Pichhvai of Krishna and Radha

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The divine lovers Krishna and Radha stand upon a luxuriant green landscape. Krishna has manifested himself before Radha and two milkmaids (gopis), amidst wading birds, peacocks, monkeys, and flowering plants. The figures are attired in brilliantly coloured garments combining shades of red and orange, and are adorned with sumptuous jewellery. Radha and the gopis wear long pearl necklaces suspended with emerald pendants, while Krishna is crowned with a golden headdress surmounted by peacock feathers. A long garland of white flowers hangs from his neck. His dark blue skin, embellished with gold ornaments, stands in striking contrast to the verdant ground.

This textile hanging was originally considerably larger, and only this fragment survives of what must once have been an imposing composition. Such narrative hangings, known as pichhvais, were typically displayed during religious festivals celebrating Krishna and the various episodes of his life. The present example clearly demonstrates the artistic style developed in the city of Nathdwara, Rajasthan. Nathdwara is the principal centre of the Pushtimarg sect, established in the sixteenth century in devotion to Krishna, with particular emphasis on his youthful manifestations.

Krishna and Radha are traditionally depicted within the idyllic landscapes of Braj, on the banks of the sacred Yamuna River. Here, the viewer may imagine a fertile and abundant setting populated by animals and birds, and flowering vegetation. Radha and the gopis carry clay vessels upon their heads, filled with milk, perhaps alluding to the Daan Lila ("Taking of the Toll"), a popular episode recounting how Krishna and his half-brother Balarama demanded milk and curds as a toll from the gopis.

An alternative interpretation identifies the scene as a depiction of the Rasalila, the sacred dance of divine love between Krishna and Radha In this celebrated episode, Krishna multiplies himself so that each gopi experiences his exclusive presence. The episode symbolises the intimate and personal relationship of bhakti (devotional worship), through which the devotee is united directly with the divine.

The present pichhvai is characteristic of the Nathdwara school during the nineteenth century. This artistic tradition emerged in the 1730s and absorbed influences from neighbouring centres, particularly Kishangarh and Kota. Early examples are exceedingly rare owing to the fragile nature of these textile hangings, but a number of nineteenth century works survive. They were usually acquired as souvenirs by pilgrims commemorating their visit to the shrine of Krishna-Shrinathji at Nathdwara. Several artists active in the city are known to have produced pichhvais, especially during the late nineteenth and early twentieth centuries; however, the artist responsible for the present work remains unidentified.

Comparable Pichhvais:

Pichhvai for Daan Lila, Nathdwara, late nineteenth century, Tapi Collection, inv. no. TAPI 01.349 (Krishna, Kalyan, et al., In Adoration of Krishna: Pichhwais of Shrinathji, Tapi Collection. Mumbai: Garden Silk Mills and Roli Books, 2007, cat. 12, p. 60).

Kunj Ekadashi Festival, Nathdwara, late nineteenth century, Smithsonian Institution, Washington, inv. no. S1992.68 (Ambalal, Amit, et al., Gates of the Lord: The Tradition of Krishna Paintings. Edited by Madhuvanti Ghose. Chicago: The Art Institute of Chicago, 2015, cat. 71, p. 137).

Pichhvai for Sandhyas Arati, Kishangarh or Nathdwara, last quarter of the nineteenth century, Tapi Collection, inv. no. T.04.146 (op.cit., cat. 64, pp. 130-131).