PICHWAI- The essence of Nathdwara

~NIMMI SUDHA RAM

T H E E S S E N C E OF N A T H D W A R A

PICHWAI THE ESSENCE OF NATHDWARA

CRAFT DOCUMENTATION BY

NIMMI SUDHA RAM Submi ed to

Virtual Voyage College of Design, Media, Art & Management

INDORE

Declaration: I hereby declare that the cra documenta on work en tled “PICHWAI” - The essence of Nathdwara submi ed to Virtual voyage College of Design, Media, Art & Management is compiled by Nimmi Sudha Ram(4th year) under the guidance of Mrs. Nita Mathur ma’am (HOD). year | 2022

declaration

ACKNOWLEDGEMENT It was an immense pleasure to experience, explore and understand the Pichwai Pain ngs of Nathdwara. I am thankful to a lot of people for the same.

This project would not have been conceivable without them.

I would like to thank Virtual Voyage College, Indore for taking the ini a ve of cra documenta on and providing me with wonderful opportunity to explore and learn about the pres gious cra of Nathdwara. I would like to appreciate Mr. Nita Mathur mam, for guiding me through the transcrip on and content building process.

Also like to extend my thanks to The Ar sts Mr. Kapil Sharma, Mr. Gorang Sharma & family for being so welcoming and sharing their art with us. Lastly I am grateful to my family and friends who were always there for feedback and mo va on while compiling this document.

PREFACE This project report has been prepared for the subject: Cra Documenta on in B.Des 4th year 2021-22.

For preparing the project report, I have visited Nathdwara, to avail the necessary informa on. The blend of learning and knowledge acquired from the ar sts is presented in this project report.

The objec ve behind visi ng Nathdwara is to learn the history of the art, the lifestyle of ar sts involved, understand the making process and effect of moderniza on over the art of Nathdwara.

The project report starts with introduc on to Pichwai, the history & Origin of pain ng and also covers the beauty, culture and history of Nathdwara. It contains the materials & process and market study of Nathdwara.

The informa on presented in this project report is obtained from ar sts themselves and other sources.

CONTENTS Introduc on What is Pichwai pain ng?

History & Origin

12 12 13

Place - History Map Eleva on Longitude & La tude Demographics How to reach Nathdwara Best me to visit Nathdwara Local transport of Nathdwara Top things to do in Nathdwara *Charbhuja temple * Shrinathji temple * Eklingji temple * Annakuta * Dwarkadheesh temple Shopping in Nathdwara

16 17 17 17 17 18 19 19 20 20 20 21 21 21 22

Materials used Colors Brushes Process

24-25 26 27 27

Mo fs Ar san profile

28-29 30-33

Abstract Objec ve Design / methodology / approach Current status of cra industry Factors affec ng the cra tradi ons Roots of Indian designs Challenges faced by Pichwai ar sts Modern produc on Refrences Picture references

34 34 34 35 35 36 36 37 38 39

INTRODUCTION

For a person brought up in India, it's not uncommon to have grown up listening to the glorious stories of Lord Krishna. The stories of Krishna, especially the tales of his childhood, make up a significant and beau ful part of Indian culture and history. From books to movies and different kinds of media, these tales are everywhere. However, not many know that there is an art form specialized par cularly to depict these tales of Krishna. This is a pichwai pain ng. The central theme of pichwai pain ngs revolves around the stories of experiences of Lord Krishna, majorly from his early years. Although lesser known by its name,facts. Pichwai pain ngs find their home in galleries and buildings around the world. Let us throw some light on what is Pichwai, how it was born, its modern-day picture and other interes ng

What is Pichwai Painting?

Pichwai is a Sanskrit word in which 'pich' stands for back and 'wai' stands for hanging. Pichwai pain ngs are referred to Mewar-style tex le pain ngs that are found hanging on the walls of temples, houses, art galleries and museums, specifically Nathdwara temple from where they were first originated.

