Pithora Painting (Rathva Ki Prachin Chitrakala)
Chhota Udepur, Gujarat
CRAFT DOCUMENTATION
DEVANSHI GANDHI
B.DES VISUAL COMMUNICATION (IV) 2019 - 2023
GUIDE - Prof. ABHISHEK GANESHGUDI
P P Savani Education Trust was launched in 1987, initially with a school, which over the years expanded itself with a group of schools in Surat district with a student strength of more than 45,000.In 2016, the Trust has expanded its horizon with the launch of P P Savani University, as an initiative in higher education aligned with global standards of excel-
P P Savani Education Trust was launched in 1987, initially with a school, which over the years expanded itself with a group of schools in Surat district with a student strength of more than 45,000.In 2016, the Trust has expanded its horizon with the launch of P P Savani University, as an initiative in higher education aligned with global standards of excel-
School of Design (SOD) offers the B.Des that emphasizes the skills and knowledge of design education. Where one can find their own balance between craft, vision, and self-expression within the context of real industrial need.
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COPYRIGHT © 2021-2022
Student document publication meant for private circulation only. All Rights Reserved. Bachelor of Design, Visual & communication Design, 2021 PP Savani University, Surat India.
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The cluster Pithora Painting is a traditional & ritual based art form connected with Rathva Community over many years. These tribes believe Baba Pithora and Pithori Rani as their God and Goddess and share every life problem with them.
I would like to take this opportunity to express my profound gratitude and deep regards to my faculty Prof. Abhishek Ganeshgudi, for guiding me to go ahead with this craft.
Special thanks to the individual organization Adivasi Academy that guides us for the entire crafts of Chhota Udepur. My warm thanks to Mr Narain Singh, for giving references to different books about Pithora Painting and the Rathva community. He also gave permission to visit the library of Adivasi Academy. He recommended Mr Ram Singh Rathva who gave a briefing about the Adivasi Academy, Pithora Painting and gave me a tour to Chhota Udepur. Further, he also introduces local artisans of the Rathva community.
I would like to thank Mr Rathwa Haribhai Maansinghbhai & Mr Mansingh Jamsinghbhai Rathwa artisans for spending their precious time demonstrating the historical rituals & stories about Pithora Painting with detail about the process and raw material used. I am thankful to the local people of Chhota Udepur who help us with the stay in a Silver Spoon Hotel, travelling and food.
Lastly, my warm regards to my family, and all other people who guide me to complete my entire project.
My special thanks to P.P Savani University who encouraged and gave me the opportunity to explore different crafts in design aspects.
The basic purpose of our craft documentation was to document Pithora Painting and gain its traditional knowledge of its rich diversity and came across Rathva tribes who dwell inside a village named ”Chhota Udepur”.
They were extremely kind and served good hospitality to their tourists. The artisans were very skilful towards their craft cluster and are ready to face many challenges & problems in their day-to-day life.
The main objective was to study in detail culture, traditions, crafts, peoples, & walkthrough to Chhota Udepur city.
vThis research has not been easy, but due to local people who direct us to every in its possible way. In order to help and motivate the artisans and support their craft on a global scale, I tried to give my inputs and design in a possible way that is further connected to my Design Project.
Chhota Udepur was founded in 1743 by Rawal Udeysinhji, a descendant of Patai Rawal of Champaner. Chhotaudepur is a tribal district in the state of Gujarat in India. The district consists of six talukas of Chhotaudepur, Pavijetpur, Kawant, Naswadi, Sankheda and Bodeli taluka. The district headquarters is located at ChhotaUdepur.
Chhota Udaipur is a tribal-dominated district and the district headquarters is located 110 km away from Vadodara. It shares its borders with the state of Madhya Pradesh. It is the third tribal-dominated district in eastern Gujarat after the Narmada and Tapi districts.
Chhota Udepur district has a forest area of 75,704 hectares and has deposits of dolomite, fluorite, granite and sand all of which are mined. The district is also home to a large dairy industry. The Rathwa tribals who live here produce the Pithora mural paintings by mixing colours with liquor and milk and then using them to depict intricate motifs and scenes on the walls of their village dwellings.
Vadodara has a major railway junction which is located on the western railway, which connects Mumbai, Delhi, & Ahmedabad. Thus, Chhota Udepur to Vadodara is now connected through by new railway line.
