Clad in golden attire that wraps around their golden physique, their hair tied in beautiful pleats, ornaments of gold and gemstones adorning their form, the Gopis, cowherd girls of Brija enchant us with their presence in this Pichwai painting, known as Vrikshachari Pichwai, a divine piece of art that draws from the Pushtimargi beliefs and the eternal love between Krishna and his gopis.
In a Vrikshchari (vriksha-tree, chari-dwelling) Pichwai, gopis are presented amid lush green grooves, with an unseen Krishna, who is supposed to be hidden in the trees. Dyed with the emotion of a heavenly Prema (love), Vrikshachari Pichwai is a moving token of Krishna’s endless affection, which even when invisible can be felt through his beloveds who wait for the apple of their eyes to reveal him.
Using a pitch black background, artist Vitthal Das has painted a detailed floral border on three sides, with the fourth adorned with a series of women playing musical instruments- an auspicious image according to Hindu tradition. Behind the Gopis are trees, their leaves outlined with a striking golden shade and their branches laden with gorgeous flowers, fruits, and various birds and animals.
The tree as per Vaishnava tradition is a Kadamba tree, which is associated with Sri Krishna and his innumerable Lilas and is seen as an aniconic symbol for the dark-skinned Lord. In the center of the Pichwai is a golden chatri (umbrella) with ornate vines and three peacocks embellishing its structure. As if they are animated extensions of the glistening gold arch, nine youthful maidens stand, each individually presented in the Pichwai.
The facial features of the Gopis are undoubtedly inspired by the Rajput paintings- elongated eyes, curling hair, fine nose, and lips, bringing to us the fabled beauty of Brija-Bala (young girls of Brija). They are wearing a golden lehenga, choli (blouse), pearl and gold ornaments, Aalata (red dye) on their hands and feet, and sandalwood paste on their forehead, all decked up for the awaited meeting with their dear Krishna. Each of them carries an object- musical instruments, birds, flowers, fragrances, fan, and flying whisk- items of sensory pleasure as offerings to Krishna. Accompanying the Gopis are four cows- their bodies beautified with golden hand-prints.
With their postures and gestures, the Gopis appear to be interacting with each other, adding to the Pichwai a liveliness that is felt by the devotee. On the top left corner, a male head probably Chandra Deva (moon god) can be seen witnessing the gathering with a vigilant gaze. In the top right corner carrying a twig with flowers flies a female messenger, moving ahead of the Gopis to look for Krishna who is nowhere to be seen.
In the foreground of the Pichwai flows a dark stream with blossoming lotuses, probably the Yamuna, a constant witness to the Lilas of Krishna. And where is the dark-skinned one in this scene of divine romance and devoted affection? As the dark-hued clouds on the top, as the Yamuna that flows below, and as the blackness of the night that wraps the Gopis in an invisible embrace, Krishna is present in every inch of this Vrikshachari Pichwai.
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