Aurangabad was another area associated with them.[2] The purpose of Pichhwais, other than ar s c appeal, is to narrate tales of Krishna to the illiterate. Temples have sets with different images, which are changed according to the calendar of fes vals celebra ng the deity Nathdwara pain ng covers these and similar works in other genres, especially Indian miniature pain ngs. Like the Push marg tradi on, they originated in the Deccan, but are now mainly associated with Western India.

History & Origin # Dating back to 400 Years: Although Pichwai is a 400-year old Indian art form, its origins date back even earlier. If you're of Indian origin, you must have heard the tale of Govardhan at some or the other me in your life. It goes like this. Once upon a me, Lord Indra under his rage, expressed his anger on the people of Vrindavan in the form of thunder and rains which led to heavy floods in the city. In order to protect his beloved fellows, li le kid Krishna, on one of his fingers, li ed the Govardhan mountain as a form of an umbrella. # Discovery of Nathdwara Temple: Around 1400 A.D., an idol of the mountain holder was discovered at a place near Udaipur, Rajasthan. Owing to its significance, the place became highly revered and hence to preserve the moment of history, a temple was constructed here by the Rajputs. # The Beginning of Pichwais: Next, during the 16th century, not soon a er the construc on of Nathdwara temple was completed, the local ar sts began the decora ons of the temple. One such decora on came about to be Pichwais. Communi es of ar sts started crea ng embroidered and painted illustra ons of events from Lord Krishna's life. The velvet cloths were intricately decorated with a hand in threads and embellishments of a royal kind and then hung on the walls of the temple. Soon enough, the lesser known art started a rac ng ar sts and art lovers from around the globe. And this is how Pichwais were discovered and found their home in hearts and galleries around the world.

PLACE

Nathdwara is a city in the western state of Rajasthan, India. It is located in the Aravalli hills, on the banks of the Banas River in Rajsamand District, 48 kilometres north-east of Udaipur. This city is famous for its temple of Krishna which houses the deity of Shrinathji, a 14th-century, 7-year-old "infant" incarna on of Krishna. The deity was originally worshiped at Mathura and was shi ed in the 1672 from Govardhan hill, near Mathura along holy river Yamuna a er being retained at Agra for almost six months. Literally, Nathdwara means 'Gateway to Shrinathji (God)'. Nathdwara is a significant Vaishnavite shrine pertaining to the Push Marg or the Vallabh Sampradaya or the Shuddha Advaita founded by Vallabha Acharya, revered mainly by people of Gujarat and Rajasthan, among others. Vi hal Nathji, son of Vallabhacharya ins tu onalised the worship of Shrinathji at Nathdwara.

History Shrinathji's idol was brought to Rajasthan from Govardhana near Vrindavan to protect it from the hands of the Mughal emperor Aurangzeb who in 1665 was bent upon vandalizing the area of Vrindavan by widespread destruc on of Hindu temples. When the Mughal army came to Govardhana, the devotees of the Lord showed them the tles and gi s given to the temple by the previous Mughal rulers. The army commander then ordered the deity to be taken away from Govardhana. For almost six months the statue stayed in Agra a er which the custodians of the idol of Shrinathji le that place with the idol in search of a new heaven.

While several other princes were diffident, it was Maharana Rajsingh of Mewar who dared to provide refuge. The idol went on a journey to Mewar which took 32 months to complete. The decision to se le the Lord here at Nathdwara involves an interes ng story. When the wheel of the chariot carrying the Lord got stuck in the mud at a place called Sihar, the Rana saw it as a divine sign that Lord Krishna wished to se le here, and thus a temple was built at this spot and the holy township of Nathdwara grew around the temple.

State - Rajasthan Eleva on - 585 m (1,919 ) Nathdwara

District - Rajsamand La tude & Longitude - 24.9320° N, 73.8191° E Demographics - Popula on of Nathdwara in 2021 is 303,466 Literate people are 136,685 out of 83,066 are male and 53,619 are female. Total workers are 124,023 depends on mul skills out of which 71,771 are men and 52,252 are women.