By Road
Chhotaudepur is 224 KM from Gandhinagar, the state capital and 110 km from Vadodara. It is located on National Highway 56. There are various state transport (ST) buses and private luxury coaches from all over Gujarat and Madhya Pradesh. There is a good frequency of buses and other transport for Vadodara. It is located very near to MP border ( 26 KM).
By AirTo reach by air, you have to reach the nearest city Vadodara. Thus, after reaching you have to go by rail or road to Chhota Udepur 110Km.
Kusum Vilas Palace is a picturesque and historically significant tourist destination in Gujarat. The Kusum Vilas Palace was built in 1920s and is an imposing building with veranda, courtyards, 30 acres of open grounds and outhouses. The interiors are beautiful with original French furniture of the Louis XIV style, chandeliers, grand dining and drawing rooms and old billiards room.
Chhota Udepur museum is located on the main town of chhotaUdepur itself. It showcases the vibrant life of the tribals in the district Their family life, daily routines , artforms , paintings etc are shown in great detail.
The Adivasi Academy at Tejgadh, Gujarat, has been the signature project of Bhasha Research and Publication Centre. The Bhasha Centre was established in 1996 as a Public Trust for conservation and study of Adivasi languages and culture. The Bhasha Trust’s brief for itself was to establish a premier institution of national excellence for creating Tribal Studies as a field of serious intellectual and social-action field. It was desired that the scope of activities of the proposed institution would extend to all Adivasi and Nomadic communities in India, and if possible, to indigenous peoples in other continents as well. The institute was visualized as a combination of a university, a research centre, an activist-centre, a laboratory for experiments in development and a cultural expression forum, addressing all aspects of adivasi culture, history, society, rights and development.
The rulers of Chhota-Udepur were very fond of art and architecture so they constructed beautiful Palaces including Kali-Niketan, which was formally known as Nahar Villa, but was later changed, in honour of the family Goddess, Mahakali, to Kali-Niketan, which means the abode of Goddess Kali. Kali-Niketan was constructed by the present owner Maharaj Sajjansinh’s grandfather Maharaja Fatehsinhji in the late 19th century as his summer residence. The building has 6 air-conditioned rooms, 2 drawing rooms, 2 dining rooms, 2 lounges and 5 terraces.
Kali Niketan Rathwa SamajThe name of the tribe has been derived from the term “rathbistar” which means the forest and hilly areas. Thus the people who are the inhabitants of the rathbistar are called Rathwas. They are also known as Rathawa Koli. They recall their migration from the adjoining state of Madhya Pradesh. They are mainly distributed in the Chhota Udepur, Jabugam and Nasvadi talukas of Vadodara district and also in Halol, Kalol and Baria talukas of Panchmahal district.
According to the 1981 Census, their total population was 3,08,640. According to census 2001, the population of Rathwa was 5,35,284 out of which 273296 were male and 2,61,988 female.
Language
The Rathavi is the medium of communication within the family kin members while Gujarati in relation to others and for writing Gujarati script is used. They communicate with the outsiders in Hindi also.
The community has various petha (clans) like Hamania, Thebaria, Mahania, Kothari Baka, Fadia, etc. The Rathwa perceive them as having the middle order rank in the local social hierarchy but other communities place them at a lower level. They suffix the father’s name and the community’s name to their names.
The Rathwa are occasionally non-vegetarian. They take meat fish, eggs and chicken. They take rotla (homemade bread), rice, dal (pulses) and sabzi (vegetables) as a staple food. Pamolin oil is the cooking medium. Seasonally available vegetables are consumed. They take non-alcoholic beverages kadhi (butter-milk with spices) and chhas (buttermilk). They also take home-brewed alcoholic drinks (Mahuda & Taadi) and smoke tobacco.
The traditional dress of the adult male members is langoti (loincloth), kachuta and phenta (headgear). Now young people wear pants and a shirt. The female members dress up with the ghagra (lower garment) and cholia (upper garment).
The women wear Kala (armlet) made up of Chandi (silver) but Kala, (armlet) of men is of iron. They also wear fasi at the wrist which is made up of silver. They wear biti (finger ring). They have tattoo marks on their body. They have been included in the list of the scheduled tribes.
