Divine pichvai intervention

An integral part in the worship of Srinathji, the seven-year-old Krishna, is pichvai that has moved from being a fabric backdrop for idols in temple shrines to becoming a souvenir for pilgrims and tourists. Hailing from Nathdwara, Rajasthan, the art form is being celebrated in the city with Pichvai: Tradition and Beyond that amalgamates miniature sketches, and intricate and delicately painted patterns that are spread over five feet. The showcase was displayed in a regal bungalow in Jor Bagh (2015) travelling to the vintage setting of Jew Town Road at the Kochi-Muziris Biennale (2016-‘17). Now it makes its way to Mumbai to adorn the industrial walls of Mahalaxmi’s Famous Studios for their largest exhibition yet. Curator and revivalist Pooja Singhal shares that these choices were deliberate. “I wanted to show [the art] in a completely different environment to convey the versatility of this form,” she says.

Unworthy substitutes

As a child Singhal was enamoured by the details in the hand-painted pichvai her mother collected. But later in her 30s, Singhal was surprised at not being able to find the meticulous patterns she had once fallen in love with. The changes were evident in materials and techniques and Singhal felt that pichvais had lost their traditional finesse. “It [was] a poorer version of itself,” laments the curator. Synthetic paints replaced natural dyes and gum; silk and cotton cloths were substituted with thinner materials; and the ornate and sinuous were forgone for quicker techniques.

Over the course of diving into all things pichvai, Singhal learnt that the older artists spent decades perfecting their style, while younger artisans rushed the process to meet the demands of the commercial market. Plus, maintaining the craft relied on the interest of a younger generation. Seeing the depletion of traditional techniques marked the beginning of the curator’s revival efforts. In 2009, Singhal started commissioning personalised pieces from the older artisans her family knew. Subsequently, she set up an atelier that today employs 50 artisans.

One wonders if dismantling the celebrated anonymity around traditional artisans would help them develop individual styles and processes, and possibly tackle the problem of uniformity. But Singhal begs to differ. Generations ago, some artists did, in fact, sign their paintings, but today the art form is the product of borrowing. Pointing to a lotus motif in one of the exhibits, Singhal explains, “That was probably made three centuries ago by some artist. Today’s artist is doing the same composition, [but] you can’t say it belongs to him. The nature of the art form is such that attaching intellectual property is impossible.”

Marriage of necessity

The works on display at the ongoing showcase reflect a blend between Singhal’s vision and traditional motifs, and skills of artisans. The creations borrow from the Kota style, characterised by brisk strokes and vivid colours; and the Nathdwara style which entails larger and more complex pieces that depict Srinathji much like his temple idols. Interestingly, Singhal also has Mughal miniature artists contributing to the pichvais. “We brought them into our atelier and juxtaposed the styles,” she shares. Singhal’s experimentation extends to materials (some pieces are made on handmade basli paper) and compositions. Singhal breaks up the traditional pichvai border comprising 24 boxes depicting Krishna’s many moods into singular pieces by themselves. She’s also included a collection of standalone sketches which are, in fact, the artisans’ rough sketches that precede the painting stage.

This intervention on Singhal’s part is a new thread in the art’s history, and only one aspect of the many forms of pichvai that exists today. “I’m a big proponent for intervention, modernisation and reinterpretation,” she says adding that she hopes to to document pichvai through books, and possibly a documentary, in the next few years. Only then would she have, as Singhal puts it, truly revived the art form.

Pichvai: Tradition and Beyond is ongoing till Sunday, April 15 at Famous Studios, Mahalaxmi.