How to reach Nathdwara by ight Nathdwara does not have an aerodrome. Though the nearest airport to Nathdwara is Udaipur, which is at a distance of about 60 km away. Many bus and taxi services are available from the airport that drop you to Nathdwara. The taxi fare is around INR 700. Nearest Airport: Udaipur - 40 kms from Nathdwara How to reach Nathdwara by road

NATHDWARA

0 kms

Nathdwara can be accessed by state-owned buses from neighbouring ci es. Volvo buses are available from major ci es like Mumbai, Delhi, Jaipur and Ahmedabad up to Udaipur. The roads are traversable and hence, travelling via roadways is not an issue.

How to reach Nathdwara by train Nathdwara does not have a railway sta on of its own. The nearest railway heads are Mavli Junc on, 30 km away and Udaipur City Railway Sta on, 50 km from the town of Nathdwara. Mavli Junc on isn't a major railway sta on, though all trains halt at Udaipur City Railway Sta on.

Local transport in Nathdwara The interiors of Nathdwara are easily commutable, thanks to the transport facili es available out here. Rickshaws and taxis are easily available in every part of the city.

The buses are also available here. However, walking around Nathdwara is the best way of exploring this small town.

Best Time to Travel to Nathdwara Nathdwara in Summer (March - June) Nathdwara experiences summer season from April to June. The weather during this me of the year is torrid and harsh. The temperature goes as high as 42°C, and it becomes impossible to enjoy the beau es of this place. Summer is not the me to visit Nathdwara if you want to explore the various pris ne temples and historic forts. The a ernoon is sweltering with the sun shining brightly right on top of our heads and heat waves flowing throughout the place. Stepping out for sightseeing or shopping could be a tedious task; hence travelling to Nathdwara during this me of the year is highly not recommended.

Nathdwara in Monsoon (July - September) Monsoon season in Nathdwara begins from July and con nues till September. Even though Nathdwara does not receive heavy rainfall, the few cold drops of shower that fall are enough to bring down the high temperature of the summer season. The rain makes the whole place look extremely beau ful and serene. This is also an excellent op on to take a trip to Nathdwara. The temples look even more pious and tranquil while the forts, on the other hand, look like they have gone under the process of rejuvena on. This is an excellent me to enjoy some peaceful me in Nathdwara.

Nathdwara in Winter (November - February) Winter season in Nathdwara begins from September and con nues ll February. With temperatures ranging from 6 - 26 degree celcius, this is the best me period to take a trip to Nathdwara and enjoy the pleasant weather that this place has to offer. This is also the perfect me to explore the various temples and forts in Nathdwara, go on a shopping spree and pick up some of the most vibrant handcra ed items. The fes val of Annakuta is also celebrated during Diwali with zest and exuberance with the temples looking so lively with a huge crowd gathering. This place looks extremely picturesque and lively during this time of the year.

Top Things to do in Nathdwara Charbhuja Located in the outskirts of the main town of Nathdwara and in close proximity to the fort of Bor Rajputs, Charbhuja is a renowned temple in the city dedicated to Lord Vishnu, the protector of the Hindu triumvirate.

It is considered as the fourth Dham(abode) of Lord Vishnu and it some immensely intricate architecture is reflected in the door panel's carving and the mirror work in the temple.

Shrinathji Temple Shrinathji temple of Nathdwara, Rajasthan is a Hindu temple dedicated to one of the avatars of Lord Krishna - Shrinathji. It is located on the banks of the river Banas, at a distance of 48 km from the beau ful city of Udaipur. The glorious temple is a famous pilgrimage point of Rajasthan and a must-see if you are on tour of the religious places of Rajasthan. The Shrinathji temple of Nathdwara is famous for the Shringar of the deity where the idol is dressed in a new dress every day. Devotees come from all over the world come to see the idol's different forms.

The majes c temple has its story which traces to back to the me of Meera Bai and is important to Hindu mythological history. The Shrinathji Temple has an interes ng origin story that mixes the best of both worlds - reality and legend.

It has been designed in the lines of the temple of Nanda Maharaj, in Vrindavan.

Therefore, it is also known as Nanda Bhavan or Nandalaya. This magnificent temple is overcrowded during the fes vals of Holi, Diwali and Janmashtami. The Shrinathji Temple is also known for its culinary feast, which is well sought a er and serves hundreds of visitors every year.