The economy of the Rathwa is mainly based on cultivation and sell harvest vegetables into the market. The Haat (weekly market) is where most Adivasis meet their needs where Items like clothes, vegetables, grains and livestock, bows and arrows, ornaments, bamboo articles, cooking vesselsare sold in the haat. Apart from this, their source of income come from the festivals season (Jan-May) of Baba Pithora where artisans do pithora paintings on wall of
The Rathwas are endogamous. A man can not marry his maternal uncle’s daughter and father’s brother’s daughter. Child marriages were practised in the past, but nowadays, the average age at marriage has increased to twelve to twenty years in the case of girls and twenty to twenty-four years in the case of boys. Marriage alliances are negotiated by the parents or by the elder members. Sometimes, they also choose their life partners in the fair. Monogamy is the common form of marriage. Sindur (vermilion) on the forehead is the symbol of married women. The bride price is given to the bride’s father at the time of marriage which known as Dowry system.
The dead are cremated. The widow moves around the bier of the deceased in an anti-clockwise direction, thereby setting her husband’s soul free from marital ties. On, the third day after cremation the eldest son gets his head shaved. The egarma, barma and terma (11th, 12th, and 13th day) day rituals are organised after cremation. On the day of terma, a feast is given to the kin members.
The Rathwa are the followers of folk religion. It has elements of the Hindu religion. They believe in their supreme deity, God Baba who is also their village deity. They worship the objects like horses, tigers, elephants and camels which are prepared by the Kumbhar. The Pujara (sacred specialist), also called Gor performs the rituals. They have priests from their community. They also participate in the festivals of Diwali, Holi, Dashera, Ujani and Pithora with great enthusiasm. A section of the Rathawa community, influenced by the Swaminarayan movement, is called Bhagat. They are purely vegetarian. The other section is called Jagat who are non-vegetarians. These divisions are due to the impact of socio-religious movements, which have changed as Bhagats from non-vegetarians to vegetarians. They sacrifice fowls before their gods at the time of festivals.
The main festivals of the Rathva community are Holi, Divaso, Dusshera, Dev-diwali, and Akhatrij. It is during the melas (fair) that one can view the cultural diversity of the Adivasis: Telav Mata Mela in Pavijetpur, Gher Mela in Kawant, Mela in Dungarvat, Jhojh, Raisingpur, Chhota Udepur, Amrol are organised after Holi.
The Rathawa have their traditional council. Knowledgeable persons are the members of this council, who are elected by a voice vote. The Sarpanch is the panchayat President. The Police settle the disputes in the presence of the community elders. The Police hold a very important position at the local level. If the disputes are not settled amicably, then the Police informs the police station for further action. It is customary that the police must be present in every major event of the village.
Chhota Udepur Ki Hastkala
The Dhanak Adivasi of Chhota Udepur, Gujarat have an indigenous way of making non-stick terracotta cookware which are sold in the weekly haats and purchased by the locals. The uniqueness about these utensils is that they are made with the local clay, first sun dried, then burnished with application of geru paste and coated immediately with lac while they are taken out of the furnace.
‘Kasota’ weaving is a specialized skill mastered by the weaving community of Chhota Udepur but is dying slowly due to decreased demand. It is technically a ‘langot’ or loincloth woven for Rathwa tribal males. The clothes are woven in basic colour and simple patterns. The loincloth is a single foot wide and more than 2 feet long. However, they also adapted to making stoles, dining table runners and napkins.
Rathwa and other tribes women make necklaces of different types of beads: ellipse beads( Lamgod manka), circular small beads (Kidiya), big circular colored beads (Motiya). Bead work is a very traditional old craft of india. which is practiced for a long time. The beads used are translucent or transparent and they are of different shaped and sizes.
Indegenous people are particularly renowned for their basketry. Harijans are one of the people who are keeping vaskaam alive in the rathwa tribe. This is one of the most traditional crafts performed by mankind. The type of basketry they do is twining basketry. also flute are made by Rathwa Tribes from bamboo.
Pithora Painting
Rathva culture is full of colourful mythology, historical lore, music, festivals, rituals, and art. The Pithora painting form is traditionally performed on walls inside the homes of the Rathvas community of Gujarat like most Adivasi. It is part of an elaborate ritual performed to complete vows to gain the boon of the chief god of the Rathvas, Baba Pithora. In times of difficulty, Rathva seeks the guidance of Badva, the chief priest or shaman of the village. Badva performs readings based on the skills he has acquired through ancestral schooling and recommends undertaking a vow to paint Pithora in the home in order to gain a boon from Baba Pithora. The person who undertakes the vow is known as Ghardhani, or in simple terms, the homeowner. As and when the Ghardhani feels that his/her difficulties have reduced, they seek guidance from the Badva and express the desire to undertake the painting of Pithora in their homes. The Ghardhani and Badva invite a Lakhara (individual who paints Pithora) of repute in the community. The Lakhara then visits and discusses with Ghardhani and Badva the details of the vow and thereafter prepares to create the Pithora Painting. The completion of the painting would signify the end of the ritual and fulfilment of the vow and is followed by a village dinner.
