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PALLU

THE ORNAMENTAL END PIECE OF THE SAREE IS KNOWN AS THE PALLU, IT USUALLY IS THE MOST STRIKING PART OF A SAREE AND IS NORMALLY WORN OVER THE SHOULDER & HAS VARIOUS PATTERNS AND DESIGNS EITHER WOVEN, PRINTED OR SOMETIMES IT IS EVEN LEFT PLAIN.

PATOLA

POCHAMPALLY, IKKAT & PATOLA, ESSENTIALLY REFER TO THE SAME TECHNIQUE OF WEAVCING, WHICH IS A CROSS-OVER BETWEEN PRINTING AND WEAVING. HERE, THE DESIGN MOTIFS ARE FIRST PRINTED OR RESIST-DYED, ONTO THE WARP OR THE WEFT THREADS, OR BOTH AND THEN DILLIGENTLY WOVEN INTO A SAREE. THE DISTINGUISHING FACTOR THAT MAKES THE SAREE ESCLUSIVE AND SURREAL IS THE FACT THAT THE DYES ARE APPLIED TO THE THREADS AND NOT THE FACE OF THE WOVEN FABRIC. THE MAIN DIFFERENCE BETWEEN POCHAMPALLY AND PATOLA BOTH USING THE SAME TECHNIQUE IS THE GEOGRAPHY AND DESIGN LANGUAGE.

PICHHWAI

PICHHWAI ARE INTRICATE PAINTINGS WHICH PORTRAY LORD KRISHNA. THEY EXIST IN THE HOLY TOWN OF NATHDWARA IN THE RAJASTHAN STATE OF INDIA.
KRISHNA IS SHOWN IN DIFFERENT MOODS, BODY POSTURES, AND ATTIRE MORE COMMONLY FOUND ON A CLOTH OR PAPER. IT IS A VERY ANCIENT FORM OF ART PASSED ON FROM GENERATION TO GENERATION AND IT HAS A VERY DEVOTIONAL THEME TOWARDS LORD KRISHNA.

THE PURPOSE OF PICHHWAIS, OTHER THAN ITS ARTISTIC APPEAL, IS TO NARRATE TALES OF KRISHNA TO THE ILLITERATE. THEY HAVE BECOME THE MAIN EXPORT OF NATHDWARA AND ARE IN MUCH DEMAND AMONG FOREIGN VISITORS IN THE AREA.
THESE ARTISTS MOSTLY LIVE IN CHITRON KI GALI (STREET OF PAINTINGS) AND CHITRAKARON KA MOHALLAH (COLONY OF PAINTERS) AND MAKE A CLOSE COMMUNITY WITH CONSTANT INTERACTION. IT IS NO WONDER THAT MANY TIMES A PICHHWAI PAINTING IS A GROUP EFFORT, WHERE SEVERAL SKILLFUL PAINTERS WORK TOGETHER UNDER THE SUPERVISION OF A MASTER ARTIST. IT IS MINIATURE FORM OF PAINTING AND CREATION ON THE PIECE OF CLOTH WHICH HANGS IN THE FORM OF BACKGROUND TO SRINATHJI'S IDOL AT NATHDWARA TEMPLE


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