govardhana and depicting the moment when he became the magnificent Supreme Being after defeating Indra. He is accepting the Arati, the ceremonial lamp, offered by Goswami, master of the scene who prepares Him for the main adornment, Rajabhoga. As the doors open, the anxious crowd comes in, and the lamp makes Him visible to the devotees.

Next to the orange door are a set of two hanging Pachhvai in " trees-of- life" pattern. (p.67) As per the story, when the villagers of Gokula moved to Vrindsvana, in the vicinity of Mount Govardhana , villagers made huge sacrifices during the annual offerings to Indra.....Krishna objects and tells the villagers that it is Mount Govardhana who sustains and nourishes their livestock. Indra was angered and flooded the village but Krishna then lifted Mount Govardhana and held it up as protection to his people and cattle.

The surrounding panels represent the seasonal worship of Srinathji who was dressed in brocaded Mukuta, crown, Pataka, sash, Kachhni, multicolored skirt, Suthana, trouser and Kulhe, the turban, mounted with a fan shaped plume peacock feather- a motif of dancing peacock. Heavy garlands of flowers and ornaments of diamonds, rubies, and emeralds are hung around His neck (p.30). Other than seasonal Srianthji...Footprints on the bottom right panel, foots follow Vallabhacharya, the founder of the sect, above him is Krishna's brother Balarama with His consort. Handprints on the bottom left panel, hands open to Vitthalnathji, second son of the founder, above him is Krishna and river Goddess Yamuna.

There are many symbolic meanings, known as Bhavanas, attached to elements in the Shingara, adornment of Shrinathji during the Darshana. The symbols are expressive of the philosophy of the sect, the mood of the deity, a particular Lila or spirit of the season. (p.53)

Footnote:
In 1740, first Sapta Svarupotsave festival was conceived at Nathdvara, where all the main Svarupas of Pushti Marga were brought together in the shrine for the occasion and was to remembered and preformed by princes for decades. (p.67) The Haveli has a staff of over thousand people, engaged in activities at its smooth function. Each day is carefully planned, and once Shrinathji is "awake", the routine follows an unfailing pattern. The main attractions are the Aartis and the Shringar, i.e. the dressing and beautifying of the idol of Shrinathji which changed eight times daily, treating it as a living person, adorning it with the appropriate dresses for the time of day or night. According to devotees, a Darshana, ritual viewing, is never a mere glimpse, it is also a spiritual experience which can affect one in different and significant ways. There are eight Dashana in sequence, each has a special mood, a particular emotion, a Ashtachhapa, song, written by poet sung in proper melodies. (p.21)

The eight Dashana, formal/ virtu viewing (p21-p.25)

Mangala: First darshan of the day. Lord, having woken up, has just had his breakfast and greets his devotees with the most "auspicious" darshana of the day. In summer He is in a light muslin dhoti, in winter, He keeps warm in quilted coat. This darshana usually occurs at dawn.

Shringara: Having bathed and dressed her little darling, Mother Yashoda allows everyone to adore her baby. After this darshan, flute presented, the Lord goes out to play with his friends.

Gala: Having had his mid-morning snack, the Lord is about to go out to heard the cows. Neither his flute or flower were shown.

Rajabhoga: Most elaborate darshana of all. After the main meal of the day, an Arati is performed, for the door is to be opened to the crowds waiting to catch the glimpse of the Lord. The rhythmic of drums is heard, excitement mounts, and the doors are flung open.

The Lord, is seen in all splendor, holding lotuses on one hand and warring elaborated garlands, basil leaves of spice are placed near him, pitcher of water along with His flute, a ball and a mirror. At the end of this darshana, the Lord retires for three hours.

Utthanpan: Lord has just woken up from his afternoon nap between 2:30 and 3:30 pm.

Bhog: Having had his afternoon snack, the Lord is about to go out to play again.

Sandhya: At dusk, when Krishna used to bring his cows home form the field, the predominated mood is Matrubhana, motherly love. His garment is now are light, He is offered His flute so that he can enchant His devotees and friends.

Shayan: The final darshana of the day. A singer praised the Lord which may take the form of lullaby. His flute and basil with spice are offered again, the Arati is also performed, but it is in a mood of expressive of a beloved's emotion.

* The outline of darshans given above is a general layout. Over the centuries, different Goswamies have interpreted the "bhavas" and "lilas" differently, resulting in a mixture of oral and ritual traditions followed by the various havelies of Pushti Marga.

Vocabularies list:
1/ Shrinathji : A living deity, not a mere image.
2/ Pachhvai: Literally, " Displayed at the back", decorative cloth suspended behind the image in Pushti Marga Haveli.
3/Haveli: Large house or mansion. A term used in Pushti Marga to denote a temple of the sect. 4/ Pushti Marga: The path of Grace, term applied to the sect founded by Vallabhacharya, a visionary philosopher.
5/ Annakuta: The piling up of food, a festival to commemorate Krishna's appearance as the hill spirit of Mount Govardhana.
6/ Arati : Ceremonial waving of lamps arranged on a player, before the image of a deity or dignitary.
7/ Darshana : The formal viewing of saint, an image or sacred object.
8/ Shingara: Adornment of the idol, also, the second darshana of the day when deity is dressed in rich attire.
9/ Goswami : " Master of the scene" or " Master of cattle", a title given to the descendants of the Vallabhacharya family.

Prepared by Mei Chih Ho for docent council at SBMA, 5/5/2015

Bibliography:

Krishna as Shrinathji - Rajasthani paintings from Nathdvara By Amit Ambalal, Published by Malia international lnc. in 1987

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.