There are two types of Pithora, based on the progress of vows and the monetary capacity of the Ghardhani. Based on the variations they are Ardho Pithoro (‘half Pithor’), and Akho Pithoro (‘complete Pithora’).
In Ardho Pithora painting, usually, five to nine horses are drawn and none of the horses has riders except for Baba Ganeh.
An Akho Pithora painting consists of a total of 18 horses with their celestial riders. They celebrate Akho Pithora with all rituals and customs.
Cow Dung- This is the first step in the process called ‘Lipan’. It is the mixture of cow dung and mud which is coated on the wall before painting begins
Mud- a mixture of wet mud is used along with cow dung to coat the wall as a base for the painting.
White Chalk Powder- This is the second coat in Lipan and is done over the mixture of cow dung and mud.
Bamboo stem- This stem is used to make a natural brush of different numbers for a painting on a wall.
Mahuda- This is a local liquor that is extracted from the Mahuda tree.
Milk- Cow milk is mixed with Mahuda and Pigments to create colour for painting
Natural Colours- These colours come in the form of powder origin from Calcutta and are prepared by mixing it with Cow milk and Mahuda (Local liquor extracted from Mahuda Tree). The main colours used are Red, Vermilion, Orange, Yellow, Indigo, Green, Black & Silver.
Khakhra Leaves- Bowl are made from these leaves which are used as utensils for mixing colours.
Poster Colours- Nowadays, poster colours are been used as they are easily available and are slowly replacing natural colours.
Paper or Fabric- As this craft has grown in popularity they used handmade paper or canvas for commercial purposes.
In ancient times, Pithora Painting is created on the wall of the house chosen by Badva ( Tribal Oracle) under his direction. The lakhara (the tribal artist) make a colourful pictorial painting of ‘Baba Pithora’ & ‘Pithori’ and other elements of the tribal lifestyle are also indeed in this colourful painting.
The Badva or the head priest of the tribe is summoned and the problems are narrated. These problems can vary from dying cattle to unwell children in the family. The concerned person is given a solution and is asked, by the Bhadwa, to perform the ritual and the painting.
The presence of Pithora Baba is often considered as a solution to all the problems. A Pithora is always located at the threshold, or the Osari, outside the first front wall or inside on the walls of the first room as one does enter a house. The painting usually floods the entire wall with figures.
Wall Preparations- The painting process involve long ritual celebrations, before painting begins badva select the wall of the house on which pithora will be created purely for the reason of respectful hierarchy.
The largest wall in the house ( ‘Osari’ or porch of the main house) is chosen to create the main pithora and the adjacent wall served as an extended wall. It is a 10 days process where on the day first mixture of cow dung and mud Lipan is applied on the wall by unmarried woman.
This lipan takes a week to dry, on Tuesday a day before Painting ‘Pandu Maati’ or white Powder is apply on wall. Mud, Cow dung & White chalk powder are brought in unused basket cover with unused piece of cloth. When unmarried girls perform lipan the Badva ‘lights Diya (earthen lamp) and pray to god for the wall purification. On wednesday (10th day) with the blessing of ‘Badva’ and ‘The Lakhara’ (Pithora Painters) begins painting with the natural colours using bamboo brushes.
Colour Preparation- Natural pigments are used to created paintings. These pigments are mixed with ‘cow milk’ and ‘Mahuda’ ( local liquor which is extracted from Mahuda tree). This mixture are kept in a bowl which are made from ‘khakhara leave’.
Nowadays, poster colours are used in painting due to crisis of not availability of natural colours. Major colours used in pithora painting Red, Vermilion, Orange, Yellow, Indigo, Green, Black & Silver.
‘Mahuda’ ( local liquor which is extracted from Mahuda tree)
The Lakharas begins painting the story on a wall. The painting is supervised by the tribal Priest (Badva). The traditional size of a Pithora painting is 11 x 8 feet. The background is usually white, with expressive vibrant colours used for the motifs. The story and symbols are painted in a day. For drawing motifs stencils are mainly used for the body of the horse and the figures, most of the drawing and outline is done by the hand with the proper measurements. Later on, with the bamboo twigs outline is created and the coloured is filled in the motif. In the end, they add detailing to the motif (dots and lines) with silver or some bright colour. During, completion of the painting celebration and rituals take place.
