The tradition of Krishna paintings

Showing now (and on till January 3, 2016) at the Art Institute of Chicago in Regenstein Hall is an exhibition that is possibly the first of its kind. It has more than 100 objects including pichvais (intricately painted cloth hangings) that celebrate Shrinathji, a form of the Hindu god Krishna in a large-scale exploration of the art and aesthetics of the Pushtimarg sect of Hinduism.

As you enter the hall, on two walls facing each other, there are visuals of Nathdwara town and the exquisite drawings of cows as seen on the temple walls. Further inside, there is a breathtaking painting of Krishna playing the flute for the gopis, an 18th century opaque watercolour, with gold and tin alloy on paper. On the right is Krishna in the form of Venugopal, a granite sculpture from the late 13th century, the early Vijaynagar period. Gentle notes of the flute enhance the visual experience.

Madhuvanti Ghose, the Alsdorf Associate Curator of Indian, South Asian, Himalayan and Islamic Art, has conceived the exhibition in the form of Raasalila, the dance performed by Krishna. Taking more than four years to put together, the magnificent collection of drawings, pichvais, paintings, and historic photographs showcases a special artistic tradition of Nathadwara and its artists, renowned for a painting tradition preserved in an unbroken legacy for more than four centuries. Says Ghose: “The exhibition provides an opportunity to celebrate these living traditional artists who have gone unrecognised for too long.”

The show was made possible by two prestigious and rarely exhibited private collections from India, the Amit Ambalal Collection from Ahmedabad and the Tapi Collection from Surat. It has been complemented by loans from the Art Institute of Chicago’s collection and other public and private collections within the US. This rare philanthropic partnership has enabled the museum to present the richest possible story of Pushtimarg art.

The exhibition takes the visitor through a year in Nathdwara and the daily veneration of Shrinathji, characterised by changing seasons and a bustling festival calendar. The miniature paintings that accompany the pichvais offer further insight into the Pushtimarg sect: its private and intimate mode of worship, its rich history, and the important priest and patron families. Ghose explains: “This sect of Hinduism is little known even within India due to its closed and private devotions. Even today, phones and cameras are not allowed within the precincts of the main temple at Nathdwara. Outside the sect, there is little appreciation of its unique traditions that have been preserved and elaborated upon since the 16th century.”

Source: http://www.thehindu.com/features/friday-review/art/art-institute-of-chicago-showcased-the-art-of-the-pushtimarg-sect-of-hinduism/