Eklingji Temple Eklingji Temple is one of the most popular temples of Rajasthan and is sited at a distance of 22 km to the north of Udaipur. Eklingji Temple is dedicated to the Lord Shiva of the Hindu religion and its brilliant architecture drives several tourists here every year. This double-storied temple looks magnificent with its pyramidal style of roof and uniquely carved tower. The outer walls of the temple are stretched with steps that lower touching the serene waters.

Established in 734 A.D. by Bappa Rawal, Eklingji is purported to have been the ruling idol of Mewar rulers. On entering this hall, you would see a beau ful silver image of Nandi and inside the temple, there are two other images of Nandi carved in black stone and brass respec vely. This temple is filled with an enthralling fragrance and is known for a striking four-faced idol of Eklingji (Lord Shiva) that is made out of black marble. Its height ranges around 50 feet and its four faces depict four forms of Lord Shiva. The Shivlinga garlanded by a silver snake is a major tourist a rac on.

Annakutta he fes val of Annaku a is celebrated with a lot of exuberance in this city. It is related to Lord Krishna and is celebrated with a lot of zeal and excitement in the temple of Shrinathji.

The place is flocked by thousands of tourists and locals alike.

The Dwarkadheesh Temple The Dwarkadheesh Temple is another one of the temples that is of utmost significance to the Vaishnavas and the Vallabhacharya sect. Situated in Kankroli village near the Navchauki Dam, the architectural styles of this temple resemble to that of Shreeji ki Haveli.The red stone idol of Dwarkadheesh Shri Krishna is considered to have been brought here from Mathura.

Shopping in Nathdwara Nathdwara is a small town located in the Aravalli hills of Rajasthan. Shopping is perhaps one of the most looked forward to ac vity on the go, and you can indulge yourself here. Nathdwara is famous for many goods, the most popular being the beau ful Pichwai pain ngs.

These pictures illustrate Nath ji in a various postures, moods and a res, and are fine examples of the fine cra smanship of this town. These pain ngs are done on a variety of canvases, which includes cloth, silk, ivory and paper. You can also buy terraco a products from here, which are well known as well.

When it comes to shopping, Nathdwara has unique products to offer. Apart from Pichwai pain ngs and terraco a handicra s, you can also buy 'a ars' which are oil based natural perfumes. Tie and dye clothes from Nathdwara are also quite famous.

If you have a so corner for sweets, do try the local variants of various sweet dishes as well. The handmade gold and silver jewellery from this town is quite endearing and will add a different dimension to your jewellery collec on. You can also buy gold and silver toys, enamelware and filigree boxes from the local markets here.

MATERIALS & PROCESS

Materials Used

arrangement of marble mortar with pestels which are used for prepara on of color that involves grinding of color stones, adding “gond” (gum) and water

Hakik ka pa har found in narmada river is rubbed on the pain ng for polishing the golden cololr which imparts shine to it.

Diffrent type of brushes

arrangement of sea shells used as color pale e by arists

Colors Pichwais are best remembered for their vibrant blues and greens and brilliant reds and oranges: the complete range of color is used. Mostly, color are made from the tradi onal mineral compound and vegetable extracts, but now-a-days commercial synthe c paints are being used. The natural dyes are kept by the ar st in a dry, rock like form. when a color is to be used, the pieces are ground and the powder is dissolved in water and thickened with a gum resin. The colors used by these ar sts are : 1. Sendur - Orange 2. Safeda - white 3. Kesari-Saffron 4. Nil-indigo 5. Hinglu-vermillion made from sulphide of mercury 6. Lilo-bo le green 7. Rav sena- Yellow ochre 8. Gulabi-pink 9. Ka -Light slate 10. Lal-dark red 11. Zangal-copper acetate 12. Khasni(Jambani)-plum 13. Suva Pankhi - parrot green 14. Geru-red ochre 15. Selu-emerald green 16. Hadmacha(also known as Hirmichi)- reddish brown 17. Pilo- yellow 18. Sai (also known as syahi) black from lamp black 19. Gavgoli or Pyoriyellow made from cow urine 20.Asmani(also known as Lazvardi)- Lapis lazuli 21. Jangali Ghero- greenish grey

Brushes The nathdwara ar sts work with two types of brushes(Kalams). The broad Jara is made from goat hair and is used in pain ng Large areas. The detailed work is done within Jhina made of squirrel tail.