Kahani Baba Pithora ki
The story of the deity "Pithora' is a very popular legend amongst the tribes.
King of Gods, Raja Indra had seven sisters. One day, one of his sisters, Rani Kali Koyal went into the forest where she met Raja Kanjurana. She had an affair with him and after 9 months and 9 days, she gave birth to a son. Since she was still a maiden, out of fear of her brother, Raja Indra, she set the child a float in a stream. That day Rani Kajal and Rani Makher (Indra's other sisters) went to fetch water from the stream and found the baby crying. Rani Kajal fed milk of Akda / Banyan tree flowers to the baby and bathed him with seven kinds of auspicious things. She named the baby "Pithora and took him to the palace with her.
As the time passed, Pithora grew into a fine boy. One day when he was playing, he broke Rani Kajal's earthen pot. This made her angry and she scolded him saying, "As it is, your maternal uncle holds the share of the entire kingdom- She indirectly told him that Raja Indra is his maternal uncle.
Hearing this, Pithora decided to find out who his parents are. He went to Raja Indra's court and introduced himself. After hearing his story, King Indra accepted him into the family with great joy and decided to find a suitable bride for him. But Pithora needed to know about his parents, if he wished to be married. So Raja Indra invited a grand court.
He invited everyone; all the gods and goddesses, king and queens, noblemen and respected citizens. When Pithora came in the court, he pointed at Raja Kanjurana and identified him as his father.
After much rejoicing, a grand wedding ceremony was arranged and Pithora wed Pithori. All the gods and goddesses attended the wedding. They arrived on horses and elephants. Hence Pithora painting has gods arriving on horse along with Pithora and Pithori.
Baba Ganeh is the first motif, drawn customarily on the right side of the painting. He is usually painted in blue and carries a ‘hukka’. Important festivals and occasions commence with the worship of Baba Ganeh among the Rathva. Rathvas also worship Baba Ganeh as Ganpati Dada who always has an elephant’s trunk. In the Pithora painting, Baba Ganeh is characterized as a father figure. A folk song first narrates the story behind the worship of Baba Ganeh. Once upon a time, Baba Ind called for a grand congregation of all gods in his court. En route to the court, the chariot of the gods got stuck. Despite all efforts, the chariot couldn’t be moved. The gods concluded that Baba Ganeh was behind this event. They called upon him for help and thereafter invited him to Baba Ind’s court. From that day on, it is mandated that before every ceremony Baba Ganeh’s name will be taken.
Baba Ind is the lord of rain and protector of all animals. He is the brother of Rani Kajal, Rani Kali Koyal and maternal uncle of Baba Pithora. In the Pithora painting, he is portrayed as strong, young and brave with a parrot in his hand. The Rathvas undertake a vow to Baba Ind to seek a boon for better health of family members and livestock, good yield of crops, and most importantly a boon for a child. In Chhota Udepur and Panchmahal districts of Gujarat, every five years the celebration of a festival of Baba Ind takes place in several villages, where traditional songs are sung, dances are performed to the music of the dhol and pehi, while Badva performs rituals.
Baba Pithora is the primary god of the Rathva. He is the son of Rani Kali Koyal and Kandu Raja. Rani Kajal brought him up. In his childhood, he hid himself in the wall and selected the wall as his seat, which is why his painting is installed on the wall.
In Pithora painting, he is portrayed as young, strong and manly with a parrot and a flower in his hand. Baba Pithora for the Rathva is a conglomeration of different gods, animals, nature, and all creations of the universe.
Pithori Rani is the wife of Baba Pithora and daughter of Abho Kunbi. In the Pithora painting, she carries a fan in her hand. She is worshipped during times of erratic monsoons.
In the painting, she is portrayed as celestial and a devoted wife ready to aid her husband in all his endeavours.
Rani Kajal is the sister of Baba Ind and foster mother of Baba Pithora. She rescued Pithora as a child from the sea and looked after him. He raised a child by giving milk to the akdo tree.
In the Pithora painting, she is painted on the left side and has a very important status as a mother. She carries a comb in her hand, which symbolizes her ability to cleanse the world. She is also worshipped as Kuldevi of the goddess of the clan because, during farming, harvesting, catling and in the rainy season people take a vow of this kuldevi. The temple of Rani Kajal is on a mountain near Mathvad village near river Narmada along the borders of Gujarat and Madhya Pradesh.
