PICHOI
This is a backdrop that is usually hung behind the Lord. This comes from a Mongol / Persian tradition, of having their best carpets displayed by being hung as backdrops to impress visitors. The Turks, Afghani and Persian invaders brought this tradition to north India. During the Mughal rule, carpets were replaced by rich wall hangings, either embroided or painted, to represent landscapes, floral arrangements, or abstract designs. This fashion soon caught on as it was an easy and an effective way of changing the appearance of a room with minimal effort.
Due to its royal connections, the Gurukul at Gokul was also effected by the new fashion of using pichoies during certain darshans. Initially, there were a limited number of painted pichoies, depicting the generic auspicious themes – that of Gopas leading cows or vrajvasies adoring their beloved Krishna. Plain or simple patterned cloth was sometimes hung as a backdrop to complement a given shringar.
When the Lord later settled down in Nathadwara, a second flowering of artistic ideas and talents lead to many new innovations in the Lord’s seva. The number of different styles of clothes being used increased, from the simple dhoti / uparna of Shri Vallabha’s time, or Char-vagh of Shri Vitthalnathji’s time, to more elaborate gherdar jamas and other court dresses.
The use of pichoies also increased and greater imagination was used to create dramatic effect by sometimes using complementary or contrasting colours. More painted and embroided pichoies came to be used, often commissioned by leaders of the sect or rich devotees who wanted to commomerate specific occasions.
Later still, during the later half of the nineteenth century, new artistic styles and ideas gave a new direction to the use of pichoies and now new themes were added to the traditional ones – including the use of architectural features in pichoies to create substructures within the inner sanctum of the haveli. Eg- There is a wonderful late nineteenth century / early twentieth century pichoi used in the haveli of Shri Navnitlalji, depicting a regal pavilion with a rose garden. Flowering plants in terracotta pots line a central avenue in the pichoi. Extensive use of terracotta pots shows the influence of English or (East India) Company style of gardening. It also shows how a traditional rajput building was now surrounded by a modern garden !
Evolution of style and fashion were apparent in the new pichoies of the time. Another pichoi from ShriNathji’s inner sanctum shows a very realistic cow chewing cud on the banks of a very naturalistic banks of Shri Yamuna. These are a million miles from the earlier stylised depiction of human, animal and landscapes from the styles of Kota, or Kishanghad.
The romantic, exotic and regal air of various styles, mix effortlessly in the Haveli of ShriNathji. Each contributing to our understanding and appreciation of the evolution of the sect, and its philosophical ideas.
Currently, pichoies are used in all the havelies of Pushti Marg. Usually, they are simple – plain cloth or patterned cloth that matches the mood or bhava of the darshan. Painted pichoies are used on special occasions or during festivals. Antique pichoies are hard to come by, as they are not well preserved. Soft-furnishings were never meant to stay forever, especially in India’s hot and humid climate. Constant renewal was the theme.
In the “modern” world, antiques are highly valued for two main reason. 1) Because artistic styles change as frequently as seasons, and so, we appreciate things that were done differently by our predecesors. 2) because the westerners value anything older than 50 years and are willing to pay a lot of money for it ! As a result, a number of fine old pichois have left the havelis of Pushti Marg and ended up in the havelis of the (foreign) rich !
One of the best books on this subject is the book by Amit Ambalal - Krishna As ShriNathji.
This book is so wonderfully inspirational, after reading it, I spent over a month at Nathdwara, trying to understand and learn more about our great religion.Click here for a link to some of the pictures from Amit Ambalal's book.
(Please visit the galleries of the Lord)
Bhagwat ©
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