Process There is a wide range of techniques used in making temple hangings. Although the most common and best known Pichwai examples are pain ngs on cloth, the works may also be an applique, a combina on of pain ngs and applique, printed, embroidered or brocade. Earlier, pichwais were painted on thick handwoven material, but now a thinner machine made material is also used.

Generally the cloth used is white but it is not unusual to use black, blue or red fabric. In case of colored fabric, gold and silver are predominant colors.

The procedure for making pichwai involves various steps: * Starching - The cloth is first starched using a maida paste. This prevents the colors from running as well from bleeding through the material. A er it dries, the cloth is ready to be block - printed. * Spacing - The spacing (Khaka jamana) on the fabric is done very systema cally. first, the outer limit for the border (par ki boundary) which will contain the creeper mo f (bel) is marked off with a colored thread using a set square (koina). The thread is dusted with charcoal or zinc white (safeda) and leaves a mark where it is placed. By the same method, the central por on, which will contain the main scene, is also outlined (pich ki boundary). * Marking the spaces - The centre of the inner rectangle space is determined and marked, this central point governs the distribu on of figures. * Sketching - The selec on of sketching material is determined by the color of the fabric. Zinc white is used on dark colored cloth. On the white pieces, the sketching is done with the charred pointed p of a twig from a tamarind tree. This rough sketching was called pan. All the necessary correc ons are made before the pan is retraced with a brush dipped in sendur or white paint, depending on the color of the material. The sketch is lightly dusted with a piece of cloth and starched again before the ar sts begin pain ng.

* Pain ng - Then comes the pain ng of the figures and landscapes. when the ini al coloring is finishes, the work is polished by laying the cloth face down on a smooth rock and rubbing it from the reserve side with an agate stone(ghonta). The shading and detailed work on the figures and landscape follow. Among Nathdwara ar sts, this finishings is called Likhai. * Ornamenta on - At this stage, pearls and rubies are added and the gold ornaments are completed and rubbed with agate to give them a gloss. the final work in the figure is the additon of transparent garments. A light wash is used so that the undergarment remains visible. Gold butas are applied. The last step is the comple on of the creeper mo f in the border.

Motifs Enclosed in a dark border, rich colours like red, green,yellow, white and black are used with a lot of gold decora ng the figures, the 'Pichwai' pain ngs come under the 'Nathdwara school of art' and are iden fied by their characteris c features; large eyes, broad noses and heavy bodies. These features are based on the idol of Lord 'Shrinathji' and are believed to emphasize the 'Shringara' or adornment.

Another unique characteris c of these pain ngs is the depic on of different occasions, seasons and fes vals using various colours and elements. For example, pink lotuses are used to depict the summer season, whilst the bright full moon is used to mark the occasion of 'Sharad Purnima'. Occasions like 'Raas Leela' and 'Holi' are painted with backgrounds relevant to the season in which they take place. The types of Pichwai used on any occasions are also governed by the tradi ons. Generally they are pictorial and illustrate the incident or event on which a par cular fes val is based.