Baar Matha no Dhani (The Enlightened One with 12 Heads) protects the Adivasi from all 12 directions. He possesses knowledge of the universe, and protects living organisms and nature, and is a very brave deity.
In Pithora painting, he is portrayed holding Nagdevta (Lord of Snakes) in his hands along with swords. Baar Matha no Dhani offered protection to Rani Kali Koyal when she was in labour, which is why he is an essential and recurring character in most of the Pithora paintings. Several scholars compare this Rathva deity with Ravana from Ramayana, but the Rathva claim that they are not the same and are decisively different.
Raja Bhoj and his elephant was a great, rich and generous king who was very benevolent to his subjects.
He would organize a grand celebration of the Dussehra festival, and would himself join the procession on his elephant. During the festival, they eat adad na vada, chicken, &liquor.
In the Pithora painting, he is always portrayed riding an elephant with a huge Ambadi or an umbrella. Raja Bhoj looks after agriculture, livestock and rain on the earth, which is why he is also known as Raja Bavaji.
Abho Kunbi and Mathari (the farming couple) are creators of the art of farming. They are also credited with teaching this art to the human race. They taught them how to sow seeds, prepare fields for sowing, till farms, harvesting, and all associated activities related to farming and agriculture. Pithori Rani, the wife of Baba Pithora is the daughter of Abho Kunbi and Mathari.
Nakti Bhuten is portrayed on a white horse, placed on the left of the Pithora painting. He is the protector of the household and is very different from other gods and goddesses. His appearance is very fierce and he is a very powerful deity.
Lakhari and Jokhari (authors of future) according to the traditional beliefs, on the fifth or sixth day after a child’s birth, Lakhari and Jokhari visit their homes to write their future. It is said whatever predictions are made on this occasion never fail to materialize.
In the story of Baba Pithora, Lakhari and Jokhari wrote about his future on the wall, the chosen seat of Baba Pithora. It is since then the tradition of painting Pithora on the wall has begun, and Lakhari and Jokhari are portrayed in the painting.
Purvaj na Panch Ghoda (five horses of ancestors) in memory of their ancestors, the Rathva places intricately carved wooden horses either in the farms or in their homes. They recognize these artefacts as Khatrij Dev. The Khatrij Dev is the first deity to be worshipped on all important occasions and festivals. They also believe that if they don’t worship Khatrij dev then some kind of bad omen occurs in their house. Thus every year, each family organizes a village feast in memory of their ancestors. In the Pithora painting, Purvaj na Panch Ghoda are a symbolic representation of the ancestors of the community.
The sky, gods, earth, human beings, vegetation, animals, birds and all living creatures of the universe are comprehensively incorporated in the Pithora painting of the Rathva community. They exhibit a prudent understanding of the universe through the medium of their painting. The recurring motifs related to elements of nature are the sun, moon, and trees that are considered holy by the Rathva.
The Sun is a living god for all living beings of the universe. He is known as Huriyadev by the Rathva and is considered the universal guardian. During, solar eclipse, they believe that pregnant women and children should remain at home. This eclipse is very powerful and can have a bad effect on them.
Stars is also considered as a god. Mediya star is known as the head of the universe, other than that Juhi star, Pheni star, Heni star, Kamal star, Popat star etc. these all-stars are also known as Devlok. Thus, they can recognize time by the position of stars.
The Moon is considered a god and is also known as Handaryo Dev by the Rathva community. They also recognize eclipses and if it remains as a half moo during the lunar eclipse which means debt or bad omen is going to happen with cattle, or with crops. So, this signal to them to be awake through their famous kikiyari howl.
The branches of the Kadam tree are important in the ritual of the Pithora painting. The family of Ghardhani takes out a procession to the nearest Kadam tree to gather its branches; the dhol and pehi are played in the background.
The Tad and Khajoori trees can be seen extensively in Adivasi areas. The tad tree yields a sweet fruit called tadkali which is used to make nira, which is a very healthy and medicinal drink and is the main ingredient for making the alcohol drink called tadi. The leaves of the tad tree were used for making roofs and walls of Rathva homes and used as a medium to write on. Similarly, the khajoori tree has many uses apart from its fruit khajoor (dates).
