SOUTH RAJASTHAN, INDIA, 19TH CENTURY

This large painted textile (pichhvai), a backdrop for an idol of Shri Nathji, is typical of the pichhvais used at the temple (havelis) of the Pushtimarg sect in Nathdwara, Rajasthan. They are often part of a matched set that also cover the walls and ceiling of the sanctum (Kay Talwar and Kalyan Krishna, ‘Painted Pichhvais from the Nathdwara Temple Treasury’, in Manesh Sharma, Padma Kaimal (ed.), Themes, Histories, Interpretations, Indian Painting, Essays in Honour of B.N. Goswamy, Mumbai, 2013, p.203).
In this vividly illustrated amorous scene Krishn plays his sitar whilst passionately holding Radha amidst two gopis playing instruments. Such panels were hung in Pushtimarg havelis during warm summers to create a cool atmosphere in the shrine of Shri Nathji. The heroes are surrounded by a meandering river, with lotus flowers at each end, helping devotees to visualize the banks of the river Yamuna where Krishna grew up. In our panel, Krishna is depicted holding his sitar, whilst adorned with a golden crown decorated with peacock feathers, surrounded by magnificent peacocks and peahens. Peacocks in India are considered to be a symbol of purity. There is a mythological belief (although untrue) that peacocks do not use sex for reproduction but rather, the peahen drinks the tears of the peacock to conceive. Thus, the feathers and peacocks signify that Krishna is as pure as a peacock.
A very similar pichvvai with peacocks arranged in the same manner as ours was sold in these Rooms, 24 April, 2015, lot 140. A further impressive example was sold at Christie’s New York, 21 September 2007, lot 313.