Pichwai paintings of Pushti Marga- the path of kindness are a distinctive art tradition in India and serve as the visualization of the rituals with which the tutelary deity of Pushtimargis, Srinath Ji (a form of Krishna) is entreated. The mesmerizing Pichwai of Krishna with Balarama and other cowherd boys with cattle, approaching the gates of their home, being welcomed by Yashoda Maa and gopis of Brija is known as “Sandhya Aarti” Pichwai, depicting the ritual of evening (sandhya) aarti (showing of lamp). The devotees of Srinath Ji transform themselves into the residents of Brija and with Vrijeshwari, the queen of Brija Yashoda Ji as their head; they partake in the divine ritual of Sandhya Aarti through a Pichwai.
On a rectangular canvas, bordered by beautiful lavender-shaded flowers, the scene of Sandhya Aarti comes to life on this Sri Krishna Pichwai. At the top of the painting, pleasing amber, violet, and white create the image of evening, also known in Indian culture as “Godhuli”, named after the dusty, dim ambiance created by the Dhuli (dirt) that is produced by the trampling of the earth under the hooves of Gau (cow). Under the evening sky, one can see a line of hills, trees, and several marble buildings. The maximum space in this Sri Krishna Pichwai painting is covered by the cattle herd in which every cow is adorned exquisitely with gold ornaments, chains, bells, and hand marks of their owners on their bodies and red color on their hooves. In between the flock stands some cowherd boys, alone and in pairs, guiding their cows to the gate of the town.
Leading the cowherd boys and cattle herd are Sri Krishna and Balarama ornamented in fineries, standing facing their mother Yashoda, who performs the Sandhya Aarti with a lamp in her hands. Behind her are the milk maidens of Brija, who can be distinguished from Maa Yashoda from their demeanor- while Yashoda gazes directly at her boys, there is a discernible bashfulness in the eyes of the young girls, who cannot help but avoid eye contact with their beloved Krishna. Above the group of gopis, in the palace structure, the figure of a king is seen, accompanied by ladies who seem to be interacting with each other, sharing the news of the arrival of Gopala (protector of cows). In jharokha (window)- like structures in the wall of the palace, faces of women are drawn who are probably royal ladies attempting to take a look at the beauty of Shyam (the dark-skinned one) from the interiors of their household.
With the detailed depiction of subjects and use of vibrant colors, artist Vithal Das has presented to us in this Krishna Pichwai of Sandhya Aarti, the devotees’ eagerness to perform “Darshana”- gazing at the supreme divine, a scenic representation of Bhakti (devotion and Prema (love) between the Seen and the Seer.
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