The Adivasi have a vast tradition exemplifying their unique closeness to nature, living in harmony with the animal kingdom. A wide range of animals is portrayed in the Pithora painting of the Rathvas.
The Saval Dharmi Ghoda (horses of civic righteousness) are an important element of the Pithora painting. In the cultural tradition of the Adivasi, there are several mentions of the great exploits of heroes, and Saval Dharmi Ghoda represents in green colour horses which signify for farming purposes in the Pithora paintings.
Lion, Tiger & Camel, Lion is the symbol of strength and religion; he is also the most powerful animal and a vehicle of several gods. Tiger is portrayed as the protector in the painting. Lion and tiger are portrayed atop the celestial gate, as they protect the inhabitants. The Rathva, Nayak and Tadvi communities celebrate a ritual to entice the rain when people in the costume of camels go out in procession. This ritual is called untadi kadvi ('bring out the camel'). Camel is also known as ‘Handarchiyo dev’.
Cow, Buffalo & Goat, The Rathvas consider the buffalo and cow holy animals. Their produce - milk, buttermilk, dung, curd etc. and are extremely important in the lives of the Rathva. Cow dung is also utilized in several ceremonies of the Baba Pithora ritual. The Rathva’s believe that the goat was the first animal to be domesticated by their ancestors. The working class of the Adivasi community often rear goats to meet their milking needs. The goat is an important part of the Baba Pithora ritual since it is a common choice for animal sacrifice.
Deer, Chicken & Peacock, Deer is considered a symbol of beauty, naivete, honesty and a lover of music by the Rathva. In Pithora paintings, sometimes a two-headed deer is also portrayed. Chicken is another common choice for animal sacrifice. The peacock features in the Pithora paintings as a vehicle of the goddess.
The Koyal bird features in the Pithora painting as a symbolic representation of Rani Kali Koyal, the birth mother of Baba Pithora and the most beautiful sister of Baba Ind.
Mamo Karodiyo is considered the maternal uncle of Baba Pithora. Once upon a time, when Baba Pithora was on a quest to meet Baba Ind and needed to climb to heaven, he sought the aid of Mama Karodiyo who helped him climb up to heaven on his web. This is how Mamo Karodiyo found his way into Pithora painting.
Pithora painting shows several human characters and scenes of daily activities: the Bhuva conducting ceremonies, the village tradesman, the hunter, policeman, village postman, alcohol making, buttermilk churning, women drawing water from wells or hand pumps, men and women dancing.
Pithora painting also depicts instruments of daily life.
Ashad has two interpretations in the Pithora painting of the Rathva. The first states that it is a canopy for the procession of gods and goddesses while the other interprets it as a symbolic border of a village.
Name- Rathwa Haribhai Maansinghbhai
Age :- 45
Community- Rathwa
Native- Malaja village, Chhota Udepur
Haribhai Maansinghbhai Rathwa born in 1975 is an artist of Chhota Udepur, Gujarat state in India. He is popularly known as the Lakhara artist of Pithora Painting. He started doing a painting from the age of 12 with his father Maansinghbhai Dhanji. From generation to generation this painting is practised. His father works were also recognized and awarded by APJ Abdul Kalam, Narendra Modi, Anandiben Patel. In his family, there are 10 members his wife, mother, father and 6 children.
He has a team of 8-10 Lakharas practices with him during the pithora festival. The source of income he earns is during the festival of pithora painting, agriculture, taking workshops, and selling paintings created on canvas. Even in his house the ladies earns by selling Beadwork ornaments. His goals and achievement are created pithora painting on a wall of a government building in Bharuch and some other city, he worked with NGOs and Adivasi Academy and showcase his work in the exhibition, took a workshop of a student in a village and school & colleges of Bangalore, Gandhinagar city etc. He also works on the basis of order mostly given by Foreigner.
Challenges he faced during covid, as it was a village and small district painting work was done but the orders were less. They earn money from the village mela festival but due to covid this year it was cancelled. Another effect was that there was no foreign tourist visit as compared to pre covid situation. He takes few workshops online with fewer wages.
Awards an encouragement to artisans
Name- Mansingh Jamsinghbhai Rathwa
Age- 74
Community- Rathwa
Native- Ghatiya village, Chhota Udepur
Mansingh Jamsinghbhai Rathwa was born in 1963 is an artist of Chhota Udepur, Gujarat state in India. He started practising painting from a very young age with his father, From generation to generation, this painting is practised. In his family, there are 7-8 members his wife, and 3 man and their wives.
