A dialogue with Pichwai Paintings at Bridge Bharat.

A letter from the Creative Director

Dear dears,

Three weeks into September, we’ve experienced unexpected rains, and the love has continued to pour into our newly opened studio space in Phase 1, Gurgaon, as many of you dropped in to say hello.

We’d love to hear your thoughts—please take a moment to leave us a Google review!

You can access our digital catalogue here.

Today, I want to draw your attention to two Pichwai paintings currently on display at the studio.

Pichwai is an art form that originated from the Nathdwara temple in Rajasthan. In the 15th century, during a period of heightened asceticism, various Bhakti movements spread across India. These movements sought to evoke Bhakti ras—devotion—among followers of Vaishnavite and Shaivite sects through poetry, folk music, and paintings. Learning from the Buddhist monks, nuns and royal patronage, these art forms were used to narrate stories.

Vallabha, a key figure, developed a sect called Pushtimarg Sampradaya, guiding followers on the path of grace. He established that the devotees of Pushtimarg did not need to renounce worldly pleasures to show their devotion to Lord Shrinathji. Through Pushtimarg, one could surrender to Lord Krishna while engaging in both worship rituals and the pursuits and pleasures of everyday life.

This resonated deeply with the mercantile Vaishnavites. Later, Vallabha’s son, Vitthalnath, cemented the foundation of the Pushtimarg sect by establishing the Nathdwara temple, where he commissioned artists to create paintings that would hang behind the idol of Shrinathji. 'Pichwai' comes from the words 'pich' meaning 'behind' and 'wai' meaning 'hanging'. These paintings aimed to address societal issues by spreading awareness of devotion to Lord Krishna. They served three main purposes:

-To invoke Bhakti ras,

-To tell the stories of Krishna’s life in Vrindavan,

-Curate and change the paintings in response to festivals, seasons, and rituals to bring variety in the stories told

Over time, various styles of Pichwai paintings emerged, each using different visual storytelling techniques.

In our display, we feature the Nathdwara Haveli.

Nathdwara Haveli

Traditional Pichwai, Rajasthan

Natural Pigment Colors and 24k Gold on Cotton Cloth

43 x 38.5 Inches

2003

Dinesh Soni (National Awardee)

Purchase this painting here

This unique painting portrays the Shreenathji temple in Nathdwara, which is built in the style of a haveli. Lord Krishna is believed to reside in this haveli as a living deity. The painting captures the complex architecture with upside-down jharokhas, tilted chatris, columns, and numerous doorways leading into hallways and rooms. In several niches, Shreenathji is depicted in his iconic Annakoot posture, with his left arm raised, seemingly holding the Govardhan Parvat. In one niche, he is worshipped by a group of devotees and cows gathered in reverence. The painting is flanked by guards protecting the haveli.

The second painting is Gopashtami.

Gopashtami

Traditional Pichwai Art, Rajasthan

Natural Colors, 24k Gold and Silver on Cotton Cloth

36 x 48 Inches

Dinesh Soni (National Awardee)

Purchase this painting here

Mostly in gold leaf, Krishna is represented in the form of a Kadam tree. Cows have gathered, arranged in neat lines, to celebrate Krishna’s milestone of becoming an adult cowherd.

These two Pichwais tell distinct stories from the life of Shreenathji. My interest in Pichwai lies in the technique of visual storytelling rather than the subject matter itself. The methods Pichwai artists use to convey characters and events in a single-panel format are fascinating. The representation of Krishna as a Kadam tree, for instance, is noteworthy. Whenever a person or deity is symbolised through something other than their body, it is called aniconic representation. This practice originated much earlier with depictions of Buddha in the reliefs of Sanchi Stupa. In early Buddhism, representing Buddha through his human form was forbidden, as he had transcended all earthly bonds, including the human body.

Here, the painting borrows this storytelling technique from Buddhist traditions and appropriates it to educate viewers of the life of Shreenathji.

As we continue to explore the many layers of Pichwai and its rich tradition, it’s fascinating to see how centuries-old practices still resonate in our contemporary world, inviting us to engage not only with the art itself but with the deeper spiritual and cultural stories it tells. Our studio space is a growing hub for these kinds of conversations, and we’re excited to have you as part of this journey.

Thank you for being here, for your curiosity, and for your continued support. We look forward to welcoming you back soon to share a moment of reflection together.

Cheers

Ayushi