The Blue God's Tale

Lace pichhwais are an anachronism in the pichhwai genre. They were machine-made—in England, according to the TAPI research team—and are in a single colour (usually cream, sometimes grey). They were made between the late 19th and early 20th centuries—the first time machines were pressed into service for making pichhwais. Now these lace pichhwais—one is on display here—are increasingly difficult to find.

"Unlike other forms of Indian painting, pichhwais are life-size," says Praful. "Krishna, his leela, the other figures—all are depicted life-size, so that for a single moment, the viewer gets a feeling of the grace and grandeur of his world and is transported into it."

Amit Ambalal, author of Krishna as Shrinathji, a seminal work on Nathdwara paintings, says what makes this exhibition significant is that "this is the first time such a comprehensive display is being shared with people," giving viewers an opportunity to see the diversity of traditional techniques.

What is it about pichhwais that so instantly enchants even non-devotees? At a workshop held in conjunction with the exhibition, eminent art historian B.N. Goswamy posed the question—What is Krishna? How do we understand him through pichhwais, poetry, dance and paintings? "We tried to crack the Krishna code, but we concluded it cannot be cracked," says Sujata. "You've to see the pichhwais with your heart."

While Kalamkari pichhwais are no longer made, the pigment-painted pichhwai tradition is alive in Rajasthan. There are big studios in Udaipur that execute orders for life-sized ones, while small and medium-size pichhwais are available on the streets of Nathdwara, popular mementos of a pilgrimage.

(The show will be in Delhi till January 20 and Mumbai from February 7, '08.)