He performs the painting with other lakharas during the festival season. Apart from that he earns from agriculture, selling milk, and painting on canvas. Mostly, his children earn money from other occupations. Challenges he faced during covid was less income due to less visiter, no village mela festival.
Work of Mansingh Jamsinghbhai Rathwa
Work of Mansingh Jamsinghbhai Rathwa
Pithora Mural in the form of Puzzle by Surpritkaur Dang.
DIY colouring kit for kids by Potli, the bag of wonders.
Mansingh Dhanraj Rathwa painted Pithora on the wall of Town Hall the exterior walls of the Sayajirao Nagar Gruh (Town Hall) in Vadodara’s
The concept of art contemporizes into a Children’s tale book named ‘Painting everything into the world’ by Rathwa artist Harsingh Hamir and sell books on the website tarabooks.com.
Pithora Painting workshop was held in colobration with craftroots by,iteeha
Pithora Painting Goverment Circut House wall of Chotta Udepur ,Gujarat
• The Rathva Tribes have their own economy of their own and have the capacity of taking a large number of orders they can complete in a given time and at an affordable rate.
• Earlier the raw materials were outsourced as they were organic but now they use contemporary forms of raw materials that are easily available from the market at a cheaper rate.
• Low capital investment and high ratio of value addition.
• Aesthetically appearance.
• Increase foreign demands of this craft.
• Design is very basic, inspired by nature, animals and human activities.
• Another source of income from agriculture.
• less time consuming Craft.
• Inadequate market study and marketing strategy.
• Lack of adequate infrastructure and communication facilities.
• This painting is done once a week only and on a particular day (Wednesday).
• contemporary pithora painting is done on canvas for selling purpose but as per order so this tribe’s craft has Less turnover.
• Illiteracy is the biggest setback of this community.
• Industrialisation is one of the biggest reasons why people are leaving their traditional crafts.
• The government has initiated a lot of policies which can be beneficial for them. They also have provided them facilities for Workshops and exhibitions and get exposed to the other market.
• A NGO Adivasi Academy working specially for the uplifting of this tribe has been working in Tejgadh. This NGO has given them a stage to Showcase their work and perform their art under them and get paid in return.
• The crafts of these tribes are given a proper Rising appreciation for this painting. These can reach very high standards because the crafts performed by these tribes are based on traditions of Rathwa Tribes.
• Most of the Rathwa Tribes do Painting so,More competition in lakharas.
• People are shifting to urban areas and are leaving behind all the cultural strength they have. The biggest threat today is of the craft that has come on the verge of extension.
• Seeing the development in India, they send their children for study who in turn don’t want to work with their craft.
• In conclusion, it was a truly educational journey. I would like to mention that this craft is very limited towards their community. Also, help to understand this small community.
• The personal experience was to learn about this cluster in every aspect and also drawn my hands-on skill on the canvas of Pithora Painting.
• Knowing about their families background and limitations of the craft can be brought globally with the help of different tribes organizations.
• I believe that with continued guidance and input their craft can be further popularised in different forms without hurting their aesthetic values.
• I feel so blessed to be a part of such a rich heritage and in a culture that keeps growing without exhaustion.
• At the end of the journey by expressing my gratitude for all those factors which provide an opportunity as well as wide exposure to the ritual based craft pithora painting.
https://www.indianculture.gov.in/intangible-cultural-heritage/performing-arts/rathwa-ni-gher-tribal-dance-rathwas
https://www.tribesindia.com/all-about-the-traditional-pithora-and-various-types-of-it/
https://www.gujarattourism.com/accommodation/heritage-hotel/kusum-vilas-palace--chhota-udepur.html
https://www.tribuneindia.com/news/archive/arts/wall-art-the-traditional-way-405486
http://www.craftandartisans.com/pithora-paintings-of-gujarat.html
https://www.esamskriti.com/e/Culture/Indian-Art/About-PITHORA-Paintings-1.aspx
https://www.adivasiacademy.org/intro.aspx
https://www.museumsofindia.org/museum/779/vaacha-museum-of-voice
https://chhotaudepur.nic.in/culture-heritage/
http://bhasharesearch.org/introduction.html
https://www.sahapedia.org/pithora-painting
Reference from book- Bharatiya Adim Chitrakala “Rathva Samajma Baba Pithora”, By Narain Rathva & Vikesh Rathva vishay ki jaankari