There are at least twenty four main celebra ons, which are important to all temples. The borders of the painted Pichwais have designs on them. The Pichwais include the major Krishna fes vals based on the well-known stories of the Bhagvata Purana and the verses of the bhak poets as well. Some of them are idealized representa ons whereas some depict the actual events and are historical records complete with the portraits of the par cipants. Some of the varie es of Pichwai based on the occasions and seasons are: * Ramnavami Pichwai * Nandmahotsav Pichwai * Dana Ekadashi Pichwai * Braj Yatra Pichwai * Sharad Purnima Pichwai

l

*Annakuta Pichwai *Govardhana Dharana Pichwai *Gopashtami Pichwai *Moraku (monsoon) Pichwai - depict peacocks with crested crowns dancing in full abandon in the rainy season. These are named a er the small village Vraja, which is near the birth place of Radha, where peacocks abound. As they mimic the ras lila or the Krishna's dance with Radha and the Gopis. *Varsha or Vrikshachari Pichwai - depict Krishna as a vrikshacharya or tree dweller. He is only represented in the pain ngs, usually using Kadamba trees. Gopis are also shown carrying garlands, peacock fans, flowers and fly whisks, an cipa ng the arrival of Krishna. *Sandhya aar Pichwai *Kamal Vana or Jal Vihar - In the broiling heat of summer, the dominant themes are representa ons of ush greenery, shady caves, sparkling pools, and blooming lotuses rising from the cool waters of the river Yamuna.

These refreshing scenes contribute to Shrinathji's comfort when the outside temperatures soar.

Pichwais made Lord Shrinathji's shrine are some of the biggest in size, scaling up to 3 meters in width and about 1 meter in height. The por on in the pain ng that lies directly behind the idol is either le blank or is cut out.

Some mes a large tree is drawn so that the deity appears to be standing under it. The tree (mostly 'Kadamba') in the Pichwai pain ngs is believed to resemble Lord Krishna from the 'Hinayana' Buddhist iconography. This is further established by the fact that these pain ngs show influences of the Mughal miniature style, with the 'Tree of Life' mo fs being especially prominent.

Significant changes are not permi ed in the important imagery and themes of the pain ngs.

ARTISANS PROFILE

MAHESH CHANDRA SHARMA

ISHWAR SHARMA

GORANG SHARMA

KAPIL SHARMA

Abstract The purpose of this study is to ensure if design interven on helps in the revival of dying cra with interes ng ideas with new interven on models and create new range of products.

Design/Methodology/Approach: This study is based on a review of the literature and takes a case study approach. The study aims to suggest interven ons as bridge between designers and cra persons to enhance and expand the cra vocabulary and reviving dying cra tradi on and opening new avenues in the global market.

Objective o To revitalize this rare tradi onal art of Pichwai. o To give new dimensions to this tradi onal art yet maintaining its value. o To enhance the livelihood and to create employment opportuni es for ar sans. o To create market segment for ar sans at global level.

Current Status of Craft Industry Today, an argument, an a tude faces cra s and ar sans in India. This is an argument of economics of sustainability, of marketability, which is the argument of financial survival (Cra s Council of India - April 2011).

One ques on is s ll unsolved and unanswered. What is the state of cra and cra smen in India? This ques on carries a huge and thick ques on mark at its end.

While cra s received royal and aristocra c patronage during Pre-Independence days and played a central role in Gandhiji's independence struggle, they have slowly lost relevance with the advent of industrializa on. Tradi onal cra s have largely been marginalized by mass produced consumer goods, which tend to be cheaper due to the economics of scale associated with mechaniza on.

The nature of the cra s sector and challenges faced by ar sans reduces their ability to compete with machine made products. Catering to mainstream market o en necessitates a decline in quality and/or workmanship, leading to the eventual loss of skills over a few genera ons

Factors Affecting the Craft Traditions Ar sans are tradi onally an essen al part of the village economy producing everyday u litarian objects catered towards local market using designs and mo fs that were of significance to their communi es.

However, with the advent of industrializa on and increasing urbaniza on of markets for cra s the historical ar san-consumer rela onship has broken down, and largely been replaced by traders. This has rendered ar san's knowledge and skill, acquired over genera ons, virtually useless and made cra s an unsustainable source of livelihood. (Cra ing a livelihood -building sustainability for Indian Ar sans, William Bissel, Managing Director, Fab India).

In the recent past, globaliza on has brought great changes across the world. The key characteris cs of today's global market is the speed with which the demand for a product and change in its lifestyle, design, and color, offer greater opportuni es as well as threats to producers.

The precarious nature of handmade cra markets invites strategic approaches to reach global consumers. But delayed response can push these deep-rooted tradi onal handmade products out, replacing them with mass factory made products, machine cra s

Roots of Indian Design Art and cra s have always been an integral part of India's rich tradi on and heritage. They are in fact the cultural symbols of the na on. These art forms are unique and demand a high adroitness. The ar sans are trained in the art form by their ancestors over genera ons.

Historically, it is evident from the mohenjodaro-harappa excava ons that, as early as 2500 BC, there was highly developed architecture, town planning, and technology in many places. India's tradi onal knowledge was highly organized and me culously ar culated. Even in the arts, there was extremely detailed canons and highly sophis cated structured trea es.

Challenges Faced by Pichwari Artists Natural and organic colors are not available these days. In present scenario, ar sans are not earning sufficient funds as per their hard work, the reason being that a large amount of profit is taken by the middlemen i.e. commission agents and traders.

Pichwai art is very byzan ne and requires a lot of me (3-9months). And even a er all those efforts one puts into it, there are very few buyers for it as it comes at a price not many want to pay. On the contrary, people prefer buying embossed and digi zed work as it comes at a cheaper rate.

The younger genera on of Pichwari painters is losing interest in thus art as it requires me and dedica on but the perks of doing it are very less which doesn't support their expenses. The government is not providing any support to ar sans of Pichwari which has led to further deteriora on of the present condi on of ar sans.

Modern production Pichhwai have become the main export of Nathdwara and are in much demand among foreign visitors. The ar sts live mostly in Chitron ki gali (Street of pain ngs) and Chitrakaron ka mohallah (colony of painters) and make a close community with constant interac on. O en a Pichhwai pain ng is a group effort, where several skilful painters work together under the supervision of a master ar st.

There has also been a push by other ar sts and designers to preserve and showcase this art form to a wider, interna onal audience.

Designers have u lised the tradi onal colours, prin ng techniques and pa ern styles associated Pichhwai, in clothing a res and showcase them on interna onal pla orms such as Lakmé Fashion Week

REFRENCES h ps://www.researchgate.net/publica on/344563893_Design_Interven on_Cra _Revival_with_Reference_to_Pichwai_Pain ngs_A_Contemporis e_Approach h ps://issuu.com/thepossibilityseeker/docs/pichwai_research_paper h ps://issuu.com/cra canvas/docs/pichwai_pain ng_cra canvas_2017 h ps://issuu.com/akkaaraindia/docs/pichwai_pain ng__the_tradi onal_ art_of_nathdwara h ps://www.indianshelf.in/history-of-pichwai-pain ngs-byindianshelf/#:~:text=Pichwai%20is%20a%20Sanskrit%20word,where%20t hey%20were%20first%20originated. h ps://en.wikipedia.org/wiki/Pichhwai h ps://issuu.com/padmaraj/docs/cd-pichwai-nathdwara-low_res

PICTURE REFRENCES h ps://www.artzolo.com/tradi onal-art/shrinathji-cow?id=139352 h ps://fineartamerica.com/featured/shreenath-jii-pichwai-pain ng-prita-dhaimade.html h ps://www.jaypore.com/mul color-lotus-pichwai-art-print-on-paper-p537740 h ps://www.jaypore.com/mul color-lotus-pichwai-art-print-on-paper-p537715?ref=cHBz&s=mo&pos=0 h ps://www.jaypore.com/mul color-cow-pichwai-art-print-on-paper-p537695?ref=cHBz&s=mo&pos=0 h ps://in.pinterest.com/pin/846887904914715773/ h ps://www.architecturaldigest.in/content/pichwai-good-earth-mumbai/ h ps://www.trawell.in/rajasthan/udaipur/shrinathji-temple-nathdwara h ps://www.hotelvrinda.com/ h ps://www.outlookindia.com/outlooktraveller/explore/story/71190/pichwai-art-of-nathdwara h ps://truerajasthan.com/rajsamand-district-rajasthan/ h ps://auc ons.pundoles.com/lots/view/1-4TLDY/a-map-of-nathdwara

PICHWAI - The essence of Nathdwara