Pichvai Paintings and Bhakti: Art's role in Hindu worship

Can Art be a form of worship?

The symbolic nature of architecture, transcendent potential of paintings and soothing quality of incense are some examples of how art has historically been used to awaken the human senses and incite transformation in hearts and lifestyles.

What is Pichvai Art?

Originating from Rajasthan, India, Pichvais are unique textile paintings created by devotees of the Hindu God Lord Krishna to be hung on the walls of temples. The simple, vibrant and colourful images were created as expressions of adoration to their deity, and they portray manifestations of Lord Krishna's personality, legends and philosophy that life is 'Leela' or a play. The exhibition Pichvai - Tradition & Beyond features a curation of these paintings dating four hundred years, displayed in different sections based on the various styles and concepts among the tradition. 

Founded by cultural activist Pooja Singha, who desires to preserve and revive the authenticity of the traditional art form, Tradition & Beyond is a quiet space with different-sized Pichvais arranged according to the different evolutions and movements of the tradition, thus providing an understanding of the context behind the tradition and to experience its intended feelings.

Bhakti

Some background information on Bhakti, an age-old Hindu devotional tradition, is a key piece of context to appreciate the intricacies of Pichvai art. Documented thousands of years ago in the Hindu scriptures, Bhakti revolves around developing attachment and a relationship with God in one’s mind. Lauding the qualities of humility, surrender and love, Bhakti is described in the renowned Hindu scripture The Bhagavad Gita in chapter 12 verse 13-14, which states:

"That person, who is without hatred towards any living being, being friendly and compassionate, free from greed, free from self-centeredness, having equanimity towards favourable and unfavourable situations, forbearing, being always contented, being self-controlled, having firm faith, and having offered his mind and intellect to Me, is dear to Me.” (12.13-14).

The emphasis on offering one's mind and intellect is the key to the practice, and it is through constant contemplation of God that one can offer their mind to him. The qualities described in this verse, such as compassion and self-control, emboldens the practice as a distinctly moral endeavour, implying that purifying one’s mind through contemplation of God and God’s qualities is the key to transcending negative qualities and becoming a moral individual.

Because of its focus on mental contemplation, Bhakti is a personal practice and requires an individual’s efforts to coerce his mind to focus on God rather than his material possessions. But that does not mean that the material and physical reality is completely disregarded.

Sensory aid is essential in aiding an individual to perform Bhakti, and physical stimulants such as musical instruments and rhythmic chanting, as well as statues of God, were some of the most common physical endeavours employed to influence one’s mind to think of God. Thus, these physical actions, such as rituals and art creations become moral tools. 

Key features of Pichvai paintings

Pichvai paintings are another example of sensory aid meant to facilitate an inner connection with God. Every detail in these images is meticulously chosen to evoke positive sentiments associated with Krishna. The iconography in the images, such as the lotus flowers and cows, were all elements associated with Lord Krishna’s legends and personality.

Lord Krishna himself is centralised in most of the paintings, clearly highlighting that he is the focus of this tradition and that every other detail is meant to draw back to this centre.

Repetition is a key device in this tradition, with the image of Lord Krishna looking almost identical in most of the Pichvais in the exhibition. The face shape, nose, large fish-shaped eyes and dark blue complexion used to depict Krishna in most Pichvais are similar, appearing almost as though the image has been photocopied. Even the images of the cows and lotus flowers look identical between images. Consistency, it seems, is a valued trait in this tradition, which could imply that there is a specific image of Krishna which was believed to be the most attractive and captivating for the meditation of devotees.

Repetition also reveals a lack of subjectivity in the tradition, as we are not able to see an artist's individual style between these images. It gives the images a functional quality rather than a personal one. Onlookers in the past would not have had variety in choosing between depictions of God's image that appealed to them. This could have been the intended effect of the repetition, as it forces devotees to subdue their individual preferences in front of God, which could have cultivated a sense of humility and reverence.

Learning to appreciate

True appreciation of art need should not be dependent on the personal preferences of the audience.

In author Jeanette Winterson’s book Art Objects (1995), she explores how anyone can appreciate and find beauty in any piece of art. Detailing an experience where she was disturbed by her inability to understand a painting, she explains how that experience made her engage with art with more care. Changing the way she approached art, she chose to commit herself to subduing her personal bias and appreciating just one or two art pieces in a gallery rather than searching for specific art that she thought she would like. This commitment eventually made her appreciate art more, and she claims

“I really believe that human beings can be taught to love what they do not love already and that the privileged moment exists for all of us, if we let it. Letting art is the paradox of active surrender. I have to work for art if I want art to work on me" (Winterson, 21).

The word ‘taught’ here suggests that one must develop and learn to appreciate art, and appreciation does not come from someone’s innate character or contextual experiences. The phrase ‘active surrender’ used to describe her interaction with art is especially relevant as surrender to God is a key component of Bhakti. In Winterson’s case, a similar form of surrender must be made to the art piece, as she puts aside her individuality and allows for the art to present itself to her. In this moment, her sense of self itself is reduced, and allows for the art to speak for itself.

Also, her comment on ‘work’ in appreciating art further contrasts with Bhakti, as it implies that effort and commitment must be made to appreciate art, and it is not meant to be a simple excercise of appealing to our preferences. There is a reverence Winterson has for art, evident from the lines “If we say that art, all art is no longer relevant to our lives, then we might at least risk the question 'What has happened to our lives?' The usual question, 'What has happened to art?' is too easy an escape route." (Winterson, 21). Her emphasis on questioning ourselves rather than questioning the art shows that she is giving authority to art, even suggesting that there can be no wrong with art creations, and she uses art appreciation as an opportunity for self-reflection rather than self-extension.

Learn more

What are some distinct portrayed in Pichvais, and what can they teach us about appreciating